• The Journal of the Acoustical Society of Korea
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• v.29 no.2
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• pp.102-110
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• 2010

Music transcription is extracting pitch (the height of a musical note) and rhythm (the length of a musical note) information from audio file and making a music score. In this paper, we decomposed a waveform into frequency and rhythm components using Non-Negative Matrix Factorization (NMF) and Non-Negative Sparse coding (NNSC) which are often used for source separation and data clustering. And using the subharmonic summation method, fundamental frequency is calculated from the decomposed frequency components. Therefore, the accurate pitch of each score can be estimated. The proposed method successfully performed music transcription with its results superior to those of the conventional methods which used either NMF or NNSC.

• Lingua Humanitatis
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• v.2 no.2
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• pp.5-50
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• 2002

This paper aims to illustrate and illuminate the relationship between language and its neighbor disciplines, in particular between language and literature, language and religion, and language and music. 1. Language and literature. Literature is an art of language. Therefore, linguistics, the science of language, should be able to explain how the grammar of literature elevates and ordinary language into a literary language. I illustrate poetic syntax with examples from Shelley, Coleridge, and Wordsworth. 2. Language and religion. I show how a linguistic analysis of a religious text can illuminate the background, authorship, chronology, etc., of a religious text with an example from the Book of Daniel. I also illustrate how a misanalysis of a poetic meter led to a mistranslation with an example from the Book of Psalms. 3. Language and music. First I trace an epochal event in the history of the Western music, i.e., the change of the musical style from the liturgical music of Latin in which the rhythm was created by the alternation of syllable duration into the liberated music of German in which the rhythm was generated by the alternation of lexical stress. I then illustrate a parallelism between linguistic and musical structures with several musical pieces including Gregorian chant, the 16th century music of Palestrina, the 17th century music of Schutz, the 18th century music of Mozart, and the 19th century Viennese music. Finally, the importance of text-tune (verse-melody) association is discussed with examples of mismatches in translated Korean hymns and contemporary Korean lyrical songs. In the concluding part, I speculate on some factors that are responsible for the same organizational devices in three different modes of human communication. An answer may be that all are under the same laws of mind that govern the way man perceives and organizes nature, i.e., the same cognitive abilities of man, in particular, the capacity to organize and impose structure on their respective inputs.

• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.78-87
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• 2015

This study aims to grasp the vital rhythm of the Chapel at Ronchamp by analyzing its rhythm through Henri Lefebvre's 'rhythmanalysis' in an effort to show the possibility of approaching the presence of this chapel. For the purpose of this study, Lefebvre's thought of rhythmanalysis was first contemplated, and a case study analysis was conducted on the concept and presence of the chapel in the design process. On this basis, examples of the chapel's rhythms were analyzed through Lefebvre's dialectical analysis of the triad of time(melody), space(harmony) and energy(rhythm). The results of analysis are as follows: First, the concept intended by Le Corbusier in the process of designing the Chapel at Ronchamp is expressed as the acoustic form, the modulor corresponding to the scale of the music, the light and shadow of counterpoint, and the opposite composition of musical changes. Consequently, the concept-mediated presence of this chapel is the presence of music. Second, at the Chapel at Ronchamp, a Lefebvre's rhythmanalyst experiences, or rather senses, two vital rhythms of an antithetical unity (i.e., acoustic curved rhythm and modulor-generated linear rhythm), with reference to his/her own rhythms. These rhythms are a dialectical union of spatiality of melodies temporalized through continuity, (i.e., acoustic curved form and modulor-generated linear form), and temporality of harmonies spatialized through simultaneity (i.e., light and shadow, materials and color, form of interpenetration, and stairs or windows/doors). These rhythms carry the measures generated by music-specific repetitions and differences in movements(energy). Consequently, the rhythm-mediated presence of this chapel is also the presence of music. In conclusion, the Chapel of Ronchamp indicates that an approach toward its presence can be realized through vital rhythms derived from Lefebvre's 'rhythmanalysis'. This study holds significance as an analysis of spatial rhythm and presence, employing a philosophical thought.

• 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.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.15-23
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• 2019

This paper aims to identify the characteristics implied in the process of change of Stephen Sondheim's musical style and to derive the structural communication tools that connect the creator and audience and the implications. The strategies that appear in Sondheim's musical works are the following. First, Sondheim's early musical works follow the principles of book musical and emphasize the integration faithful to the basic elements such as the rhythm and meaning of the lyrics. Second, in the era of early postmodernism, Sondheim attempts the principle of extreme deconstruction through the concept musical Company and pursues rational thought through fragmented dramatic flow. Third, while maintaining dramatic linearity to overcome the lack of immersion caused by extreme deconstruction, Sondheim realizes a more elaborate and formalized fusion style of the principles of integration and deconstruction through the choruses and the songs of the characters in Little Night Music and Sweeney Todd. Finally, Sondheim attempts multiple experiments to break down the boundaries of act and scene and to express new subject matters through his works such as Sunday Park with George and Into the Woods. In conclusion, Sondheim's fusion experiments and strategies are the process of finding a framework and a medium of communication to induce dramatic immersion of audience and at the same time create rational thinking about social problems to deliver the message of the creative work with the leading aesthetics of the modern musical's box-office success.

