• Journal of Music and Human Behavior
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• v.8 no.1
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• pp.43-60
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• 2011

The purpose of this study is to examine the effects of Pansori creative therapy focusing on a vocal sound on the self-efficacy of older adults living alone. Participants were 6 aged people who were living alone and who attended S Welfare Center for aged people. Pansori creative programs were provided twice a week for 6 weeks. The program consisted of 5 stages that had 50 minutes for each section. Quantitative data were collected from a pre-and post-self-efficacy scale (Park, Gyung-min, 1994) in order to confirm the changes in self-efficacy of the participants. Results showed statistical significance in self-efficacy scores (p < .05). In addition, positive verbal comments on decreased performance anxiety were found from participants during interviews conducted after the completion of Pansori creative program.

• Korean Journal of Audiology
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• v.25 no.3
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• pp.131-137
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• 2021

Background and Objectives: The current study investigates pitch coding using frequency following response (FFR) among vocalists, violinists, and non-musicians for Indian Carnatic transition music stimuli and assesses whether their listening biographies strengthen their F0 neural encoding for these stimuli. Subjects and Methods: Three participant groups in the age range of 18-45 years were included in the study. The first group of participants consisted of 20 trained Carnatic vocalists, the second group consisted of 13 trained violinists, and the third group consisted of 22 non-musicians. The stimuli consisted of three Indian Carnatic raga notes (/S-R2-G3/), which was sung by a trained vocalist and played by a trained violinist. For the purposes of this study, the two transitions between the notes T1=/S-R2/ and T2=/R2-G3/ were analyzed, and FFRs were recorded binaurally at 80 dB SPL using neuroscan equipment. Results: Overall average responses of the participants were generated. To assess the participants' pitch tracking to the Carnatic music stimuli, stimulus to response correlation (CC), pitch strength (PS), and pitch error (PE) were measured. Results revealed that both the vocalists and violinists had better CC and PS values with lower PE values, as compared to non-musicians, for both vocal and violin T1 and T2 transition stimuli. Between the musician groups, the vocalists were found to perform superiorly to the violinists for both vocal and violin T1 and T2 transition stimuli. Conclusions: Listening biographies strengthened F0 neural coding, with respect to the vocalists for vocal stimulus at the brainstem level. The violinists, on the other hand, did not show such preference.

• Journal of Audiology & Otology
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• v.25 no.3
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• pp.131-137
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• 2021

Background and Objectives: The current study investigates pitch coding using frequency following response (FFR) among vocalists, violinists, and non-musicians for Indian Carnatic transition music stimuli and assesses whether their listening biographies strengthen their F0 neural encoding for these stimuli. Subjects and Methods: Three participant groups in the age range of 18-45 years were included in the study. The first group of participants consisted of 20 trained Carnatic vocalists, the second group consisted of 13 trained violinists, and the third group consisted of 22 non-musicians. The stimuli consisted of three Indian Carnatic raga notes (/S-R2-G3/), which was sung by a trained vocalist and played by a trained violinist. For the purposes of this study, the two transitions between the notes T1=/S-R2/ and T2=/R2-G3/ were analyzed, and FFRs were recorded binaurally at 80 dB SPL using neuroscan equipment. Results: Overall average responses of the participants were generated. To assess the participants' pitch tracking to the Carnatic music stimuli, stimulus to response correlation (CC), pitch strength (PS), and pitch error (PE) were measured. Results revealed that both the vocalists and violinists had better CC and PS values with lower PE values, as compared to non-musicians, for both vocal and violin T1 and T2 transition stimuli. Between the musician groups, the vocalists were found to perform superiorly to the violinists for both vocal and violin T1 and T2 transition stimuli. Conclusions: Listening biographies strengthened F0 neural coding, with respect to the vocalists for vocal stimulus at the brainstem level. The violinists, on the other hand, did not show such preference.

• Korean Journal of Oriental Medicine
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• v.8 no.1
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• pp.27-43
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• 2002

The aim of this study is to find out the relationships between the vocal sounds and physiologie and pathologic mechanisms based on the Eum-yang and five phases theory[陰陽五行論]. Firstly, concrete characters of vital rhythm of five-viscera were analyzed and patterns of the five-note in oriental music were converted into that of western music, then it was investigated, the possibility of oriental music therapy using sounds as stimulation methods like herbs, acupuncture, and moxibustion. In conclusion, it was found that controlling the Five-visceral vital rhythm by sounds could be used as one of methods for prevention and treatment of disceases, growing on and balancing a body, etc.

