• Title/Summary/Keyword: musical instruments

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Study on Close Microphone Techniques for Korean Traditional Musical Instruments (Gayageum, Haegeum, Daegeum, and Kkwaenggwari) (국악기 근접 마이크로폰 테크닉스를 위한 연구 (가야금, 해금, 대금, 꽹과리))

  • Han, Je-Seok
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.14 no.10
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    • pp.4753-4761
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    • 2013
  • This study recorded the sound of Korean traditional musical instruments by considering the radiation characteristics of traditional Korean musical instruments and setting the diverse mounting angle and distance of microphone. By following recorded results, the study analyzes the optimum position of microphone and the characteristic of timbre through frequency range spectrum and repeated listening. This experiment of study is for technique of close microphone which is used in popular music, therefore it is recorded in the popular music recording studio. The study also suggests the optimum position for the microphone to record, and explains the difference of timbre at different position. The result of study will suggest the best technique of Close Microphone Techniques for Korean Traditional Musical Instruments not only to accurately express the beautiful and unique sound of traditional Korean musical instruments but also to obtain diverse timbre.

A Study on the Symbolic Significance of the Shaman`s Costume(II) -With Special Reference to the Religious Life of Korean Residents in Japan- (巫俗服飾의 象徵的 意味에 관한 硏究(II) -在日 韓國人의 宗敎生活을 中心으로-)

  • 이자연
    • The Research Journal of the Costume Culture
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    • v.7 no.1
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    • pp.68-81
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    • 1999
  • This paper makes a report of Shaman\`s ritual performed among Korean resiednts in Japan as socio-historical facts, and this also examines the symbolic meanings of Shamans\` costumes. The results are as follows ; 1) At the ritual of Jungsip-Wang Maji, Shamans wear Gwandae, Kunbok, Jangsam, Durumaki, and Chima-jugori. These costumes show that their wearers are priests and gods at the same time. 2) The reason why Simbang performs the ritual in different costumes at different Jaechas is that each object-god needs different costumes to represent its different character. 3) Shamans\` instruments consist of musical instruments and other instruments. Among the musical instruments are such percussions as Buk, Jing, Janggo and Sulsae. Among other insttruments are Sindo, Sanban and Yoryung. 4)Shamans think that the musical instruments have magic powers to drive out minor demons and invite gods. Sindo, Sanban and Yoryung are thought to be the symbolic instruments representing god\`s will.

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A Study on the Musical Iconography Consideration of Yanggeum (양금의 음악도상학적 고찰)

  • Lee, You-Jung
    • Journal of Korea Entertainment Industry Association
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    • v.14 no.2
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    • pp.85-95
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    • 2020
  • An Instruments are not only for musical usage, but also for historical, social and cultural contexts. The yanggeum instrument began to be played in Persia before the 10th century and is played in various parts of the world in the 21st century. It has been handed over for many years and played creatively beyond the boundaries of the region. In this paper, we will learn about the meaning of Korean traditional yanggeum, which preserves its original shape without any change in form or technique, through a method of musical iconography. As a method of musical Iconography for the musical instruments, we examined the data on the drawings and compared it with the literature, focusing on the origin, form and performance of the instruments. I hope that this study will not only provide a new perspective on instrument research, but also help understand the historical, social and cultural implications of the instrument. It is hoped that research on musical instruments will be done in many different ways and that the realm of musical science will be approached widely.

An Implementation of Smartphone-based Multiple Musical Instruments Application supporting Social Playing (소셜 연주를 지원하는 스마트폰기반 다중 악기 애플리케이션 구현)

  • Hwang, Byung-Kon
    • Journal of Digital Contents Society
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    • v.12 no.4
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    • pp.575-583
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    • 2011
  • Due to the development of mobile devices and communication technology, cell phones have radically evolved from portable phones into smartphones and provided variety of services to a society. This paper presents Multi-user Musical Instrument application for smart phones based on band instruments such as piano, guitar, bass guitar, and drum. This application makes music playing from smartphone to integrative music data stream using the synchronization function of server. In addition, user can play it of smartphone efficiently by implementing a graphic user interface similar to real musical instruments.

The Effects of the Orff Approach to Music Education Programs on Young Children's Musical Expressiveness (Orff 접근법에 의한 음악활동이 유아의 음악표현 능력에 미치는 영향)

  • Kwon, Oh-Sun;Lee, Ock-Joo
    • Korean Journal of Child Studies
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    • v.33 no.1
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    • pp.165-181
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    • 2012
  • The purpose of this study was to verify the effects of the Orff Approach to music education programs on singing ability, the ability to play musical instruments, physical expression ability, musical improvisation ability as well as overall musical expressiveness in 5 year old children. The test subjects for this study consisted of fifty-eight children. They were arbitrarily assigned to the experimental group of 31 children and the control group of 27 children. The experimental group was engaged using the Orff music education program for a total of 16 sessions, while the control group conducted music activities according to the annual music education plan of M kindergarten. The main results of this study were as follows : The Orff Approach to music education program was effective in improving abilities in the sub-factors of the four kinds of musical expression ability (singing, playing musical instruments, physical expression and musical improvisation) as well as overall musical expressive abilities. These results indicate that the Orff Approach to music education programs can create positive effects in the developing musical expressiveness of young children.

