• Journal of Korea Entertainment Industry Association
• /
• v.13 no.7
• /
• pp.183-192
• /
• 2019

This study studied five major films from the 1980s to the 2000s when Philip Glass's minimal music was used, and studied the aesthetic and functional meaning of the minimal music. Minimal music has a repetitive rhythm and is understood to be aesthetically monotonous, to avoid a particular purpose, or as an expression of moveless. On the one hand, it can mean infinite persistence by repetitive rhythms, or sometimes repetition with subtle changes. The functions of film music were applied as the function of film music common to many theorists. As a result of the analysis of the music in five films, the aesthetic meaning of Philip Glass's minimal music was most relevant to the characteristics of the film story, and the functional meaning of the film music was determined by the structure, form, and genre of the film. Therefore, the theme of the film and the contents of the story played an important role in the aesthetic interpretation of film music with repetitive rhythm characteristics. And the elements of the plot such as the structure, form, and genre of the film are thought to have had a significant effect on the functional interpretation of the film music. The aesthetic value of the film music is closely related to the story of the film, and the functional meaning of the film music is interpreted as determined by the formal elements of the film.

• International journal of advanced smart convergence
• /
• v.9 no.4
• /
• pp.96-100
• /
• 2020

Soundtrack dissonance, which appears in the background music of a movie scene, is a phenomenon of using songs or compositions that contrast with the general sentiment of the situation. A sad scene usually uses a slow tempo of sad music to match the mood of the scene. However, sometimes, in order to play background music that follows a depressing, sad, or anxious scene, there is a case of inserting music with an opposite atmosphere such as bright music, exciting music, fast-tempo music, or magnificent music. The method of presenting music that is contrary to the mood of the scene is a kind of psychological technique that inflicts a kind of mental shock on the audience and makes them remember a particular situation. In this study, we have investigated the meaning coming from scenes and Soundtrack Dissonance in movies, in order to understand the role that music and images play.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.7
• /
• pp.319-331
• /
• 2020

This study investigated the meaning of absolute music of the first movement of Brahms' symphony No. 1, which was used as film music in the films "Tetro" and "Savages" and interpreted the meaning of this music used in these two films. Therefore, the purpose of this study is to explore the characteristics that classical music can be interpreted ambiguously in films. In particular, it was examined whether film music could be interpreted in a new meaning rather than a program music. The first movement of Brahms' symphony No. 1 is in a sonata form and has the characteristics of a chromatic grammar of the romanticism. In "Tetro", the irony about the value connection between this music and the characters of the film, the composition process of this music and the historicity that appeared in the character story of the film presented important. On the other hand, in "Savages", the chromatic grammar of this music expresses the emotional meaning of the characters in the film and the atmosphere of the event. This can be said to be the role of program music. In particular, the scene in which this music is used at the end of "Tetro" shows an ambiguous characteristic that can interpret a piece of music in different meanings depending on which of the two characters appearing in the film interprets the music from the perspective of the character. And the fact that Brahms spent 21 years to complete this music and that Tetro, the main character of the film, spent about 10 years before going through theatrical scenario and submitting it to the festival in the film, coincide with each other in terms of historicality. This gives the meaning of understanding film music from a new point of view, not from the point of view of absolute music or program music. In addition, this musical setting made the music recognized as an essential element of the film and as an irreplaceable auditory theme. When classical music meets other art such as film, this ambiguity Characteristics of music will have a great influence on the new perception of classical music.

• Journal of Arbitration Studies
• /
• v.27 no.2
• /
• pp.59-81
• /
• 2017

The purpose of this study is to find a solution to disputes in the process of producing digital music sources. At present, the center of the world music market including the domestic market has been completely transformed from the tangible musical record market to the intangible sound source market. Due to these environmental changes, the music production process becomes industrialized and specialized, causing conflicts of interest among the individuals in the process. First of all, this study examined changes in the music market which is the background of the dispute, identified the problems of the process and suggested solutions while summarizing the meaning and role of each process of producing a sound source that may arise during the sound production process. This study covers plagiarism between producers, copyright infringement of the creator against assistant creator caused by the industrialization and division of the production environment, issues related to the rights of sound engineers whose role and importance become bigger as acoustic technology develops and music genres become more diverse, and vertical hierarchy due to the formation of oligopoly by several distributors with huge capital. As a result of the study, it was concluded that Alternative Dispute Resolution (ADR) system is suitable for solving these problems. Specific methods of using ADR include activation of the dispute settlement system of the Korea Copyright Commission, active use of the arbitration clause specified in the standard contract, and recalculation of labor costs and earnings from copyright through mutual negotiations. This paper can be differentiated from previous studies in that it studied overall problems that might arise in the process of digital music source production and suggested ADR utilization as the solution.

