• Journal of Korean Library and Information Science Society
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• v.38 no.1
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• pp.231-256
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• 2007

The purpose of this study is to investigate the distinctiveness and problem areas in cataloging rules of printed music. In this study, therefore, the characteristics, kinds, and cataloging rules related to a printed music are examined first as the backgrounds. Then the sources of information, title and general material designation, musical representation statement, publication.distribution.etc., physical description, notes, etc. in ISBD(PM), Chapter 5 Music of AACR2R 2002 Revision 2004 Update, and Chapter 5 Music of KCR4 are analyzed. And also printed music parts in Bibliographic Data of KORMARC and MARC21 are analyzed. Finally, the special issues and some problems to be considered in cataloging of printed music in KCR4 are presented.

• (The) Research of the performance art and culture
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• no.34
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• pp.241-276
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• 2017

This paper studies the restoration of Jeongeup notated in Daeakhubo to a singable song. Firstly, the melody of Jeongeup was restored by finding the rhythm of Jeongeup. Secondly, Jeongeup lyric written in Akhakgwebeom was added to the restored melody. Lastly, the musical style of restored Jeongeup song was investigated. The rhythm of Jeongeup was found to be the same as Jinjak's rhythm whose measure consists of four ternary subdivided beats. It is because the Jangdan of Jeongeup contains that of Jinjak. The Jangdan of Jeongeup is played one touch in a measure. Such ternary subdivided beat and one Janggo's touch in a measure were transmitted to today's Sujecheon. The lyric of Jeongeup was added to the restored melody of Jeongeup by following the lyric rules of Jinjak1,2 and Hoengsalmun. The lyric rules of Jinjak 1,2 and Hoengsalmun are as follows. One syllable is sung in two measures, Eodanseongjang 語短聲長 appears, long lasting tunes are mostly applied to Jang of Eodanseongjang 語短聲長, and syllables begin at the first beat in a measure. The musical style of Jeongeup is basically similar to that of Jinjak1, but there are some differences. They are similar in the sense that the melody is very long compared to the lyric and Eodanseongjang 語短聲長 appears. They are different in the sense that Jeongeup uses grace notes rather than Sigimsae when one tune lasts long. Jeongeup in Daeakhubo seems to have undergone changes, and its rhythm is likely to have been expanded two to four times in order to match Mugo dance after being used as an accompaniment to Mugo dance.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.291-302
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• 2019

In this paper, we first looked at the structures and characteristics of the musical instrument to study the tone of haegeum, which is the only Korean musical instrument made using all the eight ingredients that make gugak instruments, and which is now the most frequently used in fusion gugak or pop music production sites. In addition, for the comparison of the various tones of the haegeum, under the same conditions, we analized how the haegeum's tone changes according to the types of Wonsan, which works as the bridge of the haegeum. Four Wonsan made of Park, Rosewood, Maple and Black Dan were used in the experiment, and low, medium, and high notes were recorded to compare the inner and outter open strings and the sound ranges. By doing so, we looked at the composition of frequency characteristics and the distribution and analyzed the timbres according to the types of Wonsan. Based on this study, it is expected to help the performers in the field choose the proper Wonsan according to each harmony part, rather than just to their tastes when performing Gugak orchestral music or haegeum ensemble. We also look forward to playing haegeum and using the timbres in various combinations of Wonsan that suit the genres at the pop music industry.

• Journal of the Korea Society of Computer and Information
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• v.20 no.5
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• pp.53-63
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• 2015

Singing voice synthesis is the generation of a song using a computer given its lyrics and musical notes. Hidden Markov models (HMM) have been proved to be the models of choice for text to speech synthesis. HMMs have also been used for singing voice synthesis research, however, a huge database is needed for the training of HMMs for singing voice synthesis. And commercially available singing voice synthesis systems which use the piano roll music notation, needs to adopt the easy to read standard music notation which make it suitable for singing learning applications. To overcome this problem, we use a speech database for training context dependent HMMs, to be used for singing voice synthesis. Pitch and duration control methods have been devised to modify the parameters of the HMMs trained on speech, to be used as the synthesis units for the singing voice. This work describes a singing voice synthesis system which uses a MusicXML based music score editor as the front-end interface for entry of the notes and lyrics to be synthesized and a hidden Markov model based text to speech synthesis system as the back-end synthesizer. A perceptual test shows the feasibility of our proposed system.

