• (The) Research of the performance art and culture
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• no.39
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• pp.775-800
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• 2019

Jeongeup Pungnyu, which can be regarded as a foundation of Hyangje Julpungryu(;string ensemble in Honam Area) best reflects social-spatial characteristics of local Pungryu culture. The close relationship between Daepungryu(wind ensemble) and Julpungryu can be inferred from three points of view. First, Jeongeumun who participated as a musician in the beginning of Hyangje Julpungryu was good at not only performing musical instrument but also dancing. Jeongeumun did not stay in specific musical field. He performed Hyangje Julpungryu, made Daepungryu and used it as dancing music with musicians that participated in Julpungryu. That is why Julpungryu and Daepungryu are not completely separated music. Secondly, according to , Jung Hyungin, who followed the dance of Jeong Jae-Sun with Kim So-Ran, was the first Piri player who learned from Jeongeumun and played Yeongsanhoesang and Samhyeon-yukkak(;wind ensemble). That is, Jeongeup Julpungryu was formed by Jeongeumun and dancer Jung Hyung-in followed Julpungryu and Daepungryu. Based on these findings, it can be inferred that Jeongeup's Daepungryu is fundamentally closely related to Jungeup Julpungryu.

• Journal of Gifted/Talented Education
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• v.25 no.6
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• pp.771-797
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• 2015

The purpose of this study was to assess musically gifted students'needs in order to develop the gifted curriculum in music. The survey was carried out with 103 musically gifted students who are being educated in institutes for the gifted. The survey asked the needs about components of the gifted curriculum in music: the educational objectives, contents, teaching strategies, evaluation as well as educational environment influencing on the curriculum. As for the objectives, the result showed the highest needs was the ability to communicate with audience by expressing one's feeling. For the high school students, a large number items had significant differences between the necessary level and the current level. As for the contents, the highest needs were the class piano, second instrument, and the experience of the musical field. High school students needed the second instrument more than middle school students did. As for the teaching strategies, the highest needs were the autonomous choice by learners, the instruction pursuing learners' interests, and the field work. As for the evaluation, the highest needs were the peer evaluation and the evaluation on the collaborative performance or team work. As for the educational environment, the gifted in music strongly needed spaces to practice instruments. Additionally, high school students needed a space to perform like a concert hall. Thus the gifted curriculum in music must be thoroughly developed based on the result above.

• (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 Music and Human Behavior
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• v.20 no.2
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• pp.61-88
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• 2023

This case study examined whether a cooperative musical instrument playing could enhance interactions between children with autism spectrum disorder (ASD) and their neurotypical (NT) siblings. It involved three children with ASD aged 7-12 years and three NT siblings aged 6-11 years. Each group, comprising a child with ASD and their NT sibling, participated in a 40-minute sessions twice weekly for eight sessions over four weeks. The intervention included three stages: simultaneous action, complementary action, and achieving a joint goal. Evaluation criteria included the initiation and response behaviors of each child, and sequential interactive behaviors and cooperative behaviors between pairs were measured. Additionally, before and after the intervention, parents and NT sibling assessed their perceived sibling relationships. Results showed increased interactive and cooperative behaviors. Post-intervention, both parents and NT siblings rated the sibling relationship highly, despite little change in sibling conflict and competition consciousness. These findings indicate that interactive instrument playing can enhance perceptions of siblings as cooperative play partners and aid in teaching them how to collaborate during interactions.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.38 no.3
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• pp.337-344
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• 2014

An optimal shape design algorithm is suggested to systematically design a traditional Korean musical instrument, the Pyeongyeong. The Pyeongyeong consists of 16 different chime stones called Gyeongpyeons. The first natural vibration frequency of each Gyeongpyeon must be adjusted to its target frequency, which is determined by the traditional sound tuning method. The second and third natural frequencies must be proportional to the first natural frequency with a specific ratio (1:1.498:2.378). The key idea in our suggested design algorithm is to use the sensitivity of natural frequencies to the variation in the length of each side of a Gyeongpyeon. The dimensions of five different Gyeongpyeons are determined by following the suggested algorithm. Changes in natural frequencies with respect to local thickness variation are closely investigated to compensate for errors that may occur during manufacturing.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.76-88
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• 2020

Since the pre-existing music itself used in has no direct relation to the film, it raises the question of whether it was properly utilized as film music. The purpose of this paper is to clarify that 's 20th century modern music effectively fulfills the role of film music through iconicity with images. This study approached the similarity between the character of fear and the form of music through Hanslick's formal aesthetics to discuss the use of 20th century modern music in the horror film. The formal characteristics of music are observed in the movement of notes, which are similar to the fearful state of mind mentioned by Heidegger. In the analysis, the stagnant movement and the continuity of notes, the special playing method of the musical instrument, the unspecified trembling of the clustered notes, the melody of the weak intensity in the high-pitched range, the smash of percussions, and the progression of the notes that deviate from the center confirms the aptitude of 20th century modern music in the horror film. The fact that this study did not simply rely on the emotions represented in the 20th century modern music, but thoroughly caught the movements of the notes, has great significance in the research of film .

