• Proceedings of the KAIS Fall Conference
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• 2011.12a
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• pp.85-88
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• 2011

본 논문에서는 3명의 재즈보컬리스트에 의해 가창된 보컬즉흥연주를 분석하여 스캣음절의 사용실례를 살펴보고 그 결과를 통하여 스캣음절의 사용 및 표현방식에 대한 이해를 돕고자 하는데 그 목적이 있다.

• Korean Association of Arts Management
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• no.57
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• pp.85-126
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• 2021

This study aims to examine the interaction between jazz musicians playing in domestic jazz clubs and audiences visiting jazz clubs in depth. This study conducted an in-depth interview, a qualitative research methodology, to find out the subjective views of jazz club musicians and audiences about jazz club performances, and analyzed the contents and presented the results. The results of this study are as follows: First, jazz musicians perceived jazz clubs as the center point of their musician careers, and from the perspective of the audience, jazz clubs were a place where jazz lovers gathered voluntarily, and where they could enjoy musical communication in a comfortable atmosphere. Second, jazz club performances gave jazz musicians the autonomy to play and considered them suitable for creating optimized sounds, and the audience recognized that jazz musicians could experience performances vividly on stage close to the audience. Third, the way jazz musicians interacted with the audience was active for musical communication with the audience, and the audience preferred the way that interaction could contribute to their performance, and the audience recognized the interaction through musical communication with the musician and the musician's consideration for the audience. Fourth, jazz musicians played a major role in realizing a performance in which interaction with the audience was complete, and audiences perceived interaction as a joy of improvisation, a bond with jazz musicians, and a special experience. This study confirmed the jazz club's status as a cultural space for the public's jazz enjoyment as well as a performance base that ultimately promotes the development and spread of jazz gods in Korea, and it is meaningful that it can serve as a guideline for jazz performance planning and jazz club operation from an art management perspective.

• The Journal of the Acoustical Society of Korea
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• v.36 no.5
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• pp.321-328
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• 2017

The purpose of this study is to derive the preference factors of stage acoustics for duet performers through the measurement of the stage acoustics in a concert hall and the performance evaluation on the stage. 15 pairs (total 30 players) of the performers participated in the experiment, and the preference of selected 5 locations were evaluated. As a result, the preference in the center of stage was the highest, and CS (Clarity at stage) and $ST_{Late}$ were the most significant factors for the preference.

• Proceedings of the Korea Water Resources Association Conference
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• 2006.05a
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• pp.1460-1464
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• 2006

강수량의 특성 및 계절적인 양상은 지협적인 원인이기 보다는 해수면 온도(sea surface temperature)와 같은 기상 현상에 주로 영향을 받는다. 이러한 관점에서 강수량과 같은 수문변량의 장기적인 거동을 기상인자로부터 유추하고자 하는 연구는 무엇보다 중요하며 이러한 추론을 바탕으로 강수량의 장기예측 및 모의를 위한 기본적인 도구로 활용을 가능케 한다. 따라서 본 연구의 주요 목적은 해수면 온도를 기본으로 강수량과 기온의 변동성 및 상관성을 분석하고자 하며, 무엇보다 한반도 근해의 해수면 온도와의 직 간접적인 개연성을 살펴봄으로서 보다 효과적인 강수량 예측을 위한 하나의 변수로서의 가능성을 평가하고자 한다. 이를 위해 다양한 분석 방법 즉, 연주기를 제거하지 않은 자료의 선형적인 지체 상관 분석, 연주기를 제거하기 위해 표준화 된 자료의 지체 상관 분석 및 비모수적 상관분석을 수행하였다. 연주기를 제거하지 않은 자료의 경우 매우 강한 상관관계를 나타내었지만 이는 주로 계절 특성으로 인한 것으로 사료된다. 그러나 연주기를 제거한 Anomaly는 상대적으로 매우 작은 상관성을 보이고 있으나 유의성 검토를 통해 통계적으로 유의한 관계가 존재함을 확인 할 수 있었다. 따라서 강수량의 예측을 하나의 변수로서 이용이 가능할 것으로 사료되나 근해뿐만 아니라 한반도 기상의 연관성을 갖는 타 지역기상인자와의 보다 통합적인 검토가 필요하다 하겠다.

