• Journal of the Korea Society for Simulation
• /
• v.26 no.4
• /
• pp.23-34
• /
• 2017

During Khmer Rouge Regime, Cambodian pop music was completely forgotten since 90% of artists were killed. After recovering from war since 1979, the music started to grow again in 1990. However, Cambodian popular music dynamic and flows are observably directed by the multifaceted socioeconomic, political and creative forces. The major problems are the plagiarism and piracy which have been prevailing for years in the industry. Recently, the consciousness of the need to preserve Khmer original songs from both fans and artist have been increased and become a new trend for Cambodia young population. Still, the music quality is in the limit state. To increase the mind-set, the feedbacks and inspiration are needed. The study suggested a music ranking website using sentiment analysis which data were collected from Production Companies Facebook Pages' posts and comments. The study proposed an algorithm which translates from Khmer to English, doing sentiment analysis and generate the ranking. The result showed 80% accuracy of translation and sentiment analysis on the proposed system. The songs that rank high in the system are the songs which are original and fit the occasion in Cambodia. With the proposed ranking algorithm, it would help to increase the competitive advantage of the musical productions as well as to encourage the producers to compose the new songs which fit the particular activities and event.

• The Korean Publising Journal, Monthly
• /
• s.40
• /
• pp.20-20
• /
• 1989

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.3
• /
• pp.605-611
• /
• 2022

This study excludes how to define the concepts and categories of the Ah-ak(雅樂) and Sok-ak(俗樂). In the process from the early Joseon Dynasty to the late Joseon Dynasty, the aesthetic appreciation system of the Ah-Sok(雅俗) in traditional music, which is consistently projected on court music and folk music centered on Pungryubang, was revealed through specific historical records. Through this study, we were able to examine as follow : In the early Joseon Dynasty, the aesthetic of music related to the the Ah-Sok(雅俗) was mainly projected on the court's ritual music and Yeonhyangak-music for korean court banquet-, and in particular, the aesthetic thoughts of Geomungo[玄琴] was at the center. As we descend to the late Joseon Dynasty, the aesthetic of music related to the Ah-Sok(雅俗) has been expanded to the private sector, reflecting the aesthetic of Pungryubang music, and it can be seen that the aesthetic thought of Geomungo[玄琴] was at the center.

• The Journal of the Korea Contents Association
• /
• v.22 no.6
• /
• pp.261-272
• /
• 2022

During the China's long history, many ethnic groups have developed their own traditions of local music which is an important part of their precious cultures. Meanwhile, each ethnic group developed its own worldview and music culture according to its unique living environment, special lifestyle and mode of production. The clarinet is a Western instrument, and has been influenced to some extent by Chinese minority culture while being introduced to China. Therefore, musicians tried to find ways of using Western musical instruments to express various elements of Chinese minority music. Focusing on two clarinet works 'The Song of Grazing Horses' by Wang Yan and 'The Sound of Pamir Clarinet Concerto' by Hu Bijing, this paper aims to analyze the musical characteristics of minority groups expressed by the clarinet in two aspects: the formation of the music style, the artistic characteristics conveyed through the works. Specifically, it consists of five parts: ethnic mode and tonality, rhythm, time signature, melody making, and imitation of animals. It also analyzes the cultural characteristics of Tajik and Mongolian music reflected in the two works in combination with living environment, mode of production, life style, and ethnic emotions. This study aims to provide a theoretical basis for composers and performers who want to understand and acquire the musical style of modern Chinese clarinet works. It also helps to find a better way to play traditional Chinese music with Western instruments.

• Journal of Music and Human Behavior
• /
• v.5 no.2
• /
• pp.41-66
• /
• 2008

This study investigated the effects of traditional percussion improvisation to hearing-impaired college students who are under stress. For the research, between 21 to 22 years old four hearing-impaired college students, who could do lip reading, were chosen. In quantity program, improved version of college student stress measuring method which invented by Gyoung-gu Jun and Gyo-hyeon Kim(1991) were applied, and graphs has been used for analysis. In quality program, for reliability, the researcher and two music therapists observed and analysed it. The period of research was from Dec 26, 2007 to Feb 21, 2008. There were total twenty sessions and two sessions were assigned for each week. One was 40 minutes individual session, and the other one was 50 minutes group session. Even though auditory function is critical in music playing or listening, this study showed the positive results of the therapeutic use of music on stress management for college students with hearing impairment. Future studies are important to continue to investigate the effectiveness of music therapy for hearing impaired clients who are under stress with various age range.

• Proceedings of the Korean Society for Information Management Conference
• /
• 1998.08a
• /
• pp.9-13
• /
• 1998

디지털도서관에서의 음악정보의 효율적인 검색과 이용을 목적으로 NIFF를 이용해 음악정보를 디지털화하고 이를 기반으로 전율, 가사, 코드, 주석등의 세부 요소를 자동으로 색인하여 검색에 활용하는 방법을 제안하였다. 이 방법을 이용하면 첫째, 전통적인 목록에서는 불가능한 다양한 접근점의 제시가 가능하여 음악정보 이용자의 정보요구를 보다 잘 충족시킬 것이며, 둘째, 향후 정보검색 분야에 있어서 음악정보를 대상으로 하는 다양한 검색기법을 연구하는 중요한 토대가 될 것으로 기대한다.

