• 한국HCI학회:학술대회논문집
• /
• 2007.02b
• /
• pp.439-444
• /
• 2007

정서 전달에는 언어적 의사소통뿐만 아니라 비언어적 의사소통이 거론되곤 한다. 하지만 지금까지의 비언어적 의사소통 연구는 대부분 언어의 음향학적 연구나 얼굴표정 연구에 국한되었다. 또한 음악의 정서에 대한 연구는 음악적 구조 혹은 스타일과 여러 성격적 특질 및 행동 간의 관계, 혹은 생리적 효과 등 어떤 음악(what music)이 특정한 효과를 일으키느냐에 중점을 두고 있었다. 따라서 본 연구에서는 Gabrielsson & Juslin(1996)의 연구에 의거, 음악을 통하여 작곡가가 아닌 연주자의 의도된 정서가 청자에게 얼마나 잘 지각될 수 있는지 알아보고자 하였다. 봉 녕구의 가설은 다음과 같다; 첫째, 연주자의 정서적 의도는 음악의 모든 물리적 변인에 영향을 준다; 둘째, 청자는 의도된 정서를 지각하는 데 일반적으로 성공적이다; 셋째, 특정 정서는 다른 정서보다 더 잘 구분된다. 본 연구에 사용된 곡은 학습 효과를 배제하기 위하여 새롭게 전문 작곡가에 의해 작곡되었으며, 전문 연주자는 동일한 곡을 7종류의 정서(행복한, 슬픈, 화난, 두려운, 다정한, 엄숙한, 정서 표현 없음)를 표현하도록 연주하였다. 하나의 완전한 음악을 표현하기 위하여 각 곡은 멜로디(악기구성: 일렉트릭 기타, 베이스, 그랜드 피아노)와 리듬(드럼)을 포함하였다. 실험참가자는 각 곡을 듣고 7개의 정서 종류 각각에 점수를 평정하였다. 그 결과 이전 연구와 마찬가지로 청자는 연주자의 의도된 정서를 일반적으로 지각하는 데 성공하였으며 7개의 정서 중 특징적인 정서("행복한", "슬픈", "화난", "다정한") 는 다른 정서 보다 더 잘 구별되었다. 본 연구에 사용된 "두려운" 정서 곡의 음향분석 결과 소리 강도의 큰 변산이 특징이었다. 이는 이전 연구에서 "두려운" 정서의 특징인 타이밍의 큰 변산과 함께, "두려운" 정서가 '불규칙적이거나 변화가 커서 예측하기 어려운' 속성을 지니고 있음을 시사한다. 또한 "다정한" 정서에 대해서 본 연구에서는 다른 모든 정서와 유의미한 차이를 보인 반면, 이전 연구에서는 "슬픈"과 유의미한 차이가 없었다. 이는 본 연구에 쓰인 "다정한" 정서의 곡은 리듬 패턴을 다른 정서 버전과는 다르게 보사노바 리듬을 사용하였다. 이전 연구와는 다르게 빠른 템포였음에도 불구하고 구별이 잘 된 이유는 이와 같이 장르 특징적인 영향이 컸기 때문이라고 할 수 있다. 이는 연주자나 음악 스타일 자체의 성격이 정서 판단에 있어 큰 영향을 준다는 사실을 시사한다. 종합적으로 음악을 통한 정서 전달에 있어 연주자, 청자, 악기, 음악 스타일의 차이가 영향을 줄 수 있다는 사실을 확인하였으며 이러한 결과는 Scherer & Oshinsky(1977)가 언급하였듯 음악 연주가 다른 비언어적 의사소통 방법과 공유하는 특징이 있음을 시사한다.

• Journal of the Korean Society of Costume
• /
• v.54 no.2
• /
• pp.105-119
• /
• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• Journal of Music and Human Behavior
• /
• v.6 no.2
• /
• pp.71-100
• /
• 2009

The purpose of this study was to examine the effect of group music therapy program on alineation of adolescents from enmeshed or disengaged families. The Family Adaptability and Cohesion Evaluation Scales III was administered to screen out subjects at a high school in Seoul. Based on the low scores, between 10 and 25, rated on the scale, 4 students were selected from 148 initial respondents. Subjects participated in group music therapy program for 7 weeks and a total of 14 music therapy sessions were provided for them. After the program, content analysis of the subjects' verbal and musical expressions observed during the program was conducted, with regard to the measures of the Student Alienation Scale. The results showed negative self-expression decreased while positive self-concepts increased. These results indicate that by providing the opportunity to experience group cohesiveness and group support, group music therapy program may effectively reduce alienation of adolescents from enmeshed or disengaged families.

• Journal of the Korea Convergence Society
• /
• v.8 no.9
• /
• pp.265-270
• /
• 2017

This study purposed to investigate harmonic compositions and progressions that are appropriate for emotion vocabulary. In study 1, eight(8) professional music therapists were asked to provide harmonic compositions and progressions reflecting the tonal characteristics of emotion vocabulary and the rationales. Various attributes of harmonic compositions and progressions were examined and the content analysis were administered. In study 2, the obtained data on study 1 were evaluated by 124 music therapy and music majors for the validity. In the first study, analyzed results showed that 'happy' vocabulary utilized major, tonic, consecutive chord changes, 'angry' vocabulary utilized minor, augmented, $9^{th}$, $11^{th}$, unsolved $7^{th}$ chord progression, 'sad' vocabulary utilized minor, diminish, chromatic chord progressions. In the second study, there was statistically significant difference with 'happy' vocabulary. These results can provide basic evidences for musical ideas of harmonic compositions and progressions to better communicate emotional aspects of lyrical messages when composing melody in a song.

