• (The) Research of the performance art and culture
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• no.35
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• pp.61-92
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• 2017

During the Japanese colonial era, traditional music performances were gradually diminishing and weakening in the particular condition of colonization. Meanwhile, from the time of enlightenment, Western genre performances were becoming vitalized with the influence of Western civilization that began to be spread steadily throughout the society. In that situation, traditional music performances tended to be mixed performances accompanied by Western ones, not independent performances. Mostly, they were accompanied by Western music, and also, they were performed along with other genres like plays, lectures, movies, dances, or magic, too. Such form of mixed performances accompanied by Western genres became even more vitalized in the 1920's and came to be positioned as a form of traditional music performances. Therefore, research on the forms of mixed performances between Western genres and traditional music is meaningful in examining the forms of traditional music performances that have not been studied in the history of Korean modern music and understanding the trends of traditional music performances which were generally found in the Japanese colonial era. However, such research has hardly been conducted concretely yet. Accordingly, concerning the forms of mixed performances between Western genres and traditional music in the 1920's, this author considered the background of vitalizing mixed performances between Western genres and traditional music mainly with newspaper articles of the time and their formal characteristics. Regarding the background of vitalizing the forms of mixed performances between Western genres and traditional music, from the 1920's, the forms of mixed performances between Western genres and traditional music became more vitalized than before. The causes of that may include the increase of groups hosting or sponsoring such performances from the 1920's and also the dramatic increase of such performances in general. Moreover, the increased performances were conducted in the forms of mixed performances mainly in order to satisfy the people's needs becoming diversified with the distribution of Western civilization. Concerning the formal characteristics of mixed performances between Western genres and traditional music, this researcher classified western genres performed with traditional music and examined what characteristics were found in such mixed performances of tradition music by the types of Western genres respectively. First, in the mixed performances type of western-type genre and traditional music, the number of programs for the western music had significant portion in general, and there were certain ensemble of the western music and traditional musical instrument that was rare at this period of time, and it also had the characteristics of classifying two genres to perform for each title or date. Second, in the mixed performances type of the drama and traditional music, the traditional music is directly participated in the drama with the similar type to the theater, or performed independently from the drama with the role of interlude performance for the stage conversion of the drama to have the characteristics of performing in audience publicity or entertainment. Third, in the mixed performances type of the lecture and traditional music, the traditional music is played before or after the lecture to play the role to set the atmosphere and entertainment for the lecture as displaying the feature to perform for the audience attraction. And, fourth, in the mixed performances type of the movie and traditional music, the traditional music sometimes directly participated in the movie or had the features of independent performance, and there was a characteristic to perform for the entertainment after showing a movie.

• (The) Research of the performance art and culture
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• no.33
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• pp.223-242
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• 2016

The Korean $taeg{\breve{u}}m$, a horizontal bamboo flute, is considered a representative wind instrument of Korean traditional music. Symbolized by its unique timbre and diverse techniques, this instrument transmits the beauty of Korea, and has become acknowledged even in international music scenes. Being a $taeg{\breve{u}}m$ player, composer, and ethnomusicology researcher, I have developed creative collaborations with musicians from Asian, electro-acoustic, jazz, and Western art music traditions developed outside my country of origin and tried to overcome musical boundaries through the 'intercultural performances' (after Turner 1988). Zooming in one collaboration, I detail the process of music creation and performance, collaborating with prominent Korean composer Kim $Taes{\breve{o}}ng$ (b.1967), who was commissioned by myself to write two compositions for the $taeg{\breve{u}}m$ and Western art music. The purpose is twofold: firstly, the modernization and appropriation of the Korean flute is briefly tracked down within the context of Western Art music. Secondly, a performance project is illustrated with the support of technical apparatuses such as DVD and CD recordings and delves further into the question of the 'cultural relativism' (Michael Tenzer, 2006: 7) through the interactive process. The performance-as-research, as a tool 'actualizing' (Richard Schechner 2003: 32) the hybridity, touches on critical domains in Ethnomusicology. The corresponding two parts discover, as Alan Merriam's(1964) 'tripartite model' suggests, the 'context' of Korean and Western cultures, the 'behaviour' of collaborating and performing and the 'sound' of improvised and composed productions in the course of music making.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.71-80
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• 2001

Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.24 no.9A
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• pp.1322-1328
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• 1999

In this paper, we propose a Multiple Signal Classification(MUSIC) in conjunction with signal enhancement (SE-MUSIC) for solving the direction-of-arrival estimation problem of multiple incoherent plane waves incident on a uniform linear array. The proposed SE-MUSIC algorithms involve the following main two-step procedure : ( i )to find the enhanced matrix that possesses the prescribed properties and which lies closest to a given covariance matrix estimate in the Frobenius norm sense and (ii) to apply the MUSIC to the enhanced matrix. Simulation results are illustrated to demonstrate the better resolution and statistical performance of the proposed method than MUSIC at lower SNR.