• (The) Research of the performance art and culture
• /
• no.34
• /
• pp.111-131
• /
• 2017

Korean Shamanism has long been regarded as the peripheral cult or supersition by the majoriy of the society. This fact is a result by the influence of the mass media, especially the motion pictures, which intentionally reflected the negative images of the Shamanism. The documentary films, which stress the objectivity and the reality, rather disclose the neutral position toward the Shamanism. In fact, the directors of the documentary films who have more or less close relationship with the Shamanism have tried to exhibit the mental world and the traditionality of the Shamanism. In this paper, I will explore the value of Shamanism reflected in the documentary films. I focus of two films; directed by the Korean and directed by a foreigner. In this way, I can compare the attitudes of the two directors toward the Korean Shamanism. The director of confessed that he was attracted by the aspect of a musical underlied in the shaman ritual. However, the film does not show the artistic beauty of the shaman music because the director failed to understand the essential aspect of the shaman ritual, that is, the music. In this way, the director failed to show the distinct characteristics of the shamanism to the audience. The director of , a music herself, was focused on the music of the shamanism. The story flows to the adventure to seek a "master" with a long journey to enjoy diverse genres of Korean performing arts. This story resembles the epic shaman song, the Princess Bari. In this way, the audience can easily grasp the beauty of Korean culture. Music is said to be a universal language and, at the same time, a non-universal language which reflects a special trait of a cultural community. The Korean shaman ritual music is a non-universal language that is an accumulation of the Korean culture for a long time. The Korean director fails to exhibit the essential characteristics of the Shamanism since he does not have enough knowledge toward the shaman ritual music in . However, the foreign director, who is a music herself, successively disclose the underlying beauty of Korean shaman ritual music and Korean traditional culture in .

• Proceedings of the KAIS Fall Conference
• /
• 2010.11b
• /
• pp.535-538
• /
• 2010

컴퓨터로 대변되는 과학기술의 빠른 발전은 창조적인 음악 생산에 있어서 그 궤(軌)를 같이 한다. 오랫동안 전통적으로 사용되었던 음악 창작 방식은 최근의 50여 년 동안의 과학발전에 기인하여 그 방식이 빠르게 변화하였다. 현재의 많은 음악 창작가들은 컴퓨터와 MIDI의 등장으로 보다 빠르고 편리하게 자신들의 음악 창작물을 생산할 수 있게 되었다. 하지만 현재에도 꾸준히 개발되고 있는 전자 장비들은 단순히 음악 창작 활동의 도구일 뿐이다. 음악 작업에서의 이러한 장비들의 사용은 작곡가를 포함한 음악 생산자의 창의성이 전제 되어야 하는 것은 자명한 일이다. 본 논문은 Karlheinz Stockhausen을 위시한 여러 전자 음악가들의 작품을 분석하여 새로운 방식의 음악 창작을 연구하고, 그것을 토대로 다양하면서도 새로운 형태의 음악을 생산하고자 함이다.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.21 no.2
• /
• pp.205-211
• /
• 2020

The public knows the singer Shin Haechul as a musician who performs various musical activities as a producer, singer, and songwriter. However, he was also an all-encompassing entertainer who has been involved in different fields of popular media. His musical tendency is very progressive, and he pursues various attempts to create experimental fusion style music. Among his albums, 'MonoCrom' is the result of a combination of unique techno music and traditional music, and this album is known to bring the level of Korean popular music one step further in terms of musical value and meaning towards a new, unique sound. In this album, gukak holds great importance. In addition to the traditional samulnori instruments such as kkwaenggwari, janggu and jing, instruments like daegeum, taepyeongso, pumba and taryeong were used to show more progressive and expanded crossover music through the collaboration with gukak. In order for the current 'K-Pop' to continue to gain worldwide popularity, it needs a new attempt based on musical expandability. Therefore, if gukak is used as in the album MonoCrom, unique and differentiated music will be created, and will continually promote the worldwide interest in 'K-Pop'.

• Korean Journal of Child Studies
• /
• v.25 no.3
• /
• pp.115-126
• /
• 2004

The purpose of this study was to examine the effects of Korean traditional music education for young children on the development of musical attitude and rhythmic sense of young children. The subjects were 42 four or five-year-old children enrolled in two classes of a public kindergarten. Half were in the experimental and half were in the control group. Instruments were "Music Interest Test for Young Children" (Kim, 2000), "Musical Attitude Rating Scale for Young Children" (Ahn & Han, 1999) and "Primary Measures of Music Audiation" (Gordon, 1986). The procedure included pre-test, treatments and post-test paradigm. Experimental group had Korean traditional music activities three times per week, including listening, appreciation, singing, playing traditional instruments and creative movement. The control group was merely provided with materials related to the Korean traditional music. Data was analyzed by t-test. Results indicated significant differences in music attitude and rhythmic sense between the experimental group and the control group.