• Electronics and Telecommunications Trends
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• v.26 no.2
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• pp.148-158
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• 2011

음악은 인간의 사상과 감정을 표현하는 예술로 인간의 문명이 시작되는 순간부터 인간의 삶과 밀접한 관계를 유지하며 발전하고 있다. 이러한 음악은 IT 기술의 발달과 함께 새로운 서비스 형태로 진화하고 있다. 음악 시장은 DRM-free와 음악 저작권 보호 강화에 따라 유료화가 정착하고 있으며, 음악 식별 기술과 분류 기술을 적용한 검색 및 추천 서비스를 바탕으로 빠르게 변모하고 있다. 본 동향에서는 국내외 음악 서비스 동향과 함께 음악 서비스 관련 기술 동향을 살펴본다.

• (The)Study of the Eastern Classic
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• no.43
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• pp.183-207
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• 2011

This study finds aesthetic elements and examines their aesthetic sense focusing on the melody of the piri in the completed Jongmyojeryeak with various ideational backgrounds from the views different from the aesthetic sense of Jongmyojeryeak that has been conducted so far. Jongmyojeryeak is to hold a memorial service at the place where the godship of the line of kings and queens in Joseon is set. It is the crystal of Confucian memorial ritual and representative cultural heritage of ancestral ritual culture and is designated as No 1 of national chief, intangible cultural heritage in 1964. Also, on May 18th, 2001, it was registered first in Korea as 'Masterpieces of the Oral and Intangible Heritage of Humanity' designated by UNESCO and was recognized of its superiority. It is not only a representative cultural heritage of ancestral ritual culture having fate with Joseon Dynasty for a long period but also has been recognized as the essence of our music compiling the holistic beauty of artistic forms according to music, songs, and dance created by our ancestors. Also, it has as its background the traditional thoughts including the Confucian thought as well as Yeak thought, Yin-Yang School, Samjae thought (三才思想), and Palgoe thought (八卦思想). This Jongmyojeryeak internalizes landscape beauty, Yojang beauty, natural beauty, magnificent beauty, and harmonious beauty. Landscape beauty can be found in Huimun and Jeonpyehuimun. Yojang beauty is the figure that is only shown in Jeongdaeup. Natural beauty is the skilled performance technique shown in the melody of variations and is connected to natural creation. It is well shown in Huimun and Jeonpyehuimun. Magnificent beauty is well shown in the melody of Botaepyeong movement. And harmonious beauty is the harmonization of dischord in Jongmyojeryeak and is well shown in Jeongdaeup's Somu distinctively showing its aesthetic sense from the view of natural, harmonious beauty in its music.

• The KIPS Transactions:PartB
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• v.17B no.1
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• pp.23-30
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• 2010

The 50th anniversary of life as popular a female singer Lee Mi-Ja & Pati Kim in this paper analyzed out their musical characteristics to apply the analysis method of the Sasang constitution. From this, we are applied appearance & manner of speaking's method to classify the constitution through the face and voice features in the Sasang constitution classification method. Therefore, we are quantitatively analyzed out result of the Sasang constitution classification through voice and face of the visual comparison of the same ages by technological application of appearance & manner of speaking 's method. Also, experiment results also are applied to Lee Mi-Ja & Pati Kim and the same experiment to confirm that the result based on the two female singers analyzed their musical characteristics through comparison and analysis to face shape and the features of a tone based on the Sasang constitution about two female singers.

