• Journal of Advanced Marine Engineering and Technology
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• v.36 no.8
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• pp.1129-1135
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• 2012

To employ NMF to transcribe music by extracting feature matrix and weight matrix at the same time, it is necessary to know in advance the dimension of the feature matrix, and to determine the pitch of each extracted feature vector. Another drawback of this approach is that it becomes more difficult to accurately extract the feature matrix as the number of pitches included in the target music increases. In this study, we prepare a feature matrix database, and apply the matrix to transcribe real music. Transcription experiments are conducted by applying the feature matrix to the music played on the same piano on which the feature matrix is extracted, as well as on the music played on another piano. These results are also compared to those of another experiment where the feature matrix and weight matrix are extracted simultaneously, without making use of the database. We could observe that the proposed method outperform the method in which the two matrices are extracted at the same time.

• The Journal of the Acoustical Society of Korea
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• v.43 no.2
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• pp.207-213
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• 2024

In this paper, we study how to improve the performance of a machine learning-based automatic music transcription model by adding musical information to the input data. Where, the added musical information is information on the number of pitches that occur in each time frame, and which is obtained by counting the number of notes activated in the answer sheet. The obtained information on the number of pitches was used by concatenating it to the log mel-spectrogram, which is the input of the existing model. In this study, we use the automatic music transcription model included the four types of block predicting four types of musical information, we demonstrate that a simple method of adding pitch number information corresponding to the music information to be predicted by each block to the existing input was helpful in training the model. In order to evaluate the performance improvement proceed with an experiment using MIDI Aligned Piano Sounds (MAPS) data, as a result, when using all pitch number information, performance improvement was confirmed by 9.7 % in frame-based F1 score and 21.8 % in note-based F1 score including offset.

• Journal of Music and Human Behavior
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• v.18 no.2
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• pp.1-17
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• 2021

Using Kohut's selfobject perspective as a foundation, this qualitative study explored the empathy with music and analyzed the empirical meanings in relation to 'Mirroring selfobject need', 'Idealized selfobject need', and 'Twinship selfobject need'. The participants included 13 music therapy graduate students who took part in individual interviews about their musical experiences. The interviews were recorded, transcribed, and analyzed via content analysis. As a result, seven categories with 16 meaningful concepts emerged under three dimensions: Gratification of selfobject need for mirroring, gratification of selfobject need for idealization, and gratification of selfobject need for twinship. Participants described experiencing unconditional understanding and acceptance from music, feeling stronger and safer in music, and being identified with and connected to music. These findings suggest that participants continuously gratify their selfobject needs by expanding the self and empathizing themselves through music. This study in significant in that it is the first qualitative study to analyze participants' musical experiences from Kohut's selfobject perspective.

• Journal of Music and Human Behavior
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• v.21 no.1
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• pp.1-27
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• 2024

This study investigates the link between music integration in the lives of adults in their twenties and their school music experiences. Ten individuals in their twenties were interviewed to explore their experiences based on the self-determination theory's fundamental psychological needs (autonomy, competence, and relatedness). Participants were categorized into an active music engagement group (5 individuals) and an inactive group (5 individuals) for individual interviews. Transcripts were analyzed following the five steps of grounded theory data analysis technique. Results indicated a strong connection between music activities during school years and current motivation for music integration, associated with the fulfillment of psychological needs outlined in the self-determination theory. Particularly, this study identified the instructional methods, school music activities, and performance evaluations as closely related to autonomy, competence, and relatedness. It offers a comprehensive analysis of how experiences in these areas during school music activities correlate with values and motivations for music integration in adulthood. Additionally, the study suggests ways to promote the voluntary incorporation of music into life through positive experiences of autonomy, competence, and relatedness in music activities.

• Journal of Music and Human Behavior
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• v.11 no.2
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• pp.41-57
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• 2014

The purpose of this study was to analyze music therapy students' experience of peer supervision as supervisee. A total of 17 participants in a university in Seoul, participated two times in structured dyadic peer supervision with a different student. In-depth, semi-structured interviews with the students were conducted and content analysis was used for analyzing the data. The results showed that peer supervision was recognized as an important technique as students experienced an accepting and supportive emotional climate that increased their motivation in terms of their professional growth. However, the students also experienced anxiety and dissatisfaction when they could not get a definitive answer from their peer or their peer could not solve their problem. The structure of peer supervision could help the participants by facilitating the process, providing directions, and promoting interaction between peer. This study is significant that it provides actual content in music therapy students' experiences as a supervisee, and enables students to apply peer supervision to their professional growth.

