• Journal of Music and Human Behavior
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• v.19 no.2
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• pp.1-26
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• 2022

This review was conducted to identify the research trends in music intervention studies with elderly patients with dementia. Korean- and English-written studies on music intervention for this population were searched and analyzed. Seventeen studies were included in the final analysis. The results showed that behavioral and psychological symptoms were the main dependent variables. In terms of the type of music intervention employed, interventions requiring the patient's active participation in producing music were more common than interventions that required the patient to only listen to music. The majority of studies provided live music, selected music that was familiar to and preferred by the patient, and utilized rhythm-based performance activities. In the studies using active music production as the intervention, the participants were asked to express the emotions evoked by group instrument playing or singing along with music, which doesn't reflect the functional limitations (e.g., cognitive impairment) of elderly patients with moderate to severe dementia. The results of this review point to the need in the field to develop music intervention programs for the elderly with moderate to severe dementia that meaningfully engage these patients in music-related behaviors that target their specific symptomology.

• The Korean Journal of Rehabilitation Nursing
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• v.6 no.1
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• pp.79-89
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• 2003

Purpose: This research with one group pre-post design was carried out to test the practical feasibility to administrate the Music Movement program developed for the stroke patients. Subjects: 12 stroke survivors at "J" Public Health Center in Seoul. were participated in. The average age was 68 years old, the ratio of sex was almost 5.8:4.2, the duration of was almost over 1 year. Method: Music Movement program was conducted for 2 hours ${\times}$ 1day ${\times}$ 6 weeks. The contents of Music Movement program were consisted of the preparatory activities, main activities and the wrap up activities. The preparatory activities are ice braking, greeting, explanation of the aims of music movement program, and introduction of stroke disease and ROM exercise. The main activities are the body motions with singing and playing musical instruments. The wrap up activities are stretching and joints and discussion of home activities. Data Collection: The outcome variables are muscle strength, finger pinch power, ROMs, flexibility, depression, and life satisfaction. Depression was measured by CES-D(Kim, I. J., 1999), life satisfaction by ladder scale(McDowell & Newell, 1996), and ADL state(Holbrook & Skilbeck, 1983). Data Analysis: SPSS/PC 10.0 for Window was used. Wilcoxon Signed Ranks Test was used to analyze outcome measures. The level of statistical significance was set at p<.05. Results: This program was effective to decrease the depression level of subjects(p<.05). The muscle strength, hand grip power, ROMs, life satisfaction, and rehabilitation state of the subjects were slightly increased but no significant differences were found between the pre and post test. Additionally every patient replied that they were very satisfied and expressed their appreciation for this program very much. Of course they strongly want to continue to participate in and meet the peer group again. Conclusion: Considering these results, the practical feasibility of Music Movement program can be supported. Therefore, this Music Movement program can be examined with the quasi-experimental design with control group and ongoing reviews. After that, this program would be applied in public health centers, medical institutes, and welfare centers for the rehabilitation of stroke patients.

• Journal of Music and Human Behavior
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• v.3 no.1
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• pp.13-28
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• 2006

Autistic children have difficulties in communication. They tend to have more difficulties in general expression than in understanding sentences. This thesis tested the effect of music activities on children who have difficulties in language expression. As a research method, a group of autistic middle school students was selected who were attending normal schools. Three male students were selected for the test of K-ABC and CARS. Music treatments on the selected students were applied fifteen times, twice a week, for thirty minutes every time. The total treatment process could be divided into two stages. The stage one included the first twelve treatments and the stage two included following three treatments. In the stage one, the selected autistic students learned twenty four musics under real-world-like social circumstances. In the stage two, the students repeatedly learned the twenty four musics. A week before beginning the music treatment, the students were tested by PRES and a test developed by the author of this thesis. And a week after all treatments were completed, the students were tested again with the same test method to check if the students' expressive language ability got improved. The results of the research were as the following: First, the music treatment helped improve the autistic student's ability of expressing themselves such as 'requesting', 'rejecting', 'applying social customs' and 'providing information'. Second, the author of this thesis first had a hypothesis that the tested students might show different levels of achievements according to their intellectual ability or expressive language ability in K-ABC test, PRES and CARS. But it was not true. The student's level of achievement by music activities was proved not to have a significant correlation with their intellectual or expressive language abilities in the tests. Third, it was found that, through pre- and post-test of PRES, the music treatments could improve the receptive language ability as well as the expressive language ability. It saw great effect that musical data that utilize in specially this research investigator according to children's ability, autistic children write lyrics setting in social circumstance that is revealed much routinely and composes. To front, expect that suitable a lot of musics are developed in function and ability of subject person for elevation of expressive language ability.

