• Science of Emotion and Sensibility
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• v.13 no.1
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• pp.235-242
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• 2010

Emotion science is one of the rapidly expanding engineering/scientific disciplines which has a major impact on human society. Such growing interests in emotion science and engineering owe the recent trend that various academic fields are being merged. In this paper we review the recent techniques in the measuring the emotion related elements and applications which include animal model system to investigate the neural network and behaviour, artificial nose/neuronal chip for in-depth understanding of sensing the outer stimuli, metabolic controlling using emotional stimulant such as sounds. In particular, microfabrication techniques made it possible to construct nano/micron scale sensing parts/chips to accommodate the olfactory cells and neuron cells and gave us a new opportunities to investigate the emotion precisely. Recent developments in the measurement techniques will be able to help combine the social sciences and natural sciences, and consequently expand the scope of studies.

• (The) Research of the performance art and culture
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• no.33
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• pp.97-128
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• 2016

According to the findings of the study, the music composition of the mask play is deeply related to the main characteristics of the scene. The first scene of the play starts with the Byeoksa dance. This particular dance part represents the evil spirit expel ritual. The instrumental accompaniment like and are played for the dance. The last part of the play starts with the Halmi and Yeonggam scene. This scene is played in both the instrumental and vocal music. For the instrumental part , for the vocal part and songs are played. and songs are played on the part of the Halmi's funeral ceremony scene. The instrumental and are played in various scenes for the accompaniment of the dance part. The musical structure of the mask play is flexible. This kind of flexibility of scene structure mainly concerned with the way of musical composition. The main structure of the mask play can be classified into two main styles according to the allocation of the vocal music. In first style, the vocal music is evenly dispersed. In second style, the vocal parts are concentrated in the rear section. As I mentioned earlier, no logical association is found in the matter of the scene arrangement. A scene arrangement has a deep connection with the arrangement of the music in each scene. In conclusion, the mixed arrangement of the scene in mask play is mainly concerned with the matter of the music arrangement in order to maintain the tension of the drama.

• Journal of Music and Human Behavior
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• v.21 no.2
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• pp.107-134
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• 2024

This study aims to classify the semantic words commonly used to evaluate sound quality and to analyze their differences in reflecting the level of musical stimuli. Participants were thirty-one music majors in their 20s and 30s, with an average of 9.4 years of professional training. Each participant listened to nine pieces of music with variations in texture and instrument type and evaluated them using 18 pairs of semantic words describing sound quality. A factor analysis was conducted to group words influenced by the same latent factor, and a multivariate ANOVA determined the differences in ratings based on texture and instrument type. Radar charts were also drawn based on the identified sets of semantic words. The results showed that four factors were identified, and the word pairs 'soft-hard,' 'dull-sharp,' 'muddy-clean' and 'low-high' showed significant differences based on the level of musical stimuli. The radar charts effectively distinguished the sound quality evaluations for each music. These results indicate that developing Korean semantic words for sound quality evaluation requires a structure different from the previous categories used in Western countries and that linguistic and cultural factors are crucial. This study will provide foundational data for developing a verbal sound quality evaluation framework suited to the Korean context, while reflecting acoustic attributes in music listening.

• (The) Research of the performance art and culture
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• no.42
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• pp.147-181
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• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.1-14
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• 2021

This study attempted to examine the loving pigeon culture practiced in traditional gardens and to illuminate the aspect of pigeons as a landscape animal material. In order to understand the culture of enjoying old garden through pigeons, the contents were analyzed for the translated version of the old literatures and paintings. Pigeons have been used as Jeonseo-gu(傳書鳩) and also for medicinal purposes and food. Pigeons have various symbolic meanings such as abundance, hospitality, and longevity. From the Goryeo Dynasty to the early Joseon Dynasty, pigeons were raised in the palace and private garden. In the late Joseon Dynasty, temporary trend of ornamental pigeon culture occurred. Pigeons were synesthesia materials that enriched the forest. Various beautiful pigeons created a variable landscape of the primeval forest as a moving landscape material. The bell sounds that appear differently depending on the pigeon's movement led to a rich auditory experience of the landscape. The pigeon house was an ornamental element that enriched the old garden along with the pigeon. The owners of garden were involved in gardening through the act of buying a pigeon house and placing it in the garden or making a pigeon house themselves. In addition, the writers planted plum trees, peach trees, apricot trees, and hawthorn trees as a symbol of spring and a source of food for pigeons, and expressed them in poems and paintings. This study has a limitation in that the translation of the old text was used as an analysis data. The follow-up studies on specific cases of raising pigeons in the old garden, in modern and contemporary landscape spaces are urged.

