• 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 Music and Human Behavior
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• v.12 no.1
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• pp.23-42
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• 2015

This study investigated the harmonic preference of children and adolescents depending on age and musical training. A total of 684 primary and secondary school students participated in this study. For this study, a four-measure melody was composed and constructed in four levels of harmonic complexity, determined by the rate of nonharmonic notes used and immediacy of harmonic resolution. Participants rated the degree of their perceived complexity and their preferences after listening to each musical stimulus. Ratings from the participants were analyzed in terms of the effect of age and the length of musical training. The results showed that younger students demonstrated little to no change in their preference regardless of the complexity level. Middle and high school students showed significantly decreased preference with increased harmonic complexity. High school students with more musical instrument training perceived changes in harmonic complexity more sensitively and showd higher level of optimal complexity. Younger students was affected by musical training relatively less than older students. This study presents the baseline data to be considered when determining the appropriate level of harmonic complexity for music appreciation of young population.

• Journal of Music and Human Behavior
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• v.12 no.1
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• pp.1-21
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• 2015

This study examined the effects of a tablet PC-based music-making program on the executive function of adolescents with intellectual disabilities. Four adolescents with intellectual disabilities participated in this program. Each participant received 45-minute individual sessions twice a week for a total of 16 sessions. The music-making program was designed in the sequence of planning; learning table PC operations; exploring musical elements; making rhythm, melody, and lyrics; composing loop sections; and presentation of the completed music. The Stroop test, Children's Color Trails Test, and Digit Span and Letter-Number sequencing tests were measured at pretest, midtest, and posttest in order to examine changes in executive function. The participants showed increased scores on all three tests. The participants' attention span also increased and their attempts to correct errors during tasks occurred more frequently at posttest. This study supports the effects of the technology-based program on the executive function of adolescents with intellectual disabilities and presents its expanded applicability for adolescents who show low cognitive function and limited motivation for cognitive engagement.

• Journal of Music and Human Behavior
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• v.3 no.1
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• pp.63-76
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• 2006

Melody is defined as adding spatial dimension to the rhythm which is temporal concept. Being able to understand melodic pattern and to reproduce the pattern also requires cognitive skills. Since 1980, there has been much research on the relationship between academic skills and music cognitive skills, and how to transfer the skills learned in music work to the academic learning. The study purported to examine various research outcomes dealing with the correlational and causal relationships between musical and academic skills. The two dominating theories explaining the connection between two skills ares are "neural theory" and "near transfer theory." The theories focus mainly on the transference of spatial and temporal reasoning which are reinforced in the musical learning. The study reviewed the existing meta-analysis studies, which provided evidence for positive correlation between academic and musical skills, and significance of musical learning in academic skills. The study further examined specific skills area that musical learning is correlated, such as mathematics and reading. The research stated that among many mathematical concepts, proportional topics have the strongest correlation with musical skills. Also with reading, temporal processing also has strong relationship with auditory skills and motor skills, and further affect language and literacy ability. The study suggest that skills learned in the musical work can be transferred to other areas of learning and structured music activities may be every efficient for children for facilitating academic concepts.

• Phonetics and Speech Sciences
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• v.12 no.1
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• pp.75-83
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• 2020

The purpose of this study was to examine how a singing program using self-voice monitoring for children with cochlear implants (CI) influences on the intonation and the accuracy of pitch production. To verify and estimate the effectiveness, a program was conducted with participants of 7 prelingual CI users, whose aged between 4 years and 7 years. The program adopted three stages from the self-voice monitoring: Listen, Explore, and Reproduce (LER stage). All participants received 8 singing sessions over 8 weeks, including pre-test, intervention, and post-test. For the pre and post-test, participants' singing of an excerpt of a song "happy birthday" and speaking three assertive sentences and three interrogative sentences were recorded and analyzed in terms of the intonation slopes at the end of the sentences and the melodic contour. From the sentence speeches, we found that the intonation slopes of the interrogative sentences significantly improved as they showed similar patterns with that of the average normal hearing group. Also, in regard to singing, we observed that the melody contour had progressed, as well as the range of pitch production had extended. The positive result from the intervention indicates that the singing program was effective for children with CI to develop the intonation skill and accuracy of pitch production.