• International journal of advanced smart convergence
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• v.6 no.2
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• pp.59-64
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• 2017

There are three sorts of voices of female vocalists: soprano, mezzo-soprano, and contralto according to the transliteration. Among them, the soprano has the highest vocal range. Since the voice is generated through the human vocal tract based on the voice generation model, it is greatly influenced by the vocal tract. The structure of vocal organs differs from person to person, and the formants characteristic of vocalization differ accordingly. The formant characteristic refers to a characteristic in which a specific frequency band appears distinctly due to resonance occurring in each vocal tract in the vocal process. Formant characteristics include personality that occurs in the throat, jaw, lips, and teeth, as well as phonological properties of phonemes. The first formant is the throat, the second formant is the jaw, the third formant and the fourth formant are caused by the resonance phenomenon in the lips and the teeth. Among them, pronunciation is influenced not only by phonological information but also by jaws, lips and teeth. When the mouth is small or the jaw is stiff when pronouncing, pronunciation becomes unclear. Therefore, the higher the accuracy of the pronunciation characteristics, the more clearly the formant characteristics appear in the grammar spectrum. However, many soprano singers can not open their mouths because their jaws, lips, teeth, and facial muscles are rigid to maintain high tones when singing, which makes the pronunciation unclear and thus the formant characteristics become unclear. In this paper, in order to confirm the accuracy of the pronunciation characteristics of soprano singers, the experimental group was selected as the soprano singers A, B, C, D, E of Korea and analyzed the grammar spectrum and conducted the MOS test for pronunciation recognition. As a result, soprano singer B showed a clear recognition from F1 to F5 and MOS test result showed the highest recognition rate with 4.6 points. Soprano singers A, C, and D appear from F1 to F3, but it was difficult to find formants above 2kHz. Finally, the soprano singer E had difficulty in finding the formant as a whole, and MOS test showed the lowest recognition rate at 2.1 points. Therefore, we confirmed that the soprano singer B, which exhibits the most distinct formant characteristics in the grammar spectrum, has the best pronunciation accuracy.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.27-38
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• 2021

Non-Contact society has arrived due to social distinctions by COVID 19 pandemic. The arrival of the era of non-contact is having a profound impact on educational activities as well as on our social and economic lives. In response to the pandemic situation universities and all other educational institutions have implemented non-contact online classes. In particular arts physical educations and other practical classes are experiencing many difficulties due to the limited environment caused by social distancing from COVID 19 pandemic. Vocal classes are undergoing a transition mainly from 1:1 individual face-to-face lessons or group teaching methods to the non-contact era of online teaching or lesson methods. It is necessary to look at the direction of non-face-to-face practical classes in preparation for accelerated educational innovation. Edu-tech, which innovates technology in the wake of the age of non-contact after COVID 19 pandemic is expected to begin in earnest at school sites in Korea which have remained in the traditional way of education. The purpose of this study is to effectively non-contact vocal instructional methods by cogitating the current state of higher practical education and vocal classes in Korea. In addition, This study conducted two components of satisfied instructions such as 'Priorlearning of monitoring of recorded singing', and 'Immediate analyzing of various vocal contents and supplementary lessons of music theory' with a research on the peos and cons of non-face-to-face vocal class. Over a period of time, The effective non-contact of vocal instructional methods is in need to supplement non-face-to-face vocal class problems and further research and system construction with non-face-to-face vocal class's pros and cons to construct high-quality lecture contents is warranted.