• Journal of Music and Human Behavior
• /
• v.2 no.2
• /
• pp.1-14
• /
• 2005

This research was to study the behavior of listening music, music preference, meaning and role of music. The interviewees were 158 male/female students of high school in second level. This research had a interview which is composed with 7 multiple choice-questions and 1 short answer-question. In result, in the question of 'The average time of listening music', the most students(64, 41.8%) answered '1~2hours', the secondary, '2~3hours' which was 32.(20.9%) In the next question, 'The preference of music genre', 87students(56.8%) answered 'Korean pop and rock', 'American pop' was 11.1% each. Regarding 'The favorite mood of music', 50.3% of students answered 'Mellow songs, 24.8% of students answered 'Jaunty songs'. Regarding 'The social factor of listening music', more than half students(56.7%) agreed that friends or something like that may affect their music preference. Likewise, 51.6% agreed that their temper or character may affect their music preference. They answered that they enjoy the music usually when they take a rest(30.1%), when in moving(24.3%). Lastly, it said 'The meaning of music' is mostly 'Getting rid of stress and Refresh'(25.1%). And 'Calmness', 'Comfort' was 21.8%. The music especially to students means 'Emotional exit'. The music which can enable them to express their feelings is related with feeling and emotion deeply. And emotional factors like stress, depression, anxiety becomes the main reason of accepting the music meaningfully. In conclusion, This research says that they experience positive feelings and express emotions through music which enables them to understand fully their feelings and emotions.

• Journal of Hospice and Palliative Care
• /
• v.21 no.4
• /
• pp.109-114
• /
• 2018

The objective of this paper is to suggest plans to properly establish and promote the use of hospice music therapy by examining its necessity and how it is being used in Korea. Hospice music therapy is a clinical and evidence-based use of music interventions administered by a professional to alleviate total pains suffered by hospice patients and their families. While the effects of hospice music therapy have been reported by many studies, its meaning and value are still poorly understood in Korea, which explains the lack of related institutions in the nation. Recently policy-wise and legislative efforts have been made to promote hospice and palliative care, which in turn will likely fuel demand for hospice music therapy. Therefore, the meaning and role of hospice music therapy should be defined by major hospice and palliative care institutions and societies, followed by institutional and academic efforts as follows. First, a set of qualification criteria for hospice music therapists should be established to provide proven music therapy interventions to patients and their families. Second, a systematic program offering both theoretical and practical trainings needs to be developed to foster hospice music therapists. Last but not least, clinical studies should be promoted with development of a research road map for hospice music therapy and a standard protocol.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.20 no.2
• /
• pp.218-227
• /
• 2019

The term practical means that you actually use what you learn. Unlike that meaning, however, the curriculum is operated by specific majors of some professors. And we can be seen in many colleges. Jazz is a prime example. Jazz is a genre only for some maniacs and there is not much places to play on the pop scene. But this genre is now packaged as representative studies of practical music. This affects even cram schools, preparing for college entrance exams, while high school students are also learning, playing and preparing Jazz to take the exams. Of course, Jazz is a field of music, but it is a very sad reality, considering it can never be the mainstream of popular music. It has been 20 years since the department of practical music was established at a four-year university. The number of graduates will also be very large. Now that the role of a university is related to employment, it's time to look at how the graduates are getting jobs and whether they are working in music. And it will also be important to ensure that the curriculum of the department is reasonably managed to connect with employment in reality. Practical learning will be not only respond immediately to market changes but establishment and operation of education courses should be carried out accordingly. In this study, we will discuss curriculum of vocal at universities, concrete examples of operations, and reasonable vocal courses that can be connected to employment.

