• Journal of information and communication convergence engineering
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• v.2 no.4
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• pp.233-236
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• 2004

This paper shows the easy way to composite a music for non-musicians. Namely, only select a chord and put it to special program which called "the chord composition program", and then the composition program creates the rest chords. After doing this process, non-musicians overwrite their own melodies in accordance with created chords. Finally, they can perform their own music with the sound of master-keyboard and other sound sources by using the band-in-a-box program.x program.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.53-54
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• 2015

Optical music recognition (OMR) systems have been developed in recent years. However, chord symbols that play a role in a music sheet have been still disregarded. Therefore, we aimed to develop a proper approach to recognize these chord symbols. First, we divide the image of chord symbol into small segments in horizontal by a method based on vertical projection. Then, the optimal combination of these segments is found by using a lexicon-driven word scoring technique and a nearest neighbor classifier. The word that corresponds to the optimal combination is the result of recognition. The experiment gives an impressive result with accuracy 97.32%.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.739-743
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• 2008

In this paper, we introduce a method for automatically generating accompaniment music, according to user's input melody. The initial accompaniment chord is generated by analyzing user's input melody. Then next chords are generated continuously based on markov chain probability table in which transition probabilities of each chord are defined. The probability table is learned according to reinforcement learning mechanism using sample data of existing music. Also during playing accompaniment, the probability table is learned and refined using reward values obtained in each status to improve the behavior of playing the chord in real-time. The similarity between user's input melody and each chord is calculated using pitch class histogram. Using our method, accompaniment chords harmonized with user's melody can be generated automatically in real-time.

• Journal of the Korean Institute of Telematics and Electronics
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• v.22 no.5
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• pp.10-16
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• 1985

In this paper, a computer vision system, which catches printed music score image using CCTV camera and microcomputer, and then recognizes the image and performs tar music with speaker, is discussed. Integral projection method is adopted for feature detection and recognition of the music score image. The range of recognition is con(ined to staffs, perpen-dicular lines and musical notes including chord notes among the various kinds of elements of music score. The practical recognition algorithm considering noises, the preprocessing processes getting rid of noises are also showed, and simple hardware system playing chord is made, In the results, good recognition ratio and performance are obtained.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.63-73
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• 2021

This study aims to analyze music of Yoon-sang, as a part of musical research, which is the most fundamental approach among academic studies on Korean popular music. Yoon-Sang is a representative composer, who has gone through the 1980s to the present. The result of analysis of 21 songs created by Yoon-Sang showed that his songs are mostly characterized by tonal music, in which chord relationships develop focusing on keynotes. The reason why his music does not sound uniform pursuing stability is he properly added the progression of chromatic chords, based on diatonic chords and melodies. Dominant 7th chord and diminished 7th chord are used the most among diverse techniques adding chromatic colors. Along with these chords, chromatic intervals are used not only in chord progression but also in melodies. The successive, ascending or descending movement of the base line is his common composition and arrangement technique revealed in every song. One of formal changes with the stream of the times is that the number of measured in the pre-chorus and interlude that were of great importance in his songs of the 1990s decreased over time. With regard to harmonic changes, whereas modulation between parts was applied to his 2 songs created in the 2010s. Yoon-Sang's music had one strong tonality overall, but his music began to have more than two tonalities starting the 2010s, and this is a big variation in his music.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.11
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• pp.80-85
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• 2016

Pat Metheny debuted in 1976 and attracted the public beyond his genre in jazz by committing experimental and various music. His 50 albums have been recognized with musicality and artistry by winning 20 Grammy Awards and being awarded a Gold Disc 3 times. Therefore, his music cannot be expressed merely with the single word 'jazz'. In basic harmonics, there are distinct chords between major chord and minor chord. For example, Ionian Scale and Lydian Scale are used in major chord and Dorian Scale, Phrygian Scale, and Aeolian Scale are used in minor chord. It is also common to use m7b5 chord in Locrian Scale. However, after analyzing Pat Metheny's scale, he made Lick using Dorian Scale in major chord or using Lydian Scale in minor chord. In Dominant chord that can use various six scales, he often used Dorian Scale or Lydian Scale surprisingly. In some measures, he made Lick using Ionian Scale and Lydian Scale. In this case, since the whole atmosphere of that measure simultaneously expresses both the bright feeling of major and the lonely feeling of minor, it arouses a very special atmosphere. In addition, he brought 12-measure pattern and made Lick not using blues scale but often using Ionian Scale, Lydian Scale, and Mixo-Lydian Scale.

• International Journal of Contents
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• v.12 no.4
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• pp.53-61
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• 2016

Although extensively developed, optical music recognition systems have mostly focused on musical symbols (notes, rests, etc.), while disregarding the chord symbols. The process becomes difficult when the images are distorted or slurred, although this can be resolved using optical character recognition systems. Moreover, the appearance of outliers (lyrics, dynamics, etc.) increases the complexity of the chord recognition. Therefore, we propose a new approach addressing these issues. After binarization, un-distortion, and stave and lyric removal of a musical image, a rule-based method is applied to detect the potential regions of chord symbols. Next, a lexicon-driven approach is used to optimally and simultaneously separate and recognize characters. The score that is returned from the recognition process is used to detect the outliers. The effectiveness of our system is demonstrated through impressive accuracy of experimental results on two datasets having a variety of resolutions.

• The Journal of the Korea Contents Association
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• v.15 no.3
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• pp.1-10
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• 2015

Generating chord score based on melody is essential for composition and arrangement, while it is picky for amateurs who do not have harmonics knowledges. To solve this problem, we developed automatic chord score generating program, ACGP. Based on genetic algorithm, it successfully reflects diverse hormonic factors and the mood of the music. User interface was also implemented so that anyone can use the program conveniently. Additional analysis was conducted to prove the utility of ACGP.

• Proceedings of the KAIS Fall Conference
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• 2009.12a
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• pp.115-117
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• 2009

대부분의 화성학 교재의 첫머리에 소개되는 배음은 그것이 가진 음악적 가치를 간과하고 과학적 수치에 근거한 자연적 현상으로 다루어지는 경향이 있다. 따라서 본 논문을 통해 배음이 가진 음악적인 중요성을 메이저 스케일의 Diatonic Chord와 Chord Scale을 중심으로 재조명 하고자 한다.

• 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.