• Journal of the Korean Home Economics Association
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• v.41 no.10 s.188
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• pp.75-84
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• 2003

The purpose of this study was to examine the effect of listening to music during musical activities on children's development of tone recognition and sense of rhythm. The subjects were total sixty 4-years-olds from two classes of thirty. The children were divided into two groups, experimental and control. Before the experimental procedures, a pre-test was taken to evaluate the level of tone recognition and sense of rhythm of the children. Cordon's 'Audie' was employed and used to measure the difference of tone recognition and sense of rhythm. Then, the activity of listening to music was applied to the experimental group for ten weeks. For the experimental group, the musical activity was selected based on the themes of our tfe which was related to the weekly and yearly teaching plan. One the other hand, no musical activity was provided for the control group. After the experiment, a post-test was carried out using the same methodology of pre-test. Data were analysed by ANCOVA test. Results showed that there was a statistically significant difference in the development of tone recognition and sense of rhythm between the experimental group and the control group.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.393-399
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• 2006

음악을 들을 때 사람이 인지할 수 있는 긴장감을 뜻하는 텐션(tension)은 조성음악의 기본을 이루는 중요한 요소이다. 본 논문에서는 임의의 곡의 텐션의 움직임을 B-스플라인 곡선을 이용하여 표현하고 이 곡선을 수정하여 음악의 긴장도를 조정할 수 있는 방법을 제안한다. 먼저, 우리는 음악에서 사용되는 다양한 코드들의 긴장도를 측정하는 방법세 가지를 제안한다. 첫 번째는 러달이 제시한 5도권 기반의 코드 거리 측정방식을 개량한 것이며, 두 번째는 츄가 제시한 나선형 모델의 거리 측정 방식을 응용한 것이며, 세 번째는 크럼한슬이 제시한 특정한 조성에서 각 구성 음들의 안정도와 구성 음들 사이의 음정의 조화성을 이용한 방법이다. 이 방법들을 이용하여 우리는 음악이 지니고 있는 긴장도를 수치적으로 나타낼 수 있다. 다음으로 B-스플라인 곡선을 이용하여 전체 곡의 텐션의 움직임을 표현한다. B-스플라인 곡선으로 표현된 텐션 곡선은 수정이 가해져 원곡의 긴장도를 변화시키는데 사용될 수 있다. 본 논문에서는 텐션 곡선의 높이를 이용하여 곡 전체의 긴장도를 변화시키는 방법과 스페이스-타임 최적화를 사용하여 특정 부분의 긴장도를 변화시키는 방법을 제안한다. 또한 B-스플라인 곡선을 통하여 새로운 코드 진행을 얻을 수 있는 방법을 소개한다. 게임이나 영화, 애니메이션에서 긴장되는 장면을 연출할 때 긴장감 있는 음악의 사용은 필수적인 요소이다. 본 논문에서 제안하는 방법을 통하여 음악의 긴장도라는 인지적인 요소를 B-스플라인 곡선이라는 수치적인 형태로 표현함으로써, 우리는 실시간으로 음악의 긴장도를 자동적으로 변화시킬 수 있다. 따라서 본 논문에서 제안하는 방법은 게임 같은 인터렉티브한 환경에서 사용자의 몰입성을 증가시키는 방법으로 특히 효과적으로 사용될 수 있다.

• Journal of Music and Human Behavior
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• v.15 no.2
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• pp.23-39
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• 2018

The purpose of this research was to investigate the effects of respiratory rehabilitation using a wind instrument for patients suffering from spinal cord injuries. From January 15, 2018 to April 15, 2018, we conducted ten 1-hour sessions of a harmonica program with eight patients with spinal cord injuries with average age of 37 years who could not perform abdominal breathing by themselves. We measured and compared patients' breathing capacity before and after the 10 sessions. Designed particularly for patients with spinal cord injuries resulting in a limited range of neck movement, the study used a 10-hole diatonic harmonica whose length was relatively short. For those patients who had difficulty using their hands, a harmonica holder was provided. Participants were trained to play simple tunes. They were guided to use abdominal breathing to make sounds, with emphasis on those parts requiring long and strong breathing. The results showed that for all eight patients both their breathing volume and their inspiratory volume increased following participation in the harmonica program. Also, the program had psychological benefits (e.g., more life satisfaction and less sadness) and additional physical benefits (e.g., less dizziness due to low blood pressure and better phlegm spitting). This study offers a unique way to help patients with spinal cord injuries to improve their breathing capacity, which may also be associated with a greater quality of life.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.65-74
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• 2015

This study is dealing with sound of Hitchcock's movie <The Man Who Knew Too Much (1956)> from Peirce's semiotic perspective. This paper examined Peirce's theory prior to semiotic discussion, and analyzed the three elements of sound(speech, noise, music) depending on the type of sign that he presented. Music is possible to express emotions as an index through intervals. The instrument sound under firstness works as the element of narrative and it may be a dynamic object, transferred to the dicisign of secondness. Also, a word in speech is possible to represent an object allusively through an icon in the film. Noise and music as an index are serving to increase the tension of film. Meanwhile, two different genres of music on the juxtaposition are in charge of narrative function as a dicisign. Thus, Hitchcock's sound has various semiotic qualities of signification depending on the context.

• Journal of the HCI Society of Korea
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• v.1 no.1
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• pp.1-8
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• 2006

We suggest a graphical representation of the tension flow in tonal music using a piecewise parametric curve, which is a function of time illustrating the changing degree of tension in a corresponding chord progression. The tension curve can be edited by using conventional curve editing techniques to reharmonize the original music with reflecting the user's demand to control the tension of music. We introduce three different methods to measure the tension of a chord in terms of a specific key, which can be used to represent the tension of the chord numerically. Then, by interpolating the series of numerical tension values, a tension curve is constructed. In this paper, we show the tension curve editing method can be effectively used in several interesting applications: enhancing or weakening the overall feeling of tension in a whole song, the local control of tension in a specific region of music, the progressive transition of tension flow from source to target chord progressions, and natural connection of two songs with maintaining the smoothness of the tension flow. Our work shows the possibility of controlling the perceptual factor (tension) in music by using numerical methods. Most of the computations used in this paper are not expensive so they can be calculated in real time. We think that an interesting application of our method is an interactive modification of tension in background music according to the user's emotion or current scenario in the interactive environments such as games.

• The Journal of the Acoustical Society of Korea
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• v.40 no.6
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• pp.615-625
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• 2021

Prior to proposing appropriate standard for subway station platform, this study conducted field measurements to examine characteristics of room acoustics on platform of two subway stations. As a result of analyzing the longitudinal length of the platform, Sound Pressure Level (SPL) decreased (maximum difference : 14 dB), Reverberation Time (RT) tended to increase (maximum difference of 0.8 s ~ 1.5 s), and C50 and D50 were decreased (maximum difference: 5.9 dB ~ 9.1 dB and 31.8 % ~ 37.6 %, respectively) as measurement positions moved away from the sound source. The Interaural Cross-correlation Coefficient (IACC) did not show clear tendency, but it was lower than 0.3 in entire points. It is judged that the subway platform has non-uniform sound field characteristics due to various combinations of direct and reflective sound even though it is finished with a strong reflective material.This indicates that the room acoustic characteristics of the near and far sound field are clearly expressed depending on the source-receiver distances in the subway platform having a long flat shape with a low height compared to the length.Therefore, detailed architectural and electric acoustic design based on the characteristics of each location of speaker and sound receiver in the platform is required for an acoustic design with clear sound information at all positions of the platform.