• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.572-577
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• 2019

This study aims to classify and examine Changjak Gukak composed by composers who majored in Western music and help the composers with the composition of Changjak Gukak. As a result, it was investigated that Korean traditional musical elements have been used on the basis of the traditional or modern Western composition technique. The traditional composition techniques such as motive, theme, keys, homophony, contrapuntal methods, fugue form, sonata form, baroque concerto form and borrowing of Western art works have been used, and the contemporary composition techniques such as timber melody, a-tonality, irregular meter, poly rhythm and aleatory have been used. In addition, it reflects the Korean expression and identity by applying the Korean traditional instruments, Sigimsae, Jangdan, traditional scale and mode, form and melody.

• Journal of Gifted/Talented Education
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• v.25 no.2
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• pp.237-259
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• 2015

Teachers in music(including Korean traditional music) gifted education are a significant variable in both identifying the giftedness of students and a successful instruction. The purpose of this study is to develop the Scale for Screening the Qualified Teachers for the Gifted in Korean traditional and western Music(SSQTGM), and to examine the validity and reliability of the SSQTGM. To achieve this purpose, this study administered the SSQTGM to 175 teachers of gifted students aged between 13 and 15 in middle schools for the arts. To validate the SSQTGM, I analyzed the criteria of the SSQTGM, and conducted an exploratory and confirmative factor analysis. I also examined an internal consistency. As a result of the exploratory factor analysis, I finally collected 41 items of the SSQTGM. Futhermore, I could identify psychological constructs of the qualified teachers for the gifted in Korean traditional and western music. In consequence of the confirmative factor analysis, the model provided a good fit to observe data. As a result of the reliability analysis, the internal consistency of knowledge in the music(korean traditional music) verified cronbach's ${\alpha}=.937$, and the expertise of the class management and instruction verified cronbach's ${\alpha}=.942$. Also, the teachers' aptitude and personality verified cronbach's ${\alpha}=.963$. This result of the construct validation reflects the fact that the SSQTGM is an available scale that can be applied in gifted education field instantly.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.25 no.7
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• pp.869-876
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• 2021

In the field of music, various AI composition methods using machine learning have recently been attempted. However, most of this research has been centered on Western music, and little research has been done on Korean traditional music. Therefore, in this paper, we will create a data set of Korean traditional music, create a melody using three algorithms based on the data set, and compare the results. Three models were selected based on the similarity between language and music, LSTM, Music Transformer and Self Attention. Using each of the three models, a melody generator was modeled and trained to generate melodies. As a result of user evaluation, the Self Attention method showed higher preference than the other methods. Data set is very important in AI composition. For this, a Korean traditional music data set was created, and AI composition was attempted with various algorithms, and this is expected to be helpful in future research on AI composition for Korean traditional music.

• Journal of Korean Library and Information Science Society
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• v.38 no.3
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• pp.425-454
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• 2007

This study is to present a draft for the formulation of uniform title for sound recordings of the Korean traditional music. The draft as the results of this study is summarized as follows: In a musical work of a type of non-composition, the popular name is put into square brackets as a uniform title of court music and folk music in the old Korean traditional music, and the composer's original title is put into square brackets as a uniform title of the new Korean traditional music, but the medium of performance and others are omitted except an identifying element. However, for the formulation of uniform title of a type of composition in an instrumental music, the descriptive form consisted of the order of 'name of one type of composition, medium of performance, serial number, opus number, key, and a descriptive word or phrase' is put into square brackets as a uniform title and the identifying elements. And in the vocal music of the old Korean traditional music, the following medium of performance is used: in vocal choruses, a type of voices; in solo voices, a type of solo voice by sex, but one of the new Korean traditional music follows the descriptive form of the western classical music.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.148-160
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• 2014

This study proposed the design development of performance uniform for Korean classical music. To do this, we considered the state of the performance uniform of the Korean Classical Music Band through photographic data. The research targeted the performers in Korean Classical Music Band, and conducted a survey for the preference of type, pattern, decoration, color and fabric materials. Based on the results, we extracted the design of performance uniform, which is suitable for the environment of Korean classical music performance and meets the substantial requirements of performers. The performance uniform that the current national or public Korean classical music bands are using, has two types: Western clothing and Hanbok. The attire is influenced by the genre of the music that they are playing because one of its main functions is to deliver the music to audience effectively. In addition, there are some differences in the uniform based on the gender, but no division in the design of clothing according to music instruments. However, the result of the survey show that there was no difference in preference by gender, but there was some difference according to the division of music instruments. On this study, we reflected this result in the design, and proposed the design of an convenient outer garment for everyone to wear in the music performance band.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.9
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• pp.694-699
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• 2016

