• Journal of Music and Human Behavior
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• v.9 no.1
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• pp.37-53
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• 2012

This study is conducted to analyse the process and the pattern of motivation for musical expression in clinical music therapy for the adults in the mental health center. The participant were 8 adults purposive sampling who had more than one year music therapy experience in the mental health center and their age ranged from 27 to 53. A major category derived and analysed from the grounded theory method by Strauss and Corbin. The qualitative analysis indicated that motivation for musical expression in music therapy, which was the central phenomenon in this study, was determined by the music therapist and songs used in the sessions. The central phenomenon was caused by the therapist's friendly attitude, high musical capacity, the familarity of the selected songs and the significancy of the lyrics of selected songs. The levels of reliability about the therapist's personality and musical ability as a professional music therapist and the positive arousal of the songs used in sessions affected as the contextual condition. Spontaneous musical expression in music therapy brought the escape from reality, release of stress and sharing by the intervening condition 'empathy' and this resulted in mood regulation, the instillation of hope and group cohesion. It has been found that there were three types of motivation in music therapy: intrinsic motivation, relationship dependent extrinsic motivation and evasive motivation.

• Proceedings of the KAIS Fall Conference
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• 2011.05b
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• pp.694-697
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• 2011

재즈음악의 즉흥연주(Improvisation)는, 재즈음악의 발생과 함께 발전되어 온 연주 형태의 하나이며, 재즈음악을 대표하는 상징적인 요소라고 할 수 있다. 대부분의 사람들에게 즉흥연주는 재즈의 가장 중요한 요소로써 여겨지고 있다. 재즈 음악인들은 종종 '재즈'와 '즉흥연주'를 같은 의미를 가진 동일 어처럼 사용하기도 한다. 한편, 재즈보컬리스트들은 기악연주자와는 달리, 즉흥연주를 하지 않아도 된다는 인식이 있는 것은 사실이다. 그러나 그 중요성에 차이가 있을 뿐, 보컬즉흥연주 역시 재즈보컬들의 특성을 다른 장르의 보컬들과 구분하는 상징적이고 핵심적인 요소임에는 틀림없다. 컬리스트의 경우, 음악이론 외에, 즉흥연주의 선율을 가창하기 위하여 필요한 또 하나의 요소가 있는데, 이는 즉흥연주의 악구를 표현하는 수단인 스캣음절이다. 본 논문에서는 즉흥연주 선율표현에 많이 사용되는 음표들과 연주기법들을 중심으로 스캣음절사용에 대하여 연구해 보고자 한다.

• Journal of Korean Philosophical Society
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• v.139
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• pp.265-313
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• 2016

This research aims to reconstruct the philosophical content and essence of Schopenhauer's metaphysics of music in his book, Die Welt als Wille und Vorstellung, particularly in paragraph 52, and to pay close attention to its theoretical account of music in the context of traditional musical aesthetics. The question whether Schopenhauer's theory of music is about aesthetics of feeling or about absolute music is dealt with at the end of this paper. It can be answered only within the whole system of his philosophy, because Schopenhauer's theory of music is the result of his philosophical reflections, and plays an important part in his metaphysics of the will. Schopenhauer's music theory, or rather his metaphysics of music, thus cannot be treated separately from Schopenhauer's metaphysics of the will, and is connected organically with it. As the metaphysics of the will lies in suspense between the traditional metaphysical philosophy and the non-metaphysical philosophy after Nietzsche, between the idealism and the philosophy of the body, the music aesthetics of Schopenhauer oscillates between the (romantic) aesthetics of feeling and the modern idea of absolute music.

• Proceedings of the KAIS Fall Conference
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• 2011.05b
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• pp.619-621
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• 2011

본 논문에서는 대중음악의 대부분을 차지하는 대중가요의 가창에서 효과적인 가창을 위해 사용하는 멜로디의 가창법, 그 중에서 멜로디의 세부적인 느낌을 크게 좌우하는 대표적인 표현기법들을 살펴보고, 이것이 다른 장르의 음악을 가창하는데 있어서의 공통점과 차이점을 분석해 보았다.

• Journal of Music and Human Behavior
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• v.5 no.1
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• pp.67-90
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• 2008