• The Journal of the Acoustical Society of Korea
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• v.42 no.1
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• pp.75-82
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• 2023

The purpose of this study was to investigate listener's affective responses to different vocal registers and modes in terms of valence (i.e., negative to positive affect) and arousal (i.e., low to high energy level). The data were collected from four different conditions (i.e., higher and lower registers paired with major and minor modes). A total of 188 female college students participated in the survey online and rated their perceived valence and arousal levels on a visual analogue scale after listening to each excerpt. The two-way analysis of variance (ANOVA) was administered for data analysis. The results revealed that there were significant differences in the affective responses to the two vocal registers, showing that the arousal was more affected by the register than the valence. Secondly, mode had statistically significant impact on both valence and arousal while weighing more on valence. Further, there was significant interaction effect of vocal register and mode on valence, but not on arousal. Results also displayed that listeners had the most negative valence when listening to the excerpt of minor mode in higher register, while having the lowest arousal when listening to the excerpt of minor mode in lower register. These findings imply that it is important to consider the vocal range as well as the musical mode when selecting music for appreciation.

• Journal of Korean Biological Nursing Science
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• v.15 no.2
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• pp.65-73
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• 2013

Purpose: The purpose of this study was to review the literature on music intervention for neurological patients in Korea and to explore the effect of music intervention on functional rehabilitation of neurological patients. Methods: This systematic review examined literature from 2005 to 2010. The existing literature was searched in the electronic databases of RISS and KISS using the following keywords: music, rhythmic movement, stroke, brain injury, dementia, Parkinson, spinal cord injury. Seventy-seven studies were founded through the database. After The exclusion of duplicates, case studies, literature review, and irrelevant studies, nine studies were included for analysis. Results: They included nine quasi-experimental studies. The medical diagnoses of the study participants were stroke, dementia, brain injury, and spinal cord injury. Among nine studies, only two studies were conducted in the nursing area. Eight studies used comprehensive music programs composed of health education, gait training, vocal training, or relaxation therapy, and these comprehensive programs were effective in the areas of physical and psychosocial treatment. Seventeen sessions were provided on average throughout intervention, and the average duration of each session was 49.4 minutes. Conclusion: Comprehensive music intervention can be implemented in nursing care for patients with neurological problem.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.10
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• pp.104-108
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• 2016

African-American music heavily influences a variety of musical genres, including folk music, jazz, rhythm and blues, soul, and funk music. The music derived from traditional African music with its unique syncopated rhythm using a five-note pentatonic scale, and has developed through significant influences from gospel music. African-American music has also evolved through historical social movements, such as eliminating the racial discrimination, and has been influenced by the personalities of different cities in the United States. Modern music features fusion with elements of Western music. One of the most influential and respected artists of the 20th century was Stevie Wonder, who was known as "Father of African-American music." He was an accomplished artist, winning numerous awards despite being disabled. He has become one of the most famous and respected artists worldwide. This study of Stevie Wonder's life, music, and spiritual strength, aims to highlight his significant achievements and contributions to pop music. This is a study based on an analysis of the work of Stevie Wonder and describes how elements of African-American music influences current Korean pop music and musicians.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.28 no.1
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• pp.14-16
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• 2017

Pop singers frequently use breathy voice to express diverse emotion. Such method is the major factor that divides vocalization in pop and classical music. Using breathy voice too much for a long time could make singer short-winded, which might cause the voice injured. In order to prevent the problem, singers need to find resonance balance between high notes and low notes and among vowels. Moreover, they should take more attention when producing resonance in consonants with much air flow. Along with finding resonance balance, if skilled at controlling the volume of voice, singers can use the breathy voice selectively at the desired part, adjusting close quotient freely. Through this kind of approach, pop singers can develope their unique style of vocalization and avoid the vocal damage.

• Proceedings of the KAIS Fall Conference
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• 2011.12a
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• pp.85-88
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• 2011

본 논문에서는 3명의 재즈보컬리스트에 의해 가창된 보컬즉흥연주를 분석하여 스캣음절의 사용실례를 살펴보고 그 결과를 통하여 스캣음절의 사용 및 표현방식에 대한 이해를 돕고자 하는데 그 목적이 있다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.12
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• pp.569-573
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• 2018

Music is composed of the sound of many instruments. Among them, the sound of the human voice naturally stands out to us and immediately connects with the listener. However, A lot of different steps go into perfectly mixing a vocal, but I'm going to focus on the most important step, equalization. In this paper, starting with the concept and the type of EQ for the requirements associated with the EQ's work and will know about when and how to use subtractive EQ, additive EQ during the recording and mixing process. EQ is one if the most important tools for mixing, especially when dealing with vocals. The control that EQ's offer allows you work, boosting and cutting to fit the vocal perfectly into the mix. The key to get a professional sounding vocal every time is to always keep in mind what you're trying to achieve stylistically and for it, using reference track is very effective. In addition to EQing, there are a variety of complex working steps such as compression, reverb, chorus, delay, adjusted for the effects of the work and harmonies of backing vocals and that are also very important task. The work of EQing is the beginning of the mixing process, among other things, need to be a detailed work throughout the consideration of the above points to its importance is greater relationship.