• The Journal of the Korea Contents Association
• /
• v.19 no.5
• /
• pp.572-577
• /
• 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 Korea Entertainment Industry Association
• /
• v.15 no.4
• /
• pp.101-111
• /
• 2021

This paper is a study that analyzes the use and techniques of rap in music that entered Melon Chart, one of the major music sites in Korea, during 2020. Among the songs that entered the chart, reflecting the public's preference, the trend of rap music, an important element of hip-hop music, is analyzed and musical features such as representative artists or frequently used rhythm patterns are analyzed. Through this paper, characteristics of rap music favored by the public and artists in recent popular music have been organized and formalized, and based on this, the elements of etude development for technical polishing are summarized. Through this, it is hoped that just like the long-time analyzed and structured performance techniques such as vocals and instruments, various styles of rap music can develop into a systematic and step-by-step technique system for students who want to learn and practice it.

• Journal of the Korea Society of Computer and Information
• /
• v.29 no.4
• /
• pp.47-54
• /
• 2024

The importance of cultural arts education utilizing digital tools is increasing in terms of enhancing tech literacy, self-expression, and developing convergent capabilities. The creation process and evaluation of innovative multi-modal AI, provides expanded creative audio-visual experiences in users. In particular, the process of creating music with AI provides innovative experiences in all areas, from musical ideas to improving lyrics, editing and variations. In this study, we attempted to empirically analyze the process of performing tasks using an Audio and Music Generative AI platform and discussing with fellow learners. As a result, 12 services and 10 types of evaluation criteria were collected through voluntary participation, and divided into usage patterns and purposes. The academic, technological, and policy implications were presented for AI-powered liberal arts education with learners' perspectives.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.669-700
• /
• 2019

Farmers' band music is a religious ritual in Korea. It is a solemn ritual to exhibit the auspicious holiness of the people to the God. Most of the ritual is accomplished by music. The music of the farmers 'band, in this sense, has its meaning as the expression of holiness by sound. In this paper, I will explore the principle to make various rhythms of farmers' band music, especially focusing on the chaegut (lit. "stroke music"). It is very symbolic because the name of the music shows the strokes of the gong, called jing, in a rhythmic phrase. In this sense, the chaegut is man-made music based on the specific principles in accordance with the strokes of the gong. Among many chaegut rhythms, samchae (lit. "three strokes") to chilchae (lit. "seven strokes") are the main rhythms. They were made after the principle of 'forward with drums, backward with gongs' in Five way procession. It the basic principle of military procession from the early Joseon Dynasty. The procession follows with the sound of the drums and gongs. There was always a principle of "five strokes" to control the procession. The "five strokes" became the basis of the making of chaegut rhythms. The rhythms of the samchae to chilchae are based on the rhythm of samchae. The samchae has three gong strokes in a cycle, which exhibits the chaotic moment with the rhythmic noise. The name of the rhythm exhibits the correspondence of the signifiant, that is the name "three strokes" and the signifié, that is the real three strokes of gongs in music. Other four rhythms has made up from the samchae with half cycles are added in accordance with the strokes of the gongs. In this way, the chaegut shows the principle of "five strokes" in the military procession. The rhythm of ochae jilgut is a mixture of ochae (lit. "five strokes") and jilgut (lit. "road music") which is usually performed on the road to a mountain shrine. The musical structure of ochae jilgut corresponds to the colotomic structure of Southeast Asian music and the 15th-century music of old musical scores. The rhythm of gilgunak chilchae is a mixture of gilgunak (lit. "road military music") and chilchae (lit. "seven strokes"). The rhythmic structure is similar to other regional music, sijo ("short song") of the literati music and norae garak (lit. "some melody") of the shaman music. In sum, the chaegut is very artistic music made from the military procession of the Joseon Dynasty. The name of the rhythm corresponds with the strokes of the gong in a cycle. In this way, the chaegut shows the principle of music-making to exhibit the ritual characteristics of the Korean people.

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

• Journal of Gifted/Talented Education
• /
• v.24 no.5
• /
• pp.807-827
• /
• 2014

The purpose of this study was to extract and validate the educational goals and the subjects for developing a music gifted curriculum. Based on literature review and analysis of music gifted curricula in foreign countries, 19 educational goals and 18 subjects were derived from literature review and analysis of music gifted curricula in foreign countries. To validate the educational goals and the subjects, delphi survey was carried out twice with 26 expert panelists in the field of music, music education and music gifted education. Delphi survey was analyzed using the mean, content validity ratio, and the degree of consensus. The final set of educational goals for music gifted education included 6 skills related goals, 4 creative expression related goals, 4 knowledge related goals, and 2 attitude related goals. The final set of subjects included 4 major-specific subjects, 5 foundational subjects, 4 theory-related subjects, 3 integration and social participation related subjects. The results of this study can be used as baseline data to develop a music gifted curriculum by providing ideas for deciding what to teach and why to teach in music gifted education.