This case used MI techniques that give an imagery experience to depressed client's mental resource, and that makes in to verbalism. Also those images are supportive level therapy examples that apply to positive variation. MI is simple word of 'Music and Imagery' with one of psychology cure called GIM(Guided Imagery and Music). It makes client can through to the inner world and search, confront, discern and solve with suitable music. Supportive Level MI is only used from safety level music. Introduction of private session can associate specification feeling, subject, word or image. And those images are guide to positive experience. The First session step of MI program is a prelude that makes concrete goal like first interview. The Second step is a transition that can concretely express about client's story. The third step is induction and music listening. And it helps to associate imagery more easily by used tension relaxation. Also it can search and associate about various imagery from the music. The last step is process that process drawing imagery, talking about personal imagery experience in common with therapist that bring the power by expansion the positive experience. Client A case targets rapport forming(empathy, understanding and support), searching positive recourse(child hood, family), client's emotion and positive support. Music must be used simple tone, repetition melody, steady rhythm and organized by harmony music of what therapist and client's preference. The client used defense mechanism and couldn't control emotion by depression in 1 & 2 sessions. But the result was client A could experience about support and understanding after 3 sessions. After session 4 the client had stable, changed to positive emotion from the negative emotion and found her spontaneous. Therefore, at the session 6, the client recognized that she will have step of positive time at the future. About client B, she established rapport forming(empathy, understanding and support) and searching issues and positive recognition(child hood, family), expression and insight(present, future). The music was comfortable, organizational at the session 1 & 2, but after session 3, its development was getting bigger and the main melody changed variation with high and low of tune. Also it used the classic and romantic music. The client avoids bad personal relations to religious relationship. But at the session 1 & 2, client had supportive experience and empathy because of her favorite, supportive music. After session 3, client B recognized and face to face the present issue. But she had avoidance and face to face of ambivalence. The client B had a experience about emotion change according depression and face to face client's issues After session 4. At the session 5 & 6, client tried to have will power of healthy life and fairly attitude, train mental power and solution attitude in the future. On this wise, MI program had actuality and clients' issues solution more than GIM program. MI can solute the issue by client's based issue without approach to unconsciousness like GIM. Especially it can use variety music and listening time is shorter than GIM and structuralize. Also can express client's emotion very well. So it can use corrective and complement MI program to children, adolescent and adult.

• Proceedings of the KAIS Fall Conference
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• 2011.05b
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• pp.698-700
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• 2011

재즈 기타리스트이자 작곡가인 팻 메스니는 재즈분야에 있어 상업적 및 음악적으로 성공을 거둔 죄고의 뮤지션 중에 한 사람이다. 본 논문은 그의 음악과 임프로비제이션를 분석함으로써 그의 음악적 아이디어와 특징을 알아보고 어떻게 표현되었는지에 대한 연구이다.

• 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.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.101-102
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• 2014

현재 인간의 감성표현을 위한 수단중의 하나인 음악이 인간의 감성반응을 자극하는데 어떠한 역할과 기능을 하는가에 대한 연구가 활발히 진행되고 있다. 본 연구는 창작자 입장에서 감성 표현 시 음악의 요소들이 어떻게 활용되는지를 분석하고 각 의도된 정서 및 요소가 청취자의 감성반응으로 나타나는지를 연구하였다. 대표적인 음원 사이트인 네이버, 멜론, 엠넷에서 두 달 이상 5위안에 랭크된 곡들을 선정하였다. 선전된 각 곡들을 음악 전문가집단 대상에게 설문 조사하여 각 곡에 사용된 음악적 특징과 분석하고 각 요소 별 감성을 수집하여 연구 분석하였다. 이러한 연구를 토대로 창작자가 의도하는 감성과 청취자의 감성 반응에 대한 상관관계를 밝히는데 유용한 자료가 될 것이다.

• Proceedings of the Korea Information Processing Society Conference
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• 2008.11a
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• pp.760-762
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• 2008

음악에서는 다양한 감정의 표현을 시간에 따른 음악 무드의 전이로 표현한다. 본 연구에서는 Longest Common Subsequence (LCS) 알고리즘 및 k-Means 알고리즘에 기반한 유사 음악 검색 기법을 제안한다. 우선, 음악 무드의 흐름을 무드 세그먼트 단위로 나누고, 이를 추출된 다양한 음악 특성을 k-Means 알고리즘으로 분류하여 무드 시퀀스로 변환한다. 또한, 유사한 무드의 흐름을 가지는 음악을 검색하기 위해 LCS 알고리즘에 기반한 무드 시퀀스의 유사도를 정의한다. 본 논문은 제안된 내용을 바탕으로 실험과 설문 조사를 통해, 기존의 전역적 특성 검색 방식보다 시퀀스를 이용한 검색방식이 좀 더 효율적임을 증명하였다.

• Journal of Music and Human Behavior
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• v.16 no.2
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• pp.27-51
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• 2019

This case study aimed to investigate changes in self-expression following participation in a rap making program with adolescent survivors of childhood cancer. The rap making program was constructed based on the contextual support music therapy model. Three adolescent survivors of childhood cancer participated in six 80-minute individual sessions. During the sessions, each participant engaged in the following tasks: song discussion, lyric creation, and rapping over a selected beat. At pre and posttest, the Self-Expression Scale was completed by participants. Their verbal expressions lyrics were observed during the sessions, and individual interviews with the participants were conducted at the completion of the program. The results demonstrated that the mean rating of the Self-Expression Scale increased after the rap making intervention. Analysis of the participants' verbal expressions and lyrics demonstrated that participants were experiencing difficulties adjusting to school that they wanted to resolve. Furthermore, the analysis of the interviews at posttest found that participants experienced positive changes in self-perception, self-expression, and expectations for their future, compared to the pretest when the participants expressed negative self-perceptions due to difficulties in interpersonal relationships at school and physical limitations. This indicates that rap making can be an effective resource for providing this population with the means to recognize positive attributes about themselves and improve self-expression.