The study of popular music in Korea has been looked down on in terms of its academic value, which has led to the demise of research into this topic. Unlike classical music, all areas of study of pop music (history, theory, and performance) in Korea inevitably rely on curriculums and courses in foreign countries. This study focuses on the era of the Eighth U.S. Army when modern band music first arose in Korea to discuss the important role played by Shin Joong Hyun's Psychedelic music style. Shin Joong Hyun's new approach to arranging and harmonizing included the qualities of Western music, but kept the melody lines of our own traditional style. Shin Joong Hyun's music is still being played by today's musicians decades later and it definitely deserves to be praised for generations to come. Although this study only covers a limited portion of our pop music history, its purpose is to provide future generations of musicians with knowledge on the roots of our pop music culture.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.12
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• pp.561-568
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• 2018

This thesis focuses on the five functions of film music as proposed by American composer Aaron Copland, and the application of these functions in the modern film Cinema Paradiso featuring music by Italian composer Ennio Morricone. Morricone has shown the application of these techniques in Western films such as the 1960s film A Fistful of Dollars and the top-rated 1980s films The Mission and Cinema Paradiso. Through his work, he maximizes the effects of representation in each scene by using variations of the theme music to effectively apply the functional theory of film music. Cinema Paradiso, especially, pursued the consistency and diversity of film at the same time. And it emphasized the specific atmosphere, intending to provide continuity in the scenes during the progress of the film. This thesis provides an understanding of the variation technique in film music, and the functionality of film music from scene to scene, as used by Morricone, for students majoring in film music.

• The Journal of Pediatrics of Korean Medicine
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• v.24 no.3
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• pp.81-91
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• 2010

Objectives: The basic cause of developmental disability is congenital weakness, which is a disorder of the kidney according to the Oriental medicine definition. I suggest the oriental medicine music therapy, which can improve congenital weakness and recover the kidney dysfunction. Methods: This study focused autism and Asperger syndrome in terms of Oriental medicine, and also considered view points from the Western medicine. Conclusions 1. The kidney monitors vital elements which were produced from the bone marrow. Therefore, the growth and the development of a skeletal structure are related to the strength and weakness of kidney, which is measured in Qi score. 2. In a case of the deficiency of kidney, an essence due to congenital defect, it shows the symptoms of the developmental disability such as sluggish reaction and physical movements, falling of memory, hearing, and eyesight. 3. For the kidney disorder, "Eum music therapy", one of the oriental medicine music therapies, can promote development of the kidney and kidney-Qi score for the children with developmental disability.

• Lingua Humanitatis
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• v.2 no.2
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• pp.5-50
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• 2002

This paper aims to illustrate and illuminate the relationship between language and its neighbor disciplines, in particular between language and literature, language and religion, and language and music. 1. Language and literature. Literature is an art of language. Therefore, linguistics, the science of language, should be able to explain how the grammar of literature elevates and ordinary language into a literary language. I illustrate poetic syntax with examples from Shelley, Coleridge, and Wordsworth. 2. Language and religion. I show how a linguistic analysis of a religious text can illuminate the background, authorship, chronology, etc., of a religious text with an example from the Book of Daniel. I also illustrate how a misanalysis of a poetic meter led to a mistranslation with an example from the Book of Psalms. 3. Language and music. First I trace an epochal event in the history of the Western music, i.e., the change of the musical style from the liturgical music of Latin in which the rhythm was created by the alternation of syllable duration into the liberated music of German in which the rhythm was generated by the alternation of lexical stress. I then illustrate a parallelism between linguistic and musical structures with several musical pieces including Gregorian chant, the 16th century music of Palestrina, the 17th century music of Schutz, the 18th century music of Mozart, and the 19th century Viennese music. Finally, the importance of text-tune (verse-melody) association is discussed with examples of mismatches in translated Korean hymns and contemporary Korean lyrical songs. In the concluding part, I speculate on some factors that are responsible for the same organizational devices in three different modes of human communication. An answer may be that all are under the same laws of mind that govern the way man perceives and organizes nature, i.e., the same cognitive abilities of man, in particular, the capacity to organize and impose structure on their respective inputs.