• Journal of Korea Multimedia Society
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• v.4 no.5
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• pp.414-422
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• 2001

This paper proposes a classifier of music genre using time delay neural network(TDNN) fur an audio data retrieval systems. The classifier considers eight kinds of genres such as Blues, Country, Hard Core, Hard Rock, Jazz, R&B(Soul), Techno and Trash Metal. The comparative unit to classify the genres is a melody between bars. The melody pattern is extracted based un snare drum sound which represents the periodicity of rhythm effectively. The classifier is constructed with the TDNN and uses fourier transformed feature vector of the melody as input pattern. We experimented the classifier on eighty training data from ten musics for each genres and forty test data from five musics for each genres, and obtained correct classification rates of 92.5% and 60%, respectively.

• Explosives and Blasting
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• v.26 no.1
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• pp.39-48
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• 2008

Using Electronic Detonators which is well known for controlling vibration, we have been studying Orchestra Blasting Method, OBM, for many years to transform the unpleasant blasting sound to favorable sound in some job-sites such as tunneling and bench blasting which have to been taken place near some structures needed great care. In this study, we focus on rhythmical sense. First, we acquired individual wave from a shot. With the program named the Program Blasting Wave, PBW, it was analyzed and found that its best delay time was 34ms and 50ms was acceptable. Also, delay time was fitted into the music which was accepted after analyzing the rhythm. As a result, the blasting sound along with the music felt comfortable as if the music was played with base drum.

• The Journal of the Acoustical Society of Korea
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• v.23 no.2
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• pp.146-161
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• 2004

There have been always some difficulties in target setting and conditioning of acoustic performances of the Korean traditional music hall due mainly to the lack of the information on the sound radiation characteristics of Korean musical sources. In this study, the radiation characteristics of four typical Korean traditional musical sources were investigated in precision and their usage was demonstrated: The selected musical sources were Gayageum (string), Daegeum (woodwind), Jango (drum), and Pansori Chang (vocal performance). Each sound source was located at the center of a semi-anechoic chamber and the directivity was determined by the measured sound pressure levels in every 10° angular position, for both vertical and horizontal directions. The directivity pattern of Gayageum varies from a uniform to a complex pattern having many side lobes with the increase of frequency. The main radiation of Daegeum is toward the upward direction. The directivity pattern of Jango is clearly a side-oriented one and the left direction intensity is sharper than its right side at low frequencies. For the Chang, the directivity pattern change from a uniform pattern to a frontally directed one as the frequency goes high. Measured directional and spectral characteristics of traditional Korean music sources were implemented into the computation of architectural acoustic measures for the Busan National Korean Traditional Music Hall which is under construction. Parameters such as RT, SPL, C80, IE, STI were calculated at two receiver positions by using a ray tracing technique. Significant differences in the acoustic measures at receiver positions were observed between the results in using the omni-directional source and the directional one. It is thought that the suggested source data and design method can be used as a basic reference in the future acoustic design of performance halls for the Korean traditional music.

• The Journal of the Acoustical Society of Korea
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• v.24 no.8
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• pp.469-480
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• 2005

There have been always some difficulties in target setting and conditioning of acoustic performances or the Korean traditional music hall due mainly to the lack of the information on the sound radiation characteristics of Korean musical sources. As the 2nd experiment succeeding the previous study[1], the radiation characteristics of eight typical Korean traditional musical sources were investigated if precision. The selected musical sources were Geomungo, Haegeum (string), Piri, Taepyeongso (woodwind), Buk, Kwaengguari, Jing (drum), and male Pansori Chang (vocal Performance). The results show that the directivity pattern of each instrument is different and has their own directivity characteristics. Measured directional and spectral characteristics of traditional Korean music sources were implemented into the computation of architectural acoustic measures. Significant differences in the acoustic measures at receiver positions were observed between the results in using the omni-directional source and the directional one. In order to investigate the acoustical characteristics of the instruments depending on the spatial variation four different shapes of halls were introduced including rectangular, fan. horse-shoe and geometrical shapes. Room acoustical parameters such as RT, SPL, C80, LF, STI were calculated at each type or hall. As the results, It was found that the rectangular hall has the most high clarity. lateral energy and STI values among low shapes of halls. It is thought that the suggested source data and design method can be used as a basic reference in the future acoustic design of performance halls for the Korean traditional music.