• Korean Journal of Child Studies
• /
• v.35 no.4
• /
• pp.263-279
• /
• 2014

The purpose of this paper is to explore the role of the variation of songs by teachers in early childhood classrooms where songs play an important role in managing the daily activities for young children. Early childhood teachers have demonstrated a high degree of competency to transform and modify a variety of songs that fit into children's developmental levels. The use of such songs enable both teachers and young learners to fully enjoy such classroom activities and are an important means for establishing rapport. The data were collected from direct observation and video recording in three early childhood classrooms, as well as through interviews with the teachers, and through the researcher's journals. The results of the study revealed that the teachers exhibit a high degree of professionalism in creating variations of the kind of songs that children seem to enjoy, and thereby creating high levels of classroom enjoyment generally. This study also showed that using a good variety of songs in early childhood classroom can facilitate understanding of the content in the curriculum Finally, this study also suggests that the teachers' skills in designing variations of songs can make early childhood education classrooms culturally attractive and aesthetically more creative.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.357-392
• /
• 2019

This paper reexamines the formation process of Ch'anggŭk, Korea's musical drama based on p'ansori in the 1930s, focusing on the Ch'anggŭk gramophone records and the repertoire of the Chosŏn Sŏngak Yŏn'guhoe(Korean Vocal Music Association). The paper discussed the achievements and limitations of the Chosŏn Sŏngak Yŏn'guhoe which was at the center of the formation of Ch'anggŭk by examining the activities of the Chosŏn Sŏngak Yŏn'guhoe in the 1930s. The role of 'ipche-chang' and 'narrator' in the Ch'anggŭk gramophone records was seen as Ch'anggŭk imagination that was realized by the members of the Chosŏn Sŏngak Yŏn'guhoe who recognized the 'dramatic space and stage', which is distinct from p'ansori, Korean traditional vocal and percussion music. In addition, the paper discussed the difference and meaning of the concept of 'Sin-Ch'anggŭk' between Seo Hang-Seok and Song Seok-Ha, which is derived from the Ch'anggŭk formation. The performance of stage Ch'anggŭk in the 1930s was a repetition of the discussion that it should reach a point of Kagŭk, music or song dramas. This paper discussed the process of replacing the term 'Ch'anggŭk' with 'Kagŭk' at the time, and examined the way Ch'anggŭk stage was established as a perfect form during the process. The formation of Ch'anggŭk by members of the Chosŏn Sŏngak Yŏn'guhoe could be an important achievement in the history of Ch'anggŭk, but there was no choice but to reveal the limitation in the formal aspect due to the 'refinement' and 'exclusion' according to the cultural policy of Japan. P'ansori musicality was enhanced, but it could not contain the spirit and diversity of the times, so it could be said that there was no choice but to stop as a rudimentary creative imagination of Ch'anggŭk. Ch'anggŭk is a genre that is inherently limited, but the limitation can be overcome over the times, which will be covered in a subsequent paper.

• 지역과문화
• /
• v.5 no.1
• /
• pp.65-84
• /
• 2018

The purpose of this study is to develop education programs for effective education of Jeong-gan-bo. Jeong-gan-bo is a unique piece of music made during King Sejong's reign. Starting in the third grade elementary school, Jeong-gan-bo begins to develop. If you fail to understand Jeongganbo in lower grades, you often give up scores of music in a more detailed and complicated manner. This is why we need a customized education program for the first time in lower grades. For this purpose, the basic process of understanding the Jeongganbo is understood to be played as a traditional play. This study consists of the elementary school the 3rd grade scenario. This study consists of the second - grade class scenarios for the 3rd grade elementary school students, the curriculum is centered on the curriculum, which is currently in the 3rd grade curriculum, curriculum in 2009. The program learns to play the rhythm of the 1st phase, the code of the 2nd stage of Jeong-dan, and play the rhythm through play through play. Step 1 is not only visually recognizable, but also a direct sign of the code. The second phase consists of the basic composition of Jeongganbo, through the basic composition of Jangdan, and learns the exact rhythm of Jeongganbo. The results of the study can be divided into meaningful meaning in terms of educational significance and educational content development in terms of educational significance. The methods used to understand the exercises and play games were effective in understanding the contents of Jeongganbo, and also meaningful to the role of traditional music in the context of various programs.