• Journal of Music and Human Behavior
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• v.4 no.1
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• pp.1-20
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• 2007

Mothers of Children with Disabilities have many difficulties in parenting because of their children's disabilities. The purpose of this study was to examine the effects of a Group music psychotherapy programs on parenting stress and self efficacy, and to explore the experiences of the mothers who participated in the program. Twenty mothers of children with disabilities participated in this study. These twenty mothers were divided into 10 mothers of each group. The Experimental group participated in the Group music psychotherapy programs, while the control group did not. The Group music psychotherapy program was implemented for 8 weeks. To prove the effects of the program, pretest-posttest control group design was applied. The differences between pre-test and post-test of two groups were analyzed using independent t-test. The quantitative results of the study were as follows: First, a significant differences was found between the experimental group and control group in parenting stress level. Second, a significant differences was found between the experimental group and control group in self-efficacy level. From the qualitative analyses, four themes emerged from the decrement of parenting stress; Positive change of recognition about their children, Getting rid of stress, Keeping their composure, and Sharing of their emotions. And three themes emerged from the increment of self-efficacy; Discovery of oneself, New stimulus, and Mental support. All the result described above shows that group music psychotherapy program gives positive effect to decrease in parenting stress and also to increase in self-efficacy. And new possibility and effectiveness can be proposed in the music therapeutic approach to the parents of children with disabilities.

• Journal of Music and Human Behavior
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• v.4 no.2
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• pp.41-65
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• 2007

This study examines children's responses on Audie music activity based on Gordon's Music Learning Method. Subjects of study were 3 five year old children(2 boys, 1 girl) in kindergarten. Data collection drew from participatory observation, researcher journal, the classroom teacher interview. Where more specific data were necessary, video and digital camera recorded. The data were described, analyzed, and interpreted. The main findings in this study are as follows : The children who participated in Audie music activity showed desirable changes in many ways. Their music listening attitude was the one that changed most remarkably. At the beginning activity application, the children were not naturally and could not listen attentively while researcher was singing song without words. Gradually children could listen attentively to the researcher's singing without words. Through the Audie music activity, the children began to think carefully the tone and rhythm of music and to express themselves freely and creatively. At the beginning activity application, the children who showed negative responses and blocked up activity became gradually able to show positive aptitude and to amuse. Also the children who showed passive attitude and no responses became gradually able to react spontaneously.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2014.10a
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• pp.146-149
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• 2014

In this paper, humming based automatic music creation method is described. It is difficult for the general public which does not have music theory to compose the music in general. However, almost people can make the main melody by a humming. With this motivation, a melody and chord sequences are estimated by the humming analysis. In this paper, humming is generated without a metronome. Then based on the estimated chord sequence, accompaniment is generated using the MIDI template matched to each chord. The 5 Genre is supported in the music creation. The melody transcription is evaluated in terms of onset and pitch estimation accuracy and MOS evaluation is used for created music evaluation.

• The Journal of the Acoustical Society of Korea
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• v.42 no.2
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• pp.102-111
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• 2023

Automatic Music Transcription (AMT) is a task that detects and recognizes musical note events from a given audio recording. In this paper, we focus on reducing the latency of real-time AMT systems on piano music. Although neural AMT models have been adapted for real-time piano transcription, they suffer from high latency, which hinders their usefulness in interactive scenarios. To tackle this issue, we explore several techniques for reducing the intrinsic latency of a neural network for piano transcription, including reducing window and hop sizes of Fast Fourier Transformation (FFT), modifying convolutional layer's kernel size, and shifting the label in the time-axis to train the model to predict onset earlier. Our experiments demonstrate that combining these approaches can lower latency while maintaining high transcription accuracy. Specifically, our modified model achieved note F1 scores of 92.67 % and 90.51 % with latencies of 96 ms and 64 ms, respectively, compared to the baseline model's note F1 score of 93.43 % with a latency of 160 ms. This methodology has potential for training AMT models for various interactive scenarios, including providing real-time feedback for piano education.

• (The) Research of the performance art and culture
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• no.43
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• pp.79-120
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• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.