• Cross-Cultural Studies
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• v.43
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• pp.355-376
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• 2016

This study looks into the relationship between Chinese philosophy, with a focus on Confucianism and Taoism, and music. Kong zi's Confucius supported, 'Enjoyment without being licentious and grief without being hurtfully excessive', and 'hatred of the music of Zheng'. These ideas do not emphasize the function of music as an expression of emotions, feelings, or desires, and are instead conclusions based on Confucian ideals such as harmony between classes and the spread of benevolent government. Music must coincide with Justice. The hatred of the music of Zheng was a conclusion founded on the idea of a place for Justice in music. Zhuangzi is the source of the spirit of Chinese art; specifically, Zhuangzi's idea of music in relation to its influence on East Asian history of art is extremely influential. In fact, the concept of yuelun is considered the most original and important concept in the history of the East Asian philosophy of art. The most distinctive features of Zhuangzi's theory of music can be summarized as follows. He attempts to liberate music from the restrictions of form and to let music express authentic human feelings and emotions. He also argues that music should not be subjected to politics, as he thinks that the creative mind of an artist can exist only when music is freed from political influence. Confucianism takes a humanistic perspective, while Taoism takes a more naturalistic one. In sum, Confucianism gives weight to the logical and ethical aspects of music, while Taoism emphasizes the intuitional and naturalistic ones.

• Korean Journal of Heritage: History & Science
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• v.1
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• pp.156-167
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• 1965

• Korean Institute of Interior Design Journal
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• no.34
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• pp.61-68
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• 2002

It aims to understand how the time can be expressed in architecture from viewpoints of Oriental and Western philosophy. We just have done sporadic studies such as historical time, physical time, specific time, time as the space-time continuum and appreciation time. It`s impossible to find out that time exactly is since `time` is ambiguous. Because the meaning is formed newly by relational changes between visible and invisible existing thing. In such point of view, this study attempts at analyzing the inter-relationship between the art, music, architecture and time-concept in oriental and western philosophy. A comparative study follows : Time can be classified into the linear concept of time & the cyclic concept of time in an agricultural civilization and oriental philosophy. Linear concept of time can be divided into 1)the inevitable concept of time and 2)the 4-dimensional concept of time and 3) the indefinite concept of time.

• Journal of Digital Convergence
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• v.13 no.11
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• pp.349-355
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• 2015

It is crucial to a musical artist whether or not they have a musical identity. Major entertainment companies of Korea are strongly promoting a cultural product called 'Idol', where musical identity and musicianship are not important, with careful production and capital. It is important to take note of Prince, who remains to show clearly his philosophy and identity, in the state where lack of musical identity is being promoted. Many studies done on his musical brilliance and uniqueness can be a great incentive to rethink on the nature of music. As an arranger, Prince used tension notes effectively and even showed that avoid notes can be used to express a musical color. Studies on his musical brilliance and uniqueness must continue to be done and become an incentive to not just people who study music but for everyone to rethink the nature of music. There is no correct answer to music, but art has to be the essence of its nature.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.3
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• pp.237-245
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• 2020

Tropicália, which marked the beginning of Brazilian Popular Music (MPB), is a musical genre that originated in the Brazilian cultural movement and this arose in the late 1960s. The musicians who participated in this cultural movement delivered radical innovation by embracing the international music trend of the 60s, such as the Beatles phenomenon and the experimental and creative music of the electronic age. The music derived from this era incorporated the cannibalism of the Brazilian modernism cultural movement in the 1920s, and it presented a cultural consilience while maintaining the traditional Brazilian culture. In particular, the convergence of Tropicália with rock was especially prominent. As rock grew into the culture of resistance in both Britain and the United States, the convergent characteristic of Tropicália reflected the critical sociocultural view toward Brazil at that time. This paper focuses on the element of fusion of traditional Brazilian music and the rock music present in Tropicália. To present a case study, this paper selected music pieces by Caetano Veloso, the essential pillar of Tropicália, and examined each element through specific music analysis. This study aims to establish an academic foundation for third-world music and contributes to the development and creation of fusion music.