• (The) Research of the performance art and culture
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• no.41
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• pp.133-156
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• 2020

This is a paper that examines the meaning and changes of how Dalgang Song, a parenting song, is accepted in pansori works and how it plays a role in the narrative of the work. In Chapter 2, Compared the lyrics of Dalgang-Dalgang in actual parenting scene and Dalgang-Dalgang in Pansori's work. As a result, the songs in Pansori, show some differences in lyrics, but most of them kept the narrative structure intact. Among them, Gangreung-maehwa-ga maintained the phrase "Dalgang-Dalgang" in front and back, making the least changes. Simcheong-ga and Jeokbyeok-ga maintained their epic structures, but the the front and the rear phrase turned into a "Uh huh, Doong doong". And Dalgang-Dalgang was sung mostly by its mother or grandmother at the actual parenting scene, but the song in Pansori, was all sung by men. Dalgang song in Pansori, had a mostly Gyemyeon melody due to the genre characteristics of Pansori. Also Dalgang-Dalgang for actual parenting, was sung with a leisurely, soft beat. But Dalgang song in Pansori's works were sung rhythmical with Jungjungmori rhythm or Jajinmori rhythm to maximize joy. In Chapter 3, I discussed the roles and meanings of Dalgang song contained in Pansori. Dalgang-Dalgang of Simcheong-ga appeared in the crucial process of Sim Hak-kyu's return to will of life through Simcheong after the death of his wife. In Jeokbyeok-ga, Dalgang song also appeared as a tool to recall the happy memories with his son. On the other hand, Dalgang-Dalgang of Gangreung-maehwa-ga played a role of expressing affection for relationships between men and women, not between parents and children. This is beyond the original meaning of parenting, which means the hedonistic and excessive affection of Mr. Gol. The desire to change a relationship between a man and a woman into between parents and children is also found in Kim Yeon-soo's Chunhyang-ga. This change is an example of how the role and meaning of Dalgang song has changed dramatically as it was inserted into pansori. And the reason why Dalgang-Dalgang was so important in the narrative of Pansori was because of The lyrics of the song contain the love of the baby.

• Journal of The Korean Association For Science Education
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• v.38 no.3
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• pp.393-405
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• 2018

In this study, we classified the group model construction types in the actual classroom situation implementing the instructional strategy mixed with individual model construction and group model construction types. The purpose of this study is to analyze the information flow and the individual construction types of each group model construction type to obtain implications for model co-construction in a real classroom environment. A two-session class on sound propagation was carried out for thirty-three 8th grade students in Seoul. A total of 65 individual model construction and 16 group model construction processes were collected and analyzed. The group model construction types were classified as unchanged, enumerated, and elaborated. The unchanged type was found in 8 groups, the enumerated type in 3 groups, and the elaborated type in 5 groups. The isolated individual and independent construction (i.I) were found mostly in the unchanged group construction type (50.0%) and enumerated group construction type (54.5%). In the unchanged type, the radial shape of flow in which one student's information is transmitted to all the members of the group appeared. In the enumerated type, the starting point of the information flow was observed from two individuals. In the elaborated type, linear information flow appeared and both the second dissemination and reflective construction (2d.R) contributed to the group model construction (58.3%). This study suggests a viewpoint that enables to understand the process of complex model construction in an actual classroom context rather than in an ideal situation. The result of this study suggests the necessity of a modeling strategy considering the characteristics of Korean small group culture. It is expected that the discussion will progress through further studies.