• (The) Research of the performance art and culture
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• no.34
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• pp.241-276
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• 2017

This paper studies the restoration of Jeongeup notated in Daeakhubo to a singable song. Firstly, the melody of Jeongeup was restored by finding the rhythm of Jeongeup. Secondly, Jeongeup lyric written in Akhakgwebeom was added to the restored melody. Lastly, the musical style of restored Jeongeup song was investigated. The rhythm of Jeongeup was found to be the same as Jinjak's rhythm whose measure consists of four ternary subdivided beats. It is because the Jangdan of Jeongeup contains that of Jinjak. The Jangdan of Jeongeup is played one touch in a measure. Such ternary subdivided beat and one Janggo's touch in a measure were transmitted to today's Sujecheon. The lyric of Jeongeup was added to the restored melody of Jeongeup by following the lyric rules of Jinjak1,2 and Hoengsalmun. The lyric rules of Jinjak 1,2 and Hoengsalmun are as follows. One syllable is sung in two measures, Eodanseongjang 語短聲長 appears, long lasting tunes are mostly applied to Jang of Eodanseongjang 語短聲長, and syllables begin at the first beat in a measure. The musical style of Jeongeup is basically similar to that of Jinjak1, but there are some differences. They are similar in the sense that the melody is very long compared to the lyric and Eodanseongjang 語短聲長 appears. They are different in the sense that Jeongeup uses grace notes rather than Sigimsae when one tune lasts long. Jeongeup in Daeakhubo seems to have undergone changes, and its rhythm is likely to have been expanded two to four times in order to match Mugo dance after being used as an accompaniment to Mugo dance.

• Proceedings of the IEEK Conference
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• 2008.06a
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• pp.879-880
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• 2008

Music can give pleasure to people according to a rhythm, and Musical instrument can make various sounds according to quality of the lumber. A string instrument makes sound by strings so it feels very soft and a brass makes to feel a high pitched tone. A gayageum makes sound by oscillation which is transferred to a resonator when a string is touched. And this sound is very soft and faint. Therefore, in this paper, we researched sound properties of gayageum according to quality of the lumber of musical instrument. As the result of researches, we found that melody is affected by the annual ring of the resonance lumber.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.167-168
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• 2014

Music has played an important role in Films. It develops the narrative of the movie and it emotionally pulls the audience into the film. In composing film music, you need to put a bigger emphasis on the Interrelationship between melody, rhythm and harmony. However, to create more tension in the genre of suspense or thrillers, it is possible to maximize the emotion with the acoustic sounds of particular musical instruments.

• The Journal of the Acoustical Society of Korea
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• v.21 no.2
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• pp.128-133
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• 2002

We developed a electronic music glove (BMG) system that plays 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 fingers and foot switches, generates the sound signals and sends them to the speaker systems through the application C++ program and MIDI message. The EMG systems control the velocity and duration of sound and several musical performance expressions such as chorus, reverberation, rhythm, and volume. Finally, we implemented the digital drum set using: the EMG system as example.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1075-1080
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• 2009

이 글은 Music Information Retrieval(MIR) 기법을 사용하여 오디오 콘텐츠의 리듬 정보를 자동으로 분석하고 이를 시각화하는 방법에 대해 다룬다. 특히 MIR을 활용한 간단한 시각화(sound visualization) 어플리케이션을 소개함으로써 음악 정보 분석이 디자인, 시각 예술에서 다양하게 활용될 수 있음을 보이고자 한다. 음악적 정보를 시각 예술로 담아내려는 시도는 20세기 초 아방가르드 화가들에 의해 본격적으로 시작되었다. 80년대 이후에는 컴퓨터 기술의 급속한 발전으로 사운드와 이미지를 디지털 영역에서 쉽게 하나로 다룰 수 있게 되었고, 이에 따라 다양한 오디오 비주얼 예술작품들이 등장하였다. MIR은 오디오 콘텐츠로부터 음악적 정보를 분석하는 DSP(Digital Signal Processing) 기술로 최근 디지털 콘텐츠 시장의 확장과 더불어 연구가 활발히 진행되고 있다. 특히 웹이나 모바일에서는 이미 다양한 상용 어플리케이션이 적용되고 있는데 query-by-humming과 같은 음악 인식 어플리케이션이 대표적인 경우이다. 이 글에서는 onset 검출(onset detection)을 중심으로 음악적 리듬을 분석하는 알고리즘을 살펴보고 기본적인 조형원리에 따라 이를 시각화하는 어플리케이션의 예를 소개한다.