• Journal of the Korean Institute of Intelligent Systems
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• v.19 no.4
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• pp.550-555
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• 2009

A violin plays an essential role among string instruments. It has an extremely strong expressive power that can be conveyed through beautiful timbre when played correctly. However, a beginner who attempts to play the violin will be most likely to face difficulties in placing his or her fingers on a specific point of the fingerboard or in bowing the violin on a specific string. In order to resolve this difficulty, the database of a professional violinist's bowing skills were inserted beforehand. By doing so, a beginner can emulate professional's violin by comparing his playing with the constructed database that is programmed in the computer. Accordingly, the results are displayed on the monitor after being evaluated by the performance evaluation function using a fuzzy logic.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.178-189
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• 2019

This paper is aimed at more carefully studying C. P. E. Bach's Fugues, which have been relatively less appreciated in his study. Fugue is the most sophisticated music with its highly contrapuntal texture, and it is often paired with the contrasting Prelude or Fantasia. C. P. E. Bach introduces an unprecedented attempt by merging seemingly contrasting Fugue and Improvisational passages into one piece of music rather than simply placing the two music pieces side by side. In his unprecedented attempt, the basic concept and typical form of Fugue are roughly maintained, but the insertion of improvisational performance techniques in both the subject and the detailed progression takes great importance. This Study examines the connection of C. P. E. Bach's Fugue and Improvisational Techniques by analyzing his 7 Fugues.

• Proceedings of the Korea Information Processing Society Conference
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• 2015.10a
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• pp.119-122
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• 2015

기타를 처음 접할 때 겪는 어려움은 크게 운지법과 곡에 대한 이해다. 연주자마다 곡의 연주 방법이 상이하기 때문에 한 곡에 대해서도 다양한 타브 악보가 존재한다. 이 논문은 타브 악보를 인식하여 연주를 수행하는 휴대 가능한 시스템 설계를 제안한다. 기 연구된 악보 인식은 5선 기반의 악보를 대상으로 하였으며 수평 히스토그램을 사용하여 5선을 제거 한 뒤 나타나는 기호들을 인식했다. 본 논문에서는 6선인 타브 악보 인식 및 연주 시스템을 휴대 기기에서도 사용 가능하게 설계하여 많은 연산 양이 요구되는 선 제거 과정을 거치지 않는다. 템플릿 매칭 기법으로 전체 악보에서 타브 악보의 영역을 탐색하고, 탐지된 영역 안에서 선의 시작점을 탐색한다. 선의 시작부터 끝까지 가상 블록을 사용하여 선에 존재하는 공백을 탐지하고, 공백의 분할을 이용해 프렛을 분할하며, 프렛 인식은 프로토타입 기반 분류기를 이용하여 97.0%의 인식률을 보였다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.10
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• pp.4426-4431
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• 2012

Though polyrhythm is definitely a complex form of rhythm as we all know, some forms of polyrhythm(for example, '2 against 3' or '3 against 4') are considered as simple rhythm compared with others such as '5 against 4' or '7 against 4'. It is because this kind of polyrhythm might be used as often as enough to be able to be understood and to be played. However, the polyrhythm that we are talking about in this study(I'd like to call them as complex polyrhythm) is not able to be played by someone who is not familiar with quintuplets or septuplets. Here I would like to suggest a new way of playing polyrhythm, called the 'Simulation Method'. The main purpose of this method is to easily approach the complex polyrhythm by using its mathematical similarity even though these polyrhythms are originally hard to be played due to its mathematical complexity.

• Journal of Music and Human Behavior
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• v.8 no.1
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• pp.1-16
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• 2011

This study was to investigate the influence of using Therapeutic Instrumental Music Performance (TIMP) in uninvolved hand function for children with spastic cerebral palsy. Participants were recruited from a welfare center for people with cerebral palsy(CP). Ages ranged from 11 to 12, and a total of 15 TIMP sessions were provided for 3 weeks. Hand function tests were used including Jebsen Hand Function Test for hand function, Box and Block Test for dexterity of uninvolved hand, and MIDI (Musical Instrument Digital Interface) evaluation for velocity of fingers. The TIMP program consisted of hand percussion playing and keyboard playing with changes of timbre and tempo. While the scores of Jebsen test and Box and Block test were improved for all participants, outcomes of MIDI analysis showed differences among participants. Overall, hand function improvements were observed after the completion of using the TIMP program, and the results implies that the TIMP program can be applied in upper extremity rehabilitation for children with CP.

• The Journal of the Korea Contents Association
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• v.10 no.6
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• pp.213-221
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• 2010

Recently, as the scale of the cultural content business market is being growed, it required that we should introduce the Korean music culture which is unique and competitive cultural contents to the worldwide. This paper proposes a Samulnori Ensemble System (SES), using a touch interface which plays the Korean traditional musical instruments. A SES consists of the Control Device which supports touch functions, the Performance Manager that detects signals from the Control Device and plays a melody, and the Communication Manager making a ensemble among the possible devices. Also, using the Network Time Protocol which is part of Synchronization Manager can be paly different speed communication environments. We utilized multi-touch functions to operate the system. We also implemented multi-touch interface and multi-play with other player for fun and interesting who are not interested Samulnori.