• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.39-51
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• 2021

This study is based on literature review and theoretical background, we will explore the interrelationship between music and meditation and meditation image production through music, discuss the relationship between theremin instruments and musical meditation. It also describes whether the musical direction through an emotional approach meets the purpose of music meditation, focusing on the creative process and analysis of the work. In this study, the emotional aspect of music was developed, centering on the auditory characteristics of music and the inner element of meditation, to find the relationship between each other, and to prepare a specific plan for music directing to induce the inner emotion of meditation. This study deduced a way to apply music meditation with an emotional approach centering on the melody through the use of the Theremin instrument, and tried to approach the inner meaning and methodology of the work academically. It is hoped that these studies will contribute to the development of music meditation programs and the expansion of music meditation.

• The Journal of Korean Association of Computer Education
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• v.14 no.4
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• pp.1-10
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• 2011

It is the basic direction of revised education course to bring up the autonomous and creative Koreans to lead the 21st century. In the music education of the middle school it could be said that music program using computer is a very effective medium for learners' sake of stimulating their audio-visual sense at the same time. In this study, I will look around the facility of the computer music program and tried to find the application method to connect the creative learning activity in music class. And I will also show the application method in the musical activity area. For this, I proposed the method for students' creative learning activity in the middle of using Finale 2010 for music notation, Window Moviemaker for image editing and Goldwave for sound editing.

• 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.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.11
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• pp.437-442
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• 2016

The marriage between music and film, both temporal art forms, demands that the inherent aspects of note in each medium are brought into correspondence within a dramatic context. In film-making, the most crucial and difficult problem a film composer faces is finding the music that seems absolutely right for the film and its characters, sequences and dramatic lines. When writing a film score, composers become musical dramatists; some have a special instinct that enables them to find the right kind of melodic line, orchestral texture, rhythmic device and musical style to bring out what they intuitively recognize as the essential aspect of the drama. In this study, several examples are cited - Alex North, Hugo Friedhofer, Bernard Herrmann and David Raksin - that underline this kinetic function of music in film. Effort is made to uncover as many possibilities as possible, so as to arrive at a better understanding of how the two media interrelate for the purpose of emphasizing the dramatic lines.

• The Transactions of the Korea Information Processing Society
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• v.7 no.12
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• pp.3762-3774
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• 2000

The advances of computer hardware and information processing technologies raise the needs of multimedia information retrieval systems. Up to date. multimedia information systems have been developed for text information and image information. Nowadays. the multimedia information systems for video and audio information. especially for musical information have been grown up more and more. In recent music information retrieval systems. not only the information retrieval based on meta-information such like composer and title but also the content-based information retrieval is supported. The content-based information retrieval in music information retrieval systems utilize the similarity value between the user query and the music information stored in music database. In tbis paper. hence. we developed a similarity computation algorithm in which the pitches and lengths of each corresponding pair of notes are used as the fundamental factors for similarity computation between musical information. We also make an experiment of the proposed algorithm to validate its appropriateness. From the experimental results. the proposed similarity computation algorithm is shown to be able to correctly check whether two music files are analogous to each other or not based on melodies.

• Proceedings of the KAIS Fall Conference
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• 2010.11b
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• pp.624-627
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• 2010

20세기 재즈의 흐름에서 특히 주목할 만한 인물은 마일즈 데이비스로 그의 독창적인 시도와 새로운 접근방식은 현대 음악에도 많은 영향력을 발휘하고 있다. 어느 분야에서건 그 흐름을 주도하는 인물들은 시대적 배경과 무관하지 않다. 흐름을 주도한다는 것은 현재 없던 것을 새로이 선보인다는 개념이 아니라 과거에 있었던 것을 다르게 접근, 발전시킨다는 것이 타당할 것이다. 이 연구에서는 마일즈 데이비스가 보여주었던 수많은 시도 중에서 Nefertiti 라는 특정 곡을 중심으로 20세기 초에 에즈라 파운드를 중심으로 영국과 미국에서 형성되었던 이미지즘과의 연관성을 논하고자 한다. 음악과 문학은 항상 그 시대의 흐름과 무관하지 않았고 독창적인 예술가와 작가의 세계를 연결시켜보는 것 또한 커다란 의미가 있으리라 본다.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.321-322
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• 2017

이 연구는 작품분석을 통해 작품에서 나타난 모던댄스(modern dance)와 컨템포러리댄스(contemporary dance)의 차이를 분석하고 논의하는 것을 목적으로 두었으며, 그 결과 모던댄스와 컨템포러리댄스를 움직임, 음악, 무대미술 이라는 세 가지의 키워드로 나뉠 수 있었다. 크게 모던댄스는 신체의 확장, 서정적인 분위기의 음악, 근육의 섬세한 움직임을 통한 춤의 본질을 표현하게 되었고, 컨템포러리댄스는 신체의 분절, 전자음과 강한 비트, 정형화 되지 않은 조명과 락 콘서트를 연상하는 이미지를 연출할 수 있었다.

• Proceedings of the Korea Information Processing Society Conference
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• 2001.04a
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• pp.213-216
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• 2001

본 논문은 심리음향모델과 주파수변환을 이용하여 MP3 와 AAC 의 압축에서 강인하게 살아남을 수 있는 디지털 오디오 워터마킹 알고리즘에 관한 것이다. 워터마크를 의사난수열이나 이미지 등 외부 정보를 이용하지 않고 원본음악으로부터 생성시킨다는 것이 본 논문의 가장 큰 특징으로 원본 오디오로부터 생성된 워터마크는 음악과 융합되어 워터마크의 삽입여부를 일반인의 청각으로는 인식할 수 없다.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.26-33
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• 2014

From a film esthetic point of view, this paper deals with all the sound elements which are speech, noise, and music for the signification of sound in Hitchcock's . The speech makes a mental image auditory through voice-over, and sometimes it has the indiscernibleness of life and death to be incarnate. This paper has demonstrated that the noise also can mark punctuation-narrative boundary besides visual techniques pointed out by Metz, and it cites the sound of falling water which completes shower scene, offsetting a scream in audience's mind. In the music, desire and oppression are symbolized and they are making a dissonance. Upon occasion, the coexistence of two chords represents duplicity in Norman-mother. Also, the music may disappear in the way of silence, being mummified in the time paused. Thus, the common filmic signification of sounds in can be called reconceptualization of the image.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.87-95
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• 2013

"Gone with the wind"(1939, Directed by Victor Fleming) was produced in the stylistic conventions of the classical hollywood cinema, and thus the musical employment also followed the norms of the style, such as late Romantic musical style, serving the narrative, signifier of emotion, and giving continuity and unity. But, at the same time, the statement of the classical theory that the music hides and tailors itself to support the drama - invisibility, inaudibility, narrative cuing and so on - does not seem to explain the musical employment of "Gone with the wind." On the contrary, it hires music to put itself forward, and often times it stops the narrative to show musical spectacles for which the image is tailored to fit the music. These are more of music theatre or music drama features rather than the conventional underscore of the films in that period. In this study analysed the musical employment of "Gone with the wind" to see how it took full advantage of music to lead the narrative in a more active way and to make musical spectacles, by borrowing the technique and style of music theatre, such as, overture and entr'acte, similarities with film musicals, Wagnerism influence, and the use of songs.