• The Journal of the Acoustical Society of Korea
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• v.28 no.1
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• pp.1-9
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• 2009

This paper deals with the realization of multi-channel live karaoke. In this study, 6-channel MP3 decoding and tempo/key scaling was operated in real time by using the TMS320C6713 DSP, which is 32 bit floating-point DSP made by TI Co. The 6 channel consists of front L/R instrument, rear L/R instrument, melody, and woofer. In case of the 4 channel, rear L/R instrument can be replaced with drum L/R channel. And the final output data is generated as adjusted to a 5.1 channel speaker. The SOLA algorithm was applied for tempo scaling, and key scaling was done with interpolation and decimation in the time domain. Drum channel was excluded in key scaling by separating instruments into drums and non-drums, and in processing SOLA, high-quality tempo scaling was made possible by differentiating SOLA frame size, which was optimized for real-time process. The use of 6 channels allows the composition of various channels, and the multi-channel audio system of this study can be effectively applied at any place where live music is needed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.143-150
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• 2019

Playing musical instruments has long been a hobby enjoyed by many, whether amateur or professional. However, a lot of long and arduous practice is required if one wants to acquire the skills of musical artist and truly enjoy the pleasure of playing. This repetitive and tedious practice is often a hindrance to the process of learning a musical instrument, and numerous educators have put a lot of research and effort into making the process easier and more fun for students. In addition, various media practice tools are being developed to keep the students engaged and having fun. The core elements of this content primarily include controlling the speed of backing tracks in accordance with the skill level of students and providing a backing ensemble that enables them to enjoy the fun of playing. This paper studies and compares various MIDI playback techniques capable of controlling speed and pitch in smartphone applications. Modern applications of these techniques are seen in music educational contents, as well as entertainment contents. It also discusses the development and launching of Upbeat, a drum-loop metronome that automatically increases speed by applying different techniques to its respective smartphone operating systems, Android OS and iOS.

• Journal of Music and Human Behavior
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• v.20 no.1
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• pp.75-97
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• 2023

This study aimed to investigate the effect of cognitive-motor interaction-based instrument playing on the early social skills of children with autism spectrum disorder (ASD). Nine children with ASD, averaging 5.6 years of age, participated in twelve individual sessions lasting 30 minutes each. The intervention comprised five stages: self-regulation, motivation to engage in social interaction, acceptance of a partner in co-playing activities, interpersonal coordination with a partner, and engagement in joint music playing. To evaluate changes in early social skills, joint attention and social interaction behaviors were observed, and the Social Responsiveness Scale (SRS-2) was administered pre- and post-intervention. Social synchronization was measured through a dyadic drum task, measuring synchronization accuracy, duration, and timing. Following the intervention, all nine children demonstrated increased early social behaviors, although there were no significant differences in SRS scores. Moreover, synchronized movement improved significantly in accuracy and maintained duration but not in reaction time. This study highlights the significance of recognizing the cognitive-motor interplay as crucial element in facilitating early social skills development in children with ASD.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.5-42
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• 2005

Based on a field investigation of intangible cultural asset # 2, author Sir Shin Seok-bong of Daejeon Metropolitan Cityinvestigated the music of Antaek-gut, which is the base and core of Anjoon-gut, and found the following musical features: A Jang-gu(drum) and Kkoaengkwari(gong) were used to recitethe Sutra(kyungmoon) of Anjoon-gut. The Jang-gu, located on the right side, played an accompaniment role with regular beats when the Sutra was recited. The Kkoaengkwari, located on the left side, played the role of covering the caesura of the Sutra passages, so it is played with various rhythmic variations in accordance with Kojang(鼓杖). This is one way of playing Korean national classical music that has temporary caesuras, depending on the rector's bre! ath or the contents of a Sutra during the Sutra chanting, with the Jang-gu covering the pause with its variation. In other words, when being played in concert, the instruments that play the main melody are at rest while another instrument takes its turn to play the main melody as a form of prolonged sound. The rhythmic cycles of the sutras of Antaek-gut recited with this instrumental accompaniment consist of five types; a) Woemarch-jangdan (a single beat) of 4 meter by 3 bit, b) Dumarch-jangdan (two beats) of 8 meter by 3 bit, c) Saemarch-jangdan (three beats) of 4 meter by 3 bit with a fast tempo, d) Mak-gojang, uniform beats with a standardized rhythm, and e) incomplete beats deviated from the regular beats. Sir Shin Seok-bong chanted Chang (唱), a traditional native song which he called 'Cheong (淸)' with a cycle of 'Dumarch-jangdan' throughout the places of Antaek-gut. Only 'Toesonggyung' a chant for the gate that was the last location of the Antaek, was chanted with a cycle of 'Woemarch-jan! gdan'. In addition, 'Saemarch-jangdan' and 'Mak-gojang' that had comparatively faster tempos than the former two jangdans, were played without a chant when a female shaman was dancing and catching her spirit-invoking wand. The 'Saemarch-jangdan', particularly, was played while dancing began at a relatively slow tempo, then proceeded at a violent tempo and then back again to the slow tempo. This shows one of the representative tempos of our music with a slow-fast-slow tempo. The organizational tones were 'mi-la-do'-re'', and its key tones of 'mi-la-do'' were performed with perfect fourth and minor third, which was the same as those of Menari-tori. However, it did not show a typical Sigimse, an ornamental tone, of Menari-tory, whose first tone, 'mi', is vibrated and its Sigimse is gliding down from the tone 're' to 'do'. That is because the regional tone-tori of Chungcheong-do have a relatively weaker musical expression than that of Gyeongsang-do. In addition, the rhythmic types in accordance with the words of a song for the Antaek-gut music had a comparatively faster tempo than the other sutras. Also, it was only with 'Toesonggyeong' that the tone 'la' continuously appeared throughout the melody and showed 'a syllabic rhythm', while other places consisted of either a 'syncopation' or 'melismatic' rhythm. Finally, according to a brief investigation of the tone organization in accordance with each sutra, the tone 'la' was given more weight. The tone procedure showed a mainly ascending 'la-do'' and the descending 'la-mi' with minor third and perfect fourth. Also, the overall tempo proceeded with M.M.♩.=116-184, while the tempo for the Gut proceeded with M.M.♩.=120-140, which was suitable for reciting a Sutra.

