• MALSORI
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• no.42
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• pp.15-24
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• 2001

판소리의 특질을 연구하기 위하여 여덟 명창의 소리를 분석하였다. 그 결과 모두에게서 유성음임에도 불구하고 비주기성인 소리를 찾았다. 이러한 현상은 매우 높은 성대밑 공기압에 기인한다고 보았다. 이 비주기성 유성음은 명창들의 일반 대화에서도 나타나서 이러한 현상이 곧 성대의 영구적인 변화에 의한 것임을 추정할 수 있었다. 또한 판소리에서 나타나는 vibrato는 서양의 오페라에 비해 주기가 훨씬 길고 범위는 훨씬 넓음이 확인되었다. 그 외에도 모든 명창의 경우 고주파수 영역에서 매우 높은 에너지를 보여주어서 일반인의 발성과 차이가 남을 알 수 있었고, 특히 일부 명창의 경우는 1000Hz 바로 이하에서 유별나게 강한 harmonics가 나타나서 서양 음악의 소위 singer's formant와 대조를 이루었다.

• Journal of the KSME
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• v.35 no.10
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• pp.933-938
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• 1995

소음 공해의 문제는 수세기에 걸쳐 지속되어왔고, 현대 사회는 인간과 기계에 의한 소음으로 조용하고 평온한 삶을 영위하기가 점점 더 힘들어지고 있다. 소음은 일반적으로 원하지 않는 소리라고 정의된다. '원하지 않는'이란 말이 소음(noise)을 물리학적인 소리(sound)와 구멸하는 것이다. 아름다운 음악도 어떤이에겐 청각적 혼돈 상태로 느껴질 수 있듯이 어떠한 주어진 소 리를 '소음'이라 서술하는 것에는 심리 음향학(psychoacoustics)적인 요소가 강하므로 소음에 대한 연구는 그저 단순한 과학이 아니지만 그럼에도 불구하고 이는 음향학에 단단히 기초하고 있고 그전문어들을 이용한다. 따라서 음향학의 기초적인 이론과 심리음향학에 대하여 간단히 살펴보고 소음의 영항과 소음 환경을 이해한 뒤, 소음의 제어에 대한 예를 보는 것으로 소음 과학에 대한 개략적인 이해를 돕고자 하는 것이 이 글의 목적이다.

• (The) Research of the performance art and culture
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• no.39
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• pp.279-323
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• 2019

The musical characteristics of Fishing songs in North Korean which recorded on Anthology of North Korean Folk Songs were examined in this paper. The results are as follows. Among Fishing songs in North Korea, there are "Rowing Song," the "Song for Hauling Nets," and the "Song for Picking Up Fish" in songs related to walleye pollack fishing and in songs related to croaker fishing, the "Song for Dropping Anchor" and the "Full-Load-of-Fish Song" in songs related to croaker fishing, the "Song for Weighing Anchor," the "Song for Shaking Fish," the "Full-Load-of-Fish Rowing Song," and the "Song for Hanging Walleye Pollack" in songs related to walleye pollack fishing. There are the "Song for Setting a sail" and the "Song for catching shells" in Fishing songs in North Korea, too. In the rhythmic elements of Fishing songs in North Korea, the tempo of the "Songs for Setting a sail" is moderato, and that of the "Songs for Picking Up Fish" of songs related to anchovy or herring fishing is quite slow. "Rowing Songs"(croaker fishing) have various tempos but faster than moderato, and usually get faster and faster as time goes by. Most songs have 4/♩. time and there are some of 2, 3 or 5 time. Some songs use irregular time or 6 time overlapping 2 beats. The mode Menari is the most common tonal system used in fishing songs of North Korea. And the mode Susimga, the mode Changbutaryeong, the mode Nanbongga, and the mode Odolttogi are also used in the tonal system of Fishing songs in North Korea. There are shoutting intonations that have indefinite pitch, too. Modulation or interaction by the mode Changbutaryeong appeared in songs of the mode Menari. There is a tendency to favor a certain tonal system by category. Responsorial form is mostly used, but in the most cases, they were sung in solo. In responsorial songs, several calling songs overlap with the responding songs. Durchkomponiert form is sung by antiphon or in solo, but the case sung in solo originally seems to have been sung by antiphon or unison, if we consider the procedure of the work. The "Song for Picking Up Fish" of Seonbong-gun of North Hamgyeong Province and Yangyang-gun of Gangwon Province, the "Full-Load-of-Fish Song-Bongjuktaryeong" of Jeungsan-gun of South Pyeongan Province and "Full-Load-of-Fish Song-Baechigisory" of Taean-gun of South Chungcheong Province, "Rowing Song" of Nampo City and Ganghwa-gun of Gyeonggi Province are resembled. In neighboring areas, even if the songs of different categorys, sometimes share a same melody. In a certain category, sometimes a same melody is shared to a considerable distance. It was first identified that in anchovy or herring fishing or dybowskii' sand eel fishing, the "Song for Picking Up Fish" is widely shared in the East Sea Coast area.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• Digital Contents
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• no.3 s.142
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• pp.101-101
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• 2005