• The Journal of Korean Institute of Electromagnetic Engineering and Science
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• v.28 no.11
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• pp.880-885
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• 2017

In AD-MUSIC algorithm, DOD/DOA can be estimated without computationally expensive two-dimensional search. In this paper, to further reduce the computational complexity, the Newton type method has been applied to one-dimensional search. In this paper, we summarize the formulation of the AD-MUSIC algorithm, and present how to apply Newton-type iteration to AD-MUSIC algorithm for improvement of the accuracy of the DOD/DOA estimates. Numerical results are presented to show that the proposed scheme is efficient in the viewpoints of computational burden and estimation accuracy.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.265-275
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• 2019

The purpose of this study is to validate scale of deteminants for watching Korean traditional music performances to activate the market by procuring and increasing Korean traditional music performance consumers that exhibit generally low preference in the performance market. Accordingly, FGI was conducted on seven employees and professionals in the arts and cultural sector and then open survey results were categorized into eight factors and a total of sixty-five items using the KJ method to find the viewing decision factors per consumer type of Korean traditional music performances. Afterwards, a six-factor and thirty-five items were extracted after conducting an exploratory factor analysis and confirmatory factor analysis was conducted to verify the structural appropriateness, and then the feasibility of the composition of Korean traditional music performance viewing decision factor scale was verified. Results of the analysis showed that first, for general Korean adults making decisions to view Korean traditional music performances, there was positive impact in the order of interest-creating factors, fame and talent factors, emotional and information factors, creativity factors, reasonable price factors, and social relation factors. Second, the general tendency of decision factors to view Korean traditional music performances showed relatively high levels in reasonable price factors and interest-creating factors among the Korean traditional music performance viewing decision factors, while emotional and information factors were found to be relatively low.

• The Journal of the Acoustical Society of Korea
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• v.24 no.1
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• pp.29-37
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• 2005

This paper proposes an automatic genre classification system for Korean traditional music. The Proposed system accepts and classifies queried input music as one of the six musical genres such as Royal Shrine Music, Classcal Chamber Music, Folk Song, Folk Music, Buddhist Music, Shamanist Music based on music contents. In general, content-based music genre classification consists of two stages - music feature vector extraction and Pattern classification. For feature extraction. the system extracts 58 dimensional feature vectors including spectral centroid, spectral rolloff and spectral flux based on STFT and also the coefficient domain features such as LPC, MFCC, and then these features are further optimized using SFS method. For Pattern or genre classification, k-NN, Gaussian, GMM and SVM algorithms are considered. In addition, the proposed system adopts MFC method to settle down the uncertainty problem of the system performance due to the different query Patterns (or portions). From the experimental results. we verify the successful genre classification performance over $97{\%}$ for both the k-NN and SVM classifier, however SVM classifier provides almost three times faster classification performance than the k-NN.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.19 no.2
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• pp.345-353
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• 1994

This paper proposes a high resolution direction finding method, which is so called the 'averaged MUSIC'. This method uses a new sample array covariance matrix that consists of diagonal components obtained by taking averages of the diagonal component values of the sample covariance matrix for the MUSIC. This paper also shows that the proposed method performs higher resolced direction-of-arrival estimation than the MUSIC in such cases as low signal-to-noise ratio, closed signal sources, and limited number of sensors, based on the statistical analysis.

• Proceedings of the KSPS conference
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• 2003.05a
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• pp.149-152
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• 2003

In this paper, we present a performance comparison of feature parameters and classifiers for speech/music discrimination. Experiments were carried out on six feature parameters and three classifiers. It turns out that three classifiers shows similar performance. The feature set that captures the temporal and spectral structure of the signal yields good performance, while the phone-based feature set shows relatively inferior performance.

• (The) Research of the performance art and culture
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• no.42
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• pp.321-359
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• 2021

This paper examines the unique features of Korean farmer's music-or nongak-in Hawaii by exploring three nongak groups from different decades beginning in the 1970s. The first community-based nongak group began in the 1970s, with the establishment of the Wahiawa Korean Seniors Club. In the 1980s, there was another group supported by the Kalihi-Palama Immigrant Service Center. And in the 1990s, the Hawaii Korean Farmer's Music Assoiation, which is still active, was founded. I ullustrate the overall changes made by the three nongak groups as follows. First, they show a shift from social groups playing music to a music group doing social activities. Second, from a group of people negotiating their music, through a group led by musical leadership, to a group with a leader who created his own musical leadership. Third, from a music group began out of a pseudo-shaman ritual, through a group purely playing music, to a group adding samulnori and further creating a new rhythmic pattern. These changes occurred because, while the members are all first-generation immigrants, their experience of nongak in the motherland was different because of their age differences. In addition, they emerged because the level of awareness and acceptance of samulnori-which has gained huge popularity in Korea-were different.