• The Journal of the Acoustical Society of Korea
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• v.28 no.8
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• pp.697-705
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• 2009

An unsupervised (blind) method is proposed aiming at extracting rhythmic sources from commercial polyphonic music whose number of channels is limited to one. Commercial music signals are not usually provided with more than two channels while they often contain multiple instruments including singing voice. Therefore, instead of using conventional modeling of mixing environments or statistical characteristics, we should introduce other source-specific characteristics for separating or extracting sources in the under determined environments. In this paper, we concentrate on extracting rhythmic sources from the mixture with the other harmonic sources. An extension of nonnegative matrix factorization (NMF), which is called nonnegative matrix partial co-factorization (NMPCF), is used to analyze multiple relationships between spectral and temporal properties in the given input matrices. Moreover, temporal repeatability of the rhythmic sound sources is implicated as a common rhythmic property among segments of an input mixture signal. The proposed method shows acceptable, but not superior separation quality to referred prior knowledge-based drum source separation systems, but it has better applicability due to its blind manner in separation, for example, when there is no prior information or the target rhythmic source is irregular.

• Korean Journal of Heritage: History & Science
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• v.50 no.1
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• pp.78-117
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• 2017

Buddhism, which was subject to repression all over the early Joseon Dynasty, received a certain recognition from the state, because Buddhist monks had participated in the war of the Japanese invasion in 1592. On the other hand, however, one of the results was the destruction of many temples. In the late Joseon Dynasty, the Buddhist monks themselves acted as players of Pungmul(people's percussive band music) for the rebuilding of Buddhist temples. These so-called "the Buddhist monks' Pungmul" is the imitation of former clowns' Pungmul and farmers' one that sometimes request money or rice at houses of villages. In the late Joseon Dynasty, the activities of the Buddhist monks' Pungmul were held all over the country. Today, there are "Bitnae Nongak(farmers'percussive band music)" in Kyeongsangbuk-do, "Beokku-noli(the drum play) in the areas of Yeosu and Gangjin in Jeollanam-do, the song of the Buddhist monks' Pungmul for the people's house spirits in the Gyeonggi-do, Gangwon-do and Chungcheong-do, and Namsadang-pae(the nomadic entertaining groups composed of only men), as clear pictures of it. In these things related to Nongak or Nongak relevant affairs, the shapes of the Buddhist monks' Pungmul in the late Joseon Dynasty remain clear. On the other hand, today the Namsadang-pae, which was formed as a result of Buddhist monks' Pungmul in the late Joseon Dynasty, was left only in the Chungcheong-do and Gyeonggi-do, because the temple construction in the Gyeonggi-do was made especially many in the late Joseon Dynasty. During the late Joseon Dynasty, the Buddhist monks' Pungmul, which had long-lived and had taken place throughout the nation, had a great impact on Pungmul. There are the Buddhist elements, such as Gokkal(the Buddhist monk's peaked hat), paper flowers, the color band, the small drum, and Bara(small cymbals) are often found in the Pungmul of Korea. In the late period of the Joseon Dynasty, it is obviously important place in the Pungmul history of Korea. Research and studies on this subject should be made more in the future.