• Science of Emotion and Sensibility
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• v.23 no.4
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• pp.105-116
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• 2020

The purpose of this study is to progress the limitations and disadvantages of existing safety clothing by applying high technology to current safety clothing that is produced and distributed only with fluorescent fabrics and retroreflective materials. Therefore, the industrial suspender-type safety belt and engineering technology are introduced, designed, and fabricated to help save a life in an emergency. First, the suspender-type safety belt to be developed is designed to emit light by LED attached to the film, and the body of the belt-wearer is recognized from a distance through retroreflection from the flashing LED. It aims to support people's safety by preventing accidents during roadside work, rescue activities, and sports activities at night. Second, with the development of advanced devices when the user is in an unconscious state due to distress or falls into an unconscious state due to distress or accident, the tilt sensor of the control unit attached to the belt automatically detects the angle of the human body and generates light and sound. It is intended to further enhance the utilization by mounting a sensing and signaling device that generates a distress signal and shaping it in the form of a belt attached to a vest that can be easily detached from the outside of the garment. When the wearer falls due to an accident, the tilt sensor of this belt detects the angle change and then the controller generates a high-frequency sound and repeated LED blinking signals at the same time. In the case of conventional safety vests, it is almost impossible to detect that the person is wearing a vest when there is no ambient light, but in case of the safety belts in this study, the sound and light signals of the safety belt enable us to find the wearer within 100 meters even when there is no ambient light.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1198-1207
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• 2009

최근 WEB 2.0 환경을 통해 사용자는 직접 응용 프로그램과 데이터를 이용하여 새로운 컨텐츠를 생산하는 주체로 변모하고 있다. 이러한 사용자의 자발적이고 적극적인 참여는 'UCC(사용자 제작 컨텐츠)'라고 불리는 새로운 문화 컨텐츠의 활성화로 이어지고 있다. 특히 글과 그림, 소리 등이 총체적으로 엮여 있는 동영상 UCC 의 경우, 이야기 구조나 캐릭터가 갖는 내용적인 특성과 제작자의 제작 취지를 훼손없이 살릴 수 있다는 제작의 특성으로 인해 WEB 2.0 환경에서 사용자의 참여가 더욱 두드러지고 있다. 본 연구에서 '사용자들이 열광하는 동영상 UCC 는 어떤 특징을 갖는가?' 라는 질문에 답하기 위해 동영상을 시청하는 사용자의 몰입과 창의성 평가를 진행하였고 이에 영향을 주는 요인으로 동영상 UCC 를 구성하는 내용적인 특성인 이야기의 내러티브와 캐릭터의 과장성을 살펴 보았다. 그리고 이 요인들의 상호작용에 영향을 주는 매개변인으로 제작자의 제작의도에 따른 컨텐츠의 특성을 선정하였다. 제작자의 의도에 따른 컨텐츠의 특성을 분류하기 위해 라캉의 주체이론과 퍼스의 기호학 이론을 바탕으로 모형을 제안하였으며 이를 검증하기 위해 UCC 사용자들을 대상으로 현재 서비스 중인 동영상 UCC 를 보여주고 설문을 실시하였다. 연구결과 제안하는 모형의 적용가능성이 입증되었으며 제작자의 의도에 따른 컨텐츠의 특성에 따라 이야기의 내러티브나 캐릭터의 과장성이 사용자의 몰입과 창의성평가에 미치는 영향력이 다르게 나타나는 것을 확인할 수 있었다.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.235-242
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• 2010

Differently from instruments which synthesized sounds and tones in the past, voice synthesis engine for music production has reached to the level of creating music as if actual artists were singing. It uses the samples of human voices naturally connected to the different levels of phoneme within the frequency range. Voice synthesis engine is not simply limited to the music production but it is changing cultural paradigm through the second creations of new music type including character music concerts, media productions, albums, and mobile services. Currently, voice synthesis engine technology makes it possible that users input pitch, lyrics, and musical expression parameters through the score editor and they mix and connect voice samples brought from the database to sing. New music types derived from such a development of computer music has sparked a big impact culturally. Accordingly, this paper attempts to examine the specific case studies and the synthesis technologies for users to understand the voice synthesis engine more easily, and it will contribute to their variety of music production.