• Journal of Korean Philosophical Society
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• v.105
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• pp.373-400
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• 2008

This essay is an analysis on Daoist deconstructivism and Confucian constructivism about music and language. (1) Daoist criticizes that the Confucian constructive music and language fail to describe original sounds and original facts of doing nothing (wuwei, 無爲). According to Daoist, music and language can be an instrument to describe true facts in the world. So Daoists try to attain a state of 'seeing things as things themselves (yiwuguanwu, 以物觀物)' by 'forgetting oneself (wangwo, 忘我).' (2) However Confucian music and language is a part of one's life. Confucians try to get truth, goodness, and beauty by exercising one's music and language. Confucian music is associated with political and moral development in society. The Confucian genres of poetry (shi, 詩), appealing letter (shu, 疏), declaring writing (biao, 表), record (ji, 記), and written words (ci, 詞) are processes of developing one's life. Further, Confucian rhetoric of 'Xing (興)' in writing poem shows that one's language can be developed in contexts of one's life. (3) Although music and language is associated with human subjective narratives as if Confucians say, diverse narratives of different subjectivity cannot appear in one's lives if all kinds of narrative is absorbed in Confucian absolute ideological slogan to devide things into good and bad. Accordingly, the Confucian view of music and language can develop diverse narratives when it does not show an inclination toward moral dichotomy preunderstood by Confucian ideology.

• Journal of Korean Medical classics
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• v.18 no.4 s.31
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• pp.27-43
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• 2005

통과대(通過對)${\ulcorner}$내경(內經)${\lrcorner}$ 중출현적조신적개념급용조신치병적방법적연구(中出現的調神的槪念及用調神治病的方法的硏究), 득출여하결론(得出如下結論): 조신이양생지의(調神以養生之意), 용우지금(用于至今). ${\ulcorner}$내경(內經)${\lrcorner}$중신지의(中神之意), 우기표현위여우주자연지신(尤其表現爲與宇宙自然之神)[천신(天神)]상응적인체지신(相應的人體之神)[인신(人神)]상(上), 즉천인상응적사상교위돌출(卽天人相應的思想較爲突出) 형신상호관계상(形神相互關係上), 재유지형신합일적사상적동시(在維持形神合一的思想的同時), 비기양형경가중시어조신(比起養形更加重視於調神). 재양생방면(在養生方面), 조신의조시간급공간(調神依照時間及空間), 분위사시조신화오장신조신(分爲四時調神和五臟神調神). ${\ulcorner}$소문(素問).사기조신대론(四氣調神大論)${\lrcorner}$적요지시이사시출현적자연계적변화규율(的要旨是以四時出現的自然界的變化規律), 응대청정적우주정신래수련신심(應對淸靜的宇宙精神來修練身心). ‘이념요법(移念療法)’시통과개변재인체오장내정기적운행위치(是通過改變在人體五臟內精氣的運行位置), 진행치료적방법(進行治療的方法). 기내용개괄료기타각종정신요법(其內容槪括了其他各種精神療法). 대지언고론요법적한의학해석(對至言高論療法的韓醫學解釋), 불시이이유오행혹음양이론작위의거(不是以已有五行或陰陽理論作爲依據), 이시가종사상의학중조도. 기원인시사상의학적출발점(其原因是四象醫學的出發點), 불시이단순적육체무병작위기목적(不是以單純的肉體無病作爲其目的). 저일점(這一點), 종명확지표현재수세보원적성명사단론중(從明確地表現在壽世保元的性命四端論中). 대생리병리독특적유심론관(對生理病理獨特的唯心論觀), 시이제마선생탁월관점(是李濟馬先生卓越觀点). 한방음악치료초월료이행동주의심리학위중심(韓方音樂治療超越了以行動主義心理學爲中心), 발전기래적기유적음악요법적국한성(發展起來的旣有的音樂療法的局限性), 약여약물(若與藥物), 침구치료병용(鍼灸治療倂用), 불근가이치료신경정신질환(不僅可以治療神經精神疾患), 환가이치료기타각종신체질환(還可以治療其他各種身體疾患). 기공시이응신(氣功是以凝神), 의수(意守), 의념등표현(意念等表現), 작위기주요조신방법적일종수신법(作爲其主要調神方法的一種修身法).