• Korean Journal of Child Studies
• /
• v.36 no.6
• /
• pp.101-123
• /
• 2015

The purpose of this study was to examine how musical pieces were presented in music activities on the Teacher's Guidebooks in order for young children to experience the aesthetics of music. For the purposes of this research, the ways to address musical elements and the music activities of 100 musical works in the Teacher's Guidebooks were analyzed. In addition, the aesthetic qualities of the same musical pieces presented by the sound sources were examined. Following this, an analysis of the relationship between the elements used and the aesthetic qualities of the music was carried out by comparing the previous analysis. The results were as follows. First, melody (38.1%), rhythm (29.0%), and timbre (20.5%) were the most utilized elements of musical works in such activities. Secondly, the most utilized method to present music activities was singing. Among 100 musical pieces, 74 pieces used singing activities. Next, the most audible aesthetic quality from sound sources was that of the melody, presented in 69 pieces (46.6%) among 100 musical works. Lastly, among 100 musical works, at least 64 pieces were matched with more than one, whereas 34 did not.

• Journal of architectural history
• /
• v.29 no.5
• /
• pp.51-61
• /
• 2020

Historically, rhythm has played a key role not only in musical composition, but also in architectural design. In 1893, architectural theorist and art scholar August Schmarsow, in "The Essence of Architectural Creation," created a new definition of architecture as space-creation and characterized rhythm as a design principle. However, this new idea was confronted by Heinrich Wölfflin. While Schmarsow's theory represents a dynamic world-view based on anthropomorphism, the architectural theory of Wölfflin is based on the notion of harmony, displaying a kind of conservative stasis. These two main streams have greatly influenced the development of modern architecture. The concept of space has prevailed in the discourse of modern architecture, but the principle of rhythm has seldom received any positive recognition. This article introduces and develops the concept of rhythm and disputes whether Behrens and Frankl in particular, two who dispute Schmarsow's theories, have used the concept of rhythm in terms of space. I conclude that they could not overcome the notion of the physical-the body-, thus their use of the term rhythm is incongruous with the notion of space. The idea of rhythm in architectural creation remains an up and coming idea.

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2001.10a
• /
• pp.70.1-70
• /
• 2001

• Journal of KIISE
• /
• v.43 no.2
• /
• pp.204-211
• /
• 2016

In this paper, we propose an automatic melody composition system that can generate a sophisticated melody by adding non-harmony tone in the given chord progression. An overall procedure consists of two steps, which are the rhythm generation and melody generation parts. In the rhythm generation part, we designed new fitness functions for rhythm that can be controlled by a user setting parameters. In the melody generation part, we designed new fitness functions for melody based on harmony theory. We also designed evolutionary operators that are conducted by considering a musical context to improve computational efficiency. In the experiments, we compared four metaheuristics to optimize the rhythm fitness functions: Simple Genetic Algorithm (SGA), Elitism Genetic Algorithm (EGA), Differential Evolution (DE), and Particle Swarm Optimization (PSO). Furthermore, we compared proposed genetic algorithm for melody with the four algorithms for verifying performance. In addition, composition results are introduced and analyzed with respect to musical correctness.

• Proceedings of the Korean Institute of Intelligent Systems Conference
• /
• 2001.12a
• /
• pp.113-116
• /
• 2001

This paper describes an analysis of the music as a time series and the fuzzy logic-based modeling of it. All music is made up of a finite number of musical notations known as the musical symbols, such as clefs, staff, tine signature, notes, rests, etc. . The musical score uses musical symbols to present various characteristics, such as rhythm, melody, chord, etc,. for interpreting the music. In this paper, it is possible to transform the beat and pitch in the musical into time series from the viewpoint of recognizing beat and pitch of sounding tone at each time. On the basis of the identified features of the musical score, a musical score is represented as a time series and then is constructed to fuzzy logic-based model for predicting them. Examples are presented to illustrate the validity of the proposed method.

• Korean Institute of Interior Design Journal
• /
• no.31
• /
• pp.19-28
• /
• 2002

This study aims to show a possibility that music can be expressed in an architectural way by attempting architectural interpretation and application of the musical piece, Beethoven Piano Sonata op.57 through analyzing it and to suggest a method for the architectural design where spirituality and internality is emphasized on the basis of music. In conclusion, it was clarified that the concept and form of the music could be expressed architecturally. That is, the concept of time and space in the musical piece is expressed in that of time; the musical form in that of the spacial structure; and the rhythm, melody, harmony, timbre and tone color of the musical piece in point, line, shape, texture and color in the architecture.

• Korean Journal of Child Studies
• /
• v.30 no.2
• /
• pp.195-209
• /
• 2009

This study analyzed aspects of multiple intelligences related to rhythm, melody, understanding and representation of traditional Korean music. Subjects were 60 4-to 6-years-old children. Instruments were the Children's Korean Traditional Music (KTM) Ability Test (Park 2006)and Korean Multiple Intelligence Development Assessment Scale-My Young Child (MIDAS-MYC, Shearer, 1996). Data were analyzed by correlations and t-test. Findings were that (1) average scores on KTM rhythm and understandings were higher than melody and representation. (2) Traditional rhythm ability correlated most with linguistic intelligence. (3) Multiple intelligences by representation ability for KTM differed significantly in Linguistic intelligence and relationships to Naturalist, Musical, Logical-mathematical, Interpersonal, and Bodily-Kinesthetic intelligences.

• Proceedings of the IEEK Conference
• /
• 2000.07a
• /
• pp.306-309
• /
• 2000

We developed an electronic music glove (EMG) system that could play musical scores in real time processing. The EMG system interfaces with the signal coming from the controller to the sound card in the computer. The computer, according to the status of the finger and foot switches, generates the signals to the speaker systems using the application C++ program by making use of MIDI message. The EMG systems can control up to several octave notes and duration of sound, and several musical performance expressions such as chorus, reverberation, rhythm, and volume. Finally, our EMG could play the performance of simple music depending on the choice of any kind of musical instruments in the sound card in computer systems.

• Journal of the Korea Institute of Information and Communication Engineering
• /
• v.7 no.6
• /
• pp.1210-1216
• /
• 2003

Traditional indexing mechanism are based on the song's metadata such as the title and the composer and so on. However, these system have a major limitation that users have to know the metadata of the songs they want to retrieve. In order to solve these limitation, we proposed a rhythm extraction system that allows users to retrieve music information efficiently from a large music database using the rhythm that is defined as the parts of the music.

• The Transactions of the Korea Information Processing Society
• /
• v.7 no.5
• /
• pp.1341-1350
• /
• 2000

Much research has been performed to represent music information on computers. However, one problem of the previous approaches is that music information cannot be hared with other music systems since they have used their own representation schemes. In order to resolve this problem, we have developed a new scheme for representing, editing, and playing rhythms among music information based on XML which is a web standard language. We present a RDML (Rhythm Description Markup Language) to exactly describe rhythm information such as beats, musical instruments, and performance information, which is much simpler thant previous representation schemes. Moreover, the RDML representation can be played by converting it into SMIL representation. Because our approach is based on the web standard, the music information can be shared on the web.