지난달 16일 새롭게 개정된 저작권법이 발효되고 이에 대한 찬반양론이 거세게 몰아치면서 일명‘펌’이라고 부르는 스크랩이 일반화돼 있는 블로그와 미니홈피로 눈과 귀가 쏠리고 있다. 현재 스크랩은 싸이월드의 미니홈피와 네이버 및 야후 블로그 등에서 제공하고 있는 기본 기능이고 블로그 전문서비스인 이글루스, 블로그인 등에서는 제공하고 있지 않다. 더욱이 최근 무료 음악 스트리밍 서비스인 벅스와 음악 공유사이트인 소리바다에 유죄 판결과 손해배상 판결이 내려지면서 블로그와 미니홈피에서 기본으로 제공하는 스크랩 기능이 이들 업체들의 뜨거운 감자로 떠올랐다.

• Proceedings of the KAIS Fall Conference
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• 2012.05a
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• pp.134-136
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• 2012

본 논문은 컴퓨터에서 사용 가능한 가상 악기 제작에 관한 연구이다. 가상악기는 전통적으로 사용되고 있는 악기를 디지털로 복원하는 것에서부터 지금까지 존재하지 않았던 새로운 악기를 창조하는 것에 이르기까지 그 사용과 쓰임이 매우 다양하다. 가상악기의 등장은 전통적인 음악제작의 틀을 유지하면서 보다 쉽고 빠르게 음원을 제작하면서도 창의적인 음악의 발전을 유도하는 장점을 가지고 있다. 본 논문은 기타(Guitar)의 한 음(미, E)을 녹음하여 컴퓨터에서 여러 음정으로 자유롭게 바꾸어 사용하고, 원음과는 전혀 다른 전자 바이올린 소리로 완성해 가는 과정에 대한 연구이다.

• Digital Contents
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• no.12 s.151
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• pp.21-29
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• 2005

DC산업이 차세대 국가성장동력인것은 분명하지만 업종별로 구분했을때 명암이 엇갈리는 것은 어쩔수 없는 세상이치인가보다. 올해도 이러한 현상은 여전했다. 상승세가 다소 꺾였다고는 하지만 여전히 온라인 게임분야가 전체시장을 주도한 가운데 패키지 게임·e러닝·DC솔루션분야는 새로운 수요를 찾기위한 관련업계의 움직임이 분주했다. 또한 올해 DC업계에서는 이통사들의 음악서비스 시장진출과 소리바다의 P2P 서비스중단등의 이슈로 온라인 음악시장이 출렁거렸고‘ 한류’의 바람을 타고 디지털 영상분야에서도 가능성을 확인했다.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.100-108
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• 2020

20th century music has been recognized as disconnected. Some criticized that it is not music. This controversy has been continued over decades in music history. This study applied Darwin's evolutionary theory to John Cage's 4'33", the most popular music in 20th century and tried to prove musical continuity embedded in it. 4'33" has always been a subject of controversy because it has no sound. However, the study found out that 4'33" has the common musical factor, the rest. 4'33" can be interpreted as the variation of the rest in evolutionary view. The rest has undergone a variety of variations in form and meaning since the beginning of the musical notation and was suitable for a new musical environment changed in 20th century. In the evolutionary view, 4'33" is evolved music, not disconnected.

• Lingua Humanitatis
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• v.2 no.1
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• pp.287-301
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• 2002

Either in music or in language, sound plays its role by taking up the fixed multi-spaces in one's consciousness. Music space differs from auditory space whose aim Is to perceive the positions and identities of the outer things. While auditory space is based on the interests of the outer things, music space is based on the indifference. We discuss the notion of space because it is where symbols reside. Categorial perception about the phonemic restoration describes the ability of a listener how to use his own intelligence to acknowledge and fill the missing points; however, musical perception can be explained as a positive regression to avoid colloquial logic and danger of segmentation in the course of auditory experience and phonation acquisition by an infant. About the question on the difference of the listening to the language sound and other sound, auditory mechanism proceeds language sound the same as other types of sound. But there are another theories which claim that brain proceeds the farmer differently from the latter. The function of music has not been discovered as clear as that of language; music has much more meanings in comparison with language.

• The Journal of the Acoustical Society of Korea
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• v.15 no.1
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• pp.5-9
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• 1996

Vibrato means periodic variations of various characteristics in sound wave. Because it causes special tonal effects, it plays and important role in musical performance. But when we examine the cases of scientific study about the vibrato that has been done until now, the cases were focused just on acoustic analysis of vibrato, so they didn't disclose the correlation between the results of analysis and the musical factors concerning actual performance. So this paper attempts to analyze violin vibrato acoustically, and find out the interrelation between the results and the various musical factors of violin performance.