Performance Comparison of Classification Algorithms in Music Recognition using Violin and Cello Sound Files (바이올린과 첼로 연주 데이터를 이용한 분류 알고리즘의 성능 비교)

  • Kim Jae Chun;Kwak Kyung sup
    • The Journal of Korean Institute of Communications and Information Sciences
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    • v.30 no.5C
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    • pp.305-312
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    • 2005
  • Three classification algorithms are tested using musical instruments. Several classification algorithms are introduced and among them, Bayes rule, NN and k-NN performances evaluated. ZCR, mean, variance and average peak level feature vectors are extracted from instruments sample file and used as data set to classification system. Used musical instruments are Violin, baroque violin and baroque cello. Results of experiment show that the performance of NN algorithm excels other algorithms in musical instruments classification.

A Study of Analysis about Virtual Musical Instruments' Timbre - Focused on Violin, Erhu, Haegeum - (가상악기의 음색 분석 연구 - 바이올린, 얼후, 해금을 중심으로 -)

  • Sung, Ki-Young;Lee, You-Jung
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.7
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    • pp.219-227
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    • 2019
  • In this paper, we proactively looked at the structure and characteristics of each instrument in order to compare and analyze the sound colors of the western violin, chinese erhu and korean haegeum, which are representative bow string instruments. Also, many performers have simply been unable to fully explain how the violin is rich in pitch and the haegeum has a unique tone. Also, many performers thinks that violin sounds rich just because it has many overtones and have been unable to fully explain how haegeum makes unique tone. While previous research data show that most instruments are studied and published by analyzing their own frequencies or related cases of acoustic studies, this study provides a visual look how the harmonics composition, which determines musical instruments' timbres, consists of and suggests data specifically by analyzing each sound pressure of integer multiple overtones so that the structure of instruments' unique timbre can be understood. Based on this, we hope that it will be of considerable help to the development of virtual musical instruments of korean traditional instruments, which are relatively small compared to western virtual instruments, by reproducing instrument sounds through the synthesizers in the future.

A Case Study on the Imitation Ability of Young Children with Developmental Disabilities through Rhythmic Play Activity (그룹리듬연주활동에 따른 발달지체유아의 모방능력에 관한 사례연구)

  • Lee, A Ryeon
    • Journal of Music and Human Behavior
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    • v.6 no.2
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    • pp.25-41
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    • 2009
  • The purpose of this case study is to examine how group rhythmic playing can help enhance imitation skills for 3 children with developmental disabilities aged between 30-50 months. The program was composed of social musical play, the therapist's imitating the way young children played musical instruments, and the young children's imitating the way the therapist played musical instruments. Every session was videotaped, and the researcher and two music therapists checked the videotaped sessions to ensure the reliability of findings. The case study demonstrated the following results. First, the three young children who participated in the playing of rhythmic musical instruments showed an increase in imitation behaviors. Second, the infants exhibited the greatest change from 1 beat imitation according to the degree of difficulty of group rhythm musical instrument demonstrated. Third, the most radical change in the infants' ability to imitate appeared in Sessions 3-7 where the therapist imitated the operation and a performance of the infant. In conclusion, the activity of playing rhythmic musical instruments in a group generated improvement in the imitation ability of young children with developmental disabilities.

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Studies about Acceptance of Songs or Sounds 'Sori(唱)' appeared in Musical Comedy performed in Korean Traditional Music and Changeable Aspects Thereof - Centering around Korean Musical Group, Taroo - (국악뮤지컬에 나타난 소리(창(唱))의 수용 및 변화양상 연구 - "'국악뮤지컬집단 타루'를 중심으로" -)

  • Jung, Hyewon
    • 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.

A Study on the Design of Functional Playing Costumes - focusing on Female Harpist - (악기 종류에 따른 기능적인 연주복 디자인 연구 - 성인 여성의 하프 연주복을 중심으로 -)

  • 여승화;정삼호
    • Journal of the Korean Society of Costume
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    • v.54 no.4
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    • pp.75-84
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    • 2004
  • Stage costumes perform not only the instrumental but also the expressive functions. The major goal of this study is to develop the functional and aesthetic costume designs for musical players considering the characteristics of instruments. players’ postures. The scope of this study is restricted to the musical costumes for female adult soloists playing the wind and string instruments. This study is composed of theory research, empiricalresearch and manufacturing a real costume. First, theory research contains theory of musical costumes and that of pure musical areas. Concept, characteristics and wearing effects are analysed in theory of musical costumes. Second, designs of instruments and playing postures are analysed in the theory of pure musical areas. Proper and improper designs are compared based on the survey asking the favorite designs of 56 wind and string players. Third, I manufacture a stage costume for a harpist. The conclusions of this study are as follows. First, wind and string players think the functionality of costumes more importantly than the esthetic sense. And there are differences in design preferences for different playing postures. Second, string Players basically use arms, fingers and the upper body. Wind players use fingers more than string players and do abdominal breathing. Third, string players think the design of arms and sleeves because of frequent usage of bow and prefer the design without sleeves. On the contrary, wind players think the silhouette importantly because of standing playing posture. Fourth, players don't think that the accessory is not important and want it so long as it doesn't hinder playing. Fifth, shoes plays more important role than costume in case of playing posture with using pedals and moving legs frequently. Lastly, both wind and string players prefer the design with simplicity and comfort most.