• Smart Media Journal
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• v.11 no.10
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• pp.65-75
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• 2022

Deep learning is used as a creative tool that could overcome the limitations of existing analysis models and generate various types of results such as text, image, and music. In this paper, we propose a method necessary to preprocess audio data using the Niko's MIDI Pack sound source file as a data set and to generate music using Bi-LSTM. Based on the generated root note, the hidden layers are composed of multi-layers to create a new note suitable for the musical composition, and an attention mechanism is applied to the output gate of the decoder to apply the weight of the factors that affect the data input from the encoder. Setting variables such as loss function and optimization method are applied as parameters for improving the LSTM model. The proposed model is a multi-channel Bi-LSTM with attention that applies notes pitch generated from separating treble clef and bass clef, length of notes, rests, length of rests, and chords to improve the efficiency and prediction of MIDI deep learning process. The results of the learning generate a sound that matches the development of music scale distinct from noise, and we are aiming to contribute to generating a harmonistic stable music.

• Journal of the Korean Society for information Management
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• v.23 no.2
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• pp.5-19
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• 2006

The purpose of this study is to observe and analyze information searching behaviors of various user groups in different access modes for designing user-centered query interface of content-based Music Information Retrieval System(MIRS). Two expert groups and two non-expert groups were recruited for this research. The data gathering techniques employed in this study were in-depth interviewing, participant observation, searching task experiments, think-aloud protocols, and post-search surveys. Expert users, especially majoring in music theory, preferred to input exact notes one by one using the devices such as keyboard and musical score. On the other hand, non-expert users preferred to input melodic contours by humming.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.268-273
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• 2008

This work defines user intention according to intention range, and also proposes an interactive sound installation which reflects and varies above features. User intention consists of several decomposition concepts, which are elemental intentions, partial intentions, and a universal intention. And also, each concept is defined as inclusion/affiliation relationship with other concepts. For the representation of elemental intention, we implemented an musical interface, Color note, which represents the colors and notes according to response of participants. We also propose Harmonic Defragmentation (HD), which arranges the partial intentions with harmonic rule. Finally, the universal intention is inferred to the comprehensive direction of elemental intentions. We used Karhunen-Lo$\`{e}$ve(K-L) Transform for the inference. For verifying the validity of our proposed interface, the "Color Note," and the various techniques, we installed our work and surveyed various users for the evaluation of HD and statistical techniques. Also, we commissioned another survey to find out satisfaction measurement which was used for expressing universal intention.

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.

• (The) Research of the performance art and culture
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• no.39
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• pp.701-748
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• 2019

Gwanak-yeongsanhoesang, called as Samhyeon-yeongsanhoesang or Pyojeongmanbangjigok, is played by the musical instrumental organization, Samhyeonyukgak or by a large scale wind ensemble added Sogeum and Ajaeng. This study aims to analyze the structure and form of Piri melody which plays major melody of Sangnyeongsan in Gwanak-yeongsanhoesang, and to examine the relationship between Piri melody and Daegeum yeoneum grasping the structure and function of yeoneum. In Sangnyeongsan of Gwanak-yeongsanhoesang, the criterion for grouping the phrases of Piri melody is yeoneum. Especially, Daegeum yeoneum carries out the function of finishing the phrase of Piri playing the major melody by ornamenting or extending it, and presenting the motives or motive elements of the next phrase while Piri rests. The types of a, b, g, and i in the various shapes of the minimum melodic fragment of Piri are important motive elements that constitute a phrase of Piri melody. Especially, main motive a-type (仲→無) contrasts with b type (林→潢) which forms a strong tension by transposing 2 degrees upward. In addition, a-type gradually descends towards the end of music by changing to g-type (仲→林) or to i-type (太→林) which is 3 degrees below, which is related to the gradual descent cadence of Korean traditional music. A phrase of Piri melody of Sangnyeongsan in Gwanak-yeongsanhoesang consists of a combination of the types a, b, g, i, and cadence (x-type), and each phrase is structured in the repeating tension-relaxation. Looking at the structure of Piri phrases by similar types, each phrase has a logical variation structure through the methods such as omission and addition of notes, and crossing of melodies. The shape of the minimum melodic fragment of Daegeum yeoneum can be divided into a back-yeoneum of a~b types and a front-yeoneum of x1~x3. The x-types ornament Jungnyeo (仲), the cadence tone of Piri melody or are simply used as the extending back-yeoneum, and types a and b have the function of a front-yeoneum that prepares the beginning of the next phrase of Piri melody. The combination types of the minimum melodic fragment of Daegeum yeoneum appear mostly as the shape of back-yeoneum + front-yeoneum. In addition, the front-yeoneum of the type a and b appears independently without back-yeoneum, and the x3 type has a shape of the back-yeoneum without the front-yeoneum. Looking at the structure of Daegeum yeoneum by similar types, it can be seen that Daegeum yeoneum is also composed of a variation structure of omission and addition of notes like Piri melody.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.