• Phonetics and Speech Sciences
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• v.16 no.2
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• pp.59-69
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• 2024

Due to differences in singing styles and voice production between classical and popular music singers, their knowledge and practice regarding vocal hygiene may differ. This study compared the knowledge and practice of vocal hygiene among 121 university undergraduate students (58 classical and 63 popular music vocal majors). Additionally, the correlation between the level of knowledge and practice of vocal hygiene and the subjective voice evaluation was examined. The results revealed that both knowledge and practice of vocal hygiene were significantly higher in classical than popular music vocal majors, and that vocal hygiene practice was significantly higher than knowledge in the entire group. In addition, there was a weak positive correlation between knowledge and practice of vocal hygiene; and a weak negative correlation between vocal hygiene practice and subjective voice evaluation. This study suggests that popular music vocal majors have relatively lower levels of knowledge and practice in vocal hygiene than classical music vocal majors. It also highlights the need to provide tailored vocal hygiene education programs for both classical and popular music vocal majors, as they show low levels of knowledge and practice in certain aspects of vocal hygiene.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

• Korean Journal of Health Education and Promotion
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• v.18 no.3
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• pp.37-58
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• 2001

This study placed its objectives in suggesting the basic data for setting up an approach to protect the educational environment, by analyzing the relevance between the misconducts of adolescence and the harmful environment around the school, as an object of study, middle school students and high school students all over the country. Thus, this study carried out the questionnaire survey, by the multi-stage of stratified sampling in 2,114 middle school and high school students from June 29, 2000 through July 29, 2000. And the results of analysis were as follows: 1. In case of the ratio of students using harmful environment, the electronic game room had the highest ratio (78.3％); next, the PC room (75.6％), the singing room (71.6％), and the cartoon room (34.3％). 2. In terms of the experiences of using the harmful environment according to the personal characteristics, high school students used it in a higher ratio, compared with middle school students (p〈0.001); the students, whose father graduated from a high school, comparatively used it much more(p〈0.05). Also, when a school is located near to amusement quarters or shopping centers, students used the harmful environment most highly (p〈0.001). And the differences were found to be statistically significant. 3. In case of the perceived susceptibility factors, the harmful environment was found to be used in lower ratio, by the students who answered “very so” to the question item, The more harmful environment facilities are positioned around school, the more student have the opportunities to use them. (p〈0.001). That is, the findings showed that the higher students' degree of perceived susceptibility factors was the less students used harmful environment facilities. The differences were statistically significant. In terms of the ratio of using harmful environment according to perceived seriousness factors, it was founded out that the students, who answered, “If I use any harmful environment facilities, it will be very harmful to myself.”. had the less opportunities of having used them, compared with the students who did not answer so (p〈0.001). This indicated that the higher the degrees perceived seriousness of students, the less they used harmful environment facilities. And the differences were statistically significant. In the side of the ratio of using harmful environment according to the perceived barriers, it was found out that there were any special large differences. That is, perceived barriers had nothing to do with students' using harmful environment. 4. As the result of having analyzed the factors influencing the behaviors of using harmful environment, the factor to explain the behaviors of using harmful environment was found to be the degree of perceived seriousness, among individual perceiving factors; next, the location of a school - one of personal characteristics, the degree of perceived susceptibility and ages, m sequence. 5. Among students' misconduct experiences, drinking was highest (21.6％), next, smoking (11.9％), drug abuse (4.3％), and sexual relations (1.6％), In sequence. Among other problematic behaviors, excessive waste was highest (14.6％); next, disobedience and lie (10.7％), night wandering (7.8％), and bad dressing and making-up (5.5％), in sequence. 6. In terms of the misconducts according to the behaviors of using harmful environment, compared with the students who did not commit any misconducts, harmful environment facilities were used more highly, by each group of students who experienced drinking (p〈0.00l), smoking (p〈0.001), sexual relations (p〈0.05), excessive waste (p〈0.001), disobedience ＆ lie (p〈0.001), and bad dressing ＆ making-up (p〈0.05). And the differences were statistically significant.