• The Journal of the Acoustical Society of Korea
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• v.9 no.3
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• pp.11-23
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• 1990

In order to investigate the acoustical characteristics of the Hae-keum (Korean traditional musical instrument) tone quality, the spectrum and wave form of Hae-keum sounds were analyzed by the FFT Analyzer. The analysis was carried out by the varying of the tension of Hae-keum strings, the positions of bridge and the top plate's thickness of Hae-keum respectively. According to the experiment, the following results are obtained ; the over tone's amplitude nearby the top plate resonance frequency is greater than the fundamental tone's amplitude because the top plate resonance frequency is higher than the fundamental tone's frequency. Tone qualities are better when the bridge is situated in the middle of top plate and the tension of strings is larger. The inharmonicity coefficient of the Hae-keum's second string is 0.049 cents/$n^2$. The brilliance and richness is poor, because we seldom found the over tone over 5kHz and the inharmonicity of the Hae-keum is greater than that of a violin. Also we confirmed that we are able to get the best tone quality in 4.5mm thickness of the Hae-keum's top plate.

• The Journal of the Korea Contents Association
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• v.7 no.2
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• pp.132-141
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• 2007

Traditional music education for infants is the most important step of forming human knowledge. Since their rapid development of intelligence and emotion has an educational value not only it improves the human knowledge but also it makes infants understand the unique emotion of Korean people. Under the several circumstances, however, we have no enough contents for traditional music education. Thus, by researching and analyzing the existing educational contents and complementing them properly for multimedia environment as a form of animation, we perform a series of experiments to infants who are attending to the kindergarten with interactive animations which are familiar with infants. Infants become interested in the contents and after the lesson of the short bamboo flute content, they show the clear improvements for the playing on a musical instrument. This proves that the Korean music educational content realized with animation can be an alternative plan to improve the educational effect by causing enjoyment and interest of infants.

• Korean Journal of Child Studies
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• v.25 no.4
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• pp.115-128
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• 2004

In this study, we examined the relationship among Multiple Intelligence constructs and the relationship among the sub-areas and analysed the development of the Multiple Intelligence according to age and gender to evaluate Korean children's Multiple Intelligence structures that teachers evaluated based on MIDAS-MYC. The subjects of the study consisted of 158 4-5 year old children (71 4-year-old group(boy 38, girl 33); 87 5-year-old group(boy 40, girl 47)) in Seoul and Gyeonggi. We found several results which are as follows. 1) Reliability on each area of intelligence in MIDAS-MYC was good. 2) The result of confirmatory factor analysis using the model of structural equation modeling was consistent with the results of other studies that children's Multiple Intelligence consists of eight intelligent areas that are independent to each other but are relative to each other. In particular, interpersonal-intrapersonal intelligence, languistic-intrapersonal intelligence, languistic-Interpersonal intelligence, and languistic-logic/math intelligence were high correlation. However, physical/motion-naturalist intelligence and musical-logic/math intelligence were low correlation. 3) Children's multiple intelligence differed according to age and sex, the 5-year-old was higher than 4-year-old and girls were higher than boys in a general way. 4) There was high correlation between the result of evaluation based on MIDAS-MYC and the result of teacher's subjective evaluation about children's Multiple Intelligence.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.47 no.5
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• pp.89-99
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• 2010

A unified method for separating musical sources, singing voice for example, from stereophonic mixtures is provided. We usually have two observed signals in stereophonic music contents, where more than two instruments are played together. If we regard each instrument as source, this problem becomes an underdetermined source separation problem and cannot be solved by conventional methods, which infers the spatial environment of the downmixing process happens. Instead, source-specific information has been exploited to recover a particular instrumental source. This paper provides a unifying structure consists of heterogenious ad-hoc separate algorithms, which are designed for separating vocal sources using stereophonic channel information and dominant pitch information of the sources, respectively. Experiments on real world music contents show that the proposed unification can neutralize the drawbacks of the two ad-hoc separation algorithms and finally enhance the separation results.