• (The) Research of the performance art and culture
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• no.39
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• pp.133-165
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• 2019

This paper tried an approach of oral literature as the research subject of Soeburi song in Ulsan. First, UlsanSoeburi song is meaningful as materials collected in Ulsan such as Hansil, Dodoekgol, Dudong and Byeongueong. In addition, it is related to regional identity as song native to Ulsan, which has prototype and archetype. And it shows that Ulsan is the city as well as hometown of Soeburi(meaning ' iron manufacture'). The characteristics of lyrics are different between Hansil Soeburi song and Dodeokgol Soeburi song. Jeiman Choi is considered as a good oral literature poet, because he is a performer who is faithful in official structural principal and in original lyrics(archetype) of Soeburi song. Therefore, SoeburiBulmei song of Jeiman Choi signifies aesthetic meaning, having lyrics which make to feel labor's purity and sacred and melody which overcomes labor's difficulty through united action. On the other hand, SoeburiBulmei song of Dalo Kim in Doseokgol shows that he is a extemporaneous performer even though he performs based on official structural principal. In this paper, transmission and changes of UlsanSoeburi song are divided into basic type, frequent shift type and overall type. 'Basic type' originates from Jeiman Choi's Soeburi song in Hansil. 'Frequent shift type' was created by combining SoeburiBulmei song of Dalo Kim in Doseokgol and SoeburiGeumjul song in Ulsan. 'Overall type' is current Soeburi song, which was created by adding Bulmei song for lulling a baby in Byeongueong near Dalcheon region and Seoknyanggan(smithy) Bulmei song. UlsanSoeburi song is being passed down continuously, strengthening the identity as a representative folk song in Ulsan through endless process of transmission and changes.

• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.

• Sijohaknonchong
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• v.24
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• pp.223-258
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• 2006

This Research is about the classification of 'Sijochang', or the Korean ode narrative song, in terms of music. Contrary to the literature classification by the number of letters, sijochang varies with the melody. Literally, the classification is generally made as Dansijo(or short ode) Jungsijo(or medium ode) and Jangsijo(or lengthy ode) but the sijochang is normally divided into 'Pyongsijo' (or plain ode), 'Jirumsijo and Saseolsijo'. As while the same Sijochang is called under the different names, the different type of sijochang is also called as the same name, it needs the discussion about its name. Some Korean classical musicians have attempted to define it but they are trying to do it without the specific reasoning about its concept. As a result, the systematic research is required. This study designs to streamline the currently confusing and complex names and set up the sijo's classification system. After reviewing the ancient music note, current sijo score and the traditional theory, I largely classified it into 3 types: Pyongsijo, Jirumsijo and Saseolsijo. And then, 1 analyzed on to which type the sijochang which is presently called belongs, based on several principles. The 67 names of the sijo which I have investigated about are classified with them sharpy reduced into 16. Among the current sijo names. there are some which are of same type yet of different phonetics and there are others which are of different phonetics yet of same type. To avoid such complex and troublesome names, I have orchestrated them as follows, taking the literary and music concept into account. 1) Pyongsijo type : Pyongsijo, Joongherisijo, Wujosijo and Payeonkok 2) Jirumsijo type: Jirumsiro, Namchangjirumsijo(it refers to Jirumsijo sung by male ), Yeochangjirumsijo (it refers to Jirumsijo sung by female), Banjirumsijo(it refers to half the Jiumsiro), Onjirumsijo (it refers to the whole Jirumsijo), Wujojr\irumsijo, Saseoljirumsijo and Whimorisijo) 3) Saseolsijo type : Saseolsijo, Bansaseolsijo(it refers to half the Saseolsijo, Gaksijo or Pyongsiro There are still lots of things to musically streamline, in the fields of disposition of Sijo letters, its form, musical scale and influences on other genre. etc. and as such. the accumulation of theory on them is urgently required. Those musical elements need an in-depth review and study by the experts and the Korean traditional musicians. Later research is expected to play a role of exploring it.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.142-154
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• 2012

This study aimed at learning the characteristics of place identity of the Buan county hall garden and Sangsosan(上蘇山) by looking over the pattern and content of letter-engraved rocks and nearby facilities and history. Especially, we focused on the meaning and contents of the letters in Sangsosan and a Government Office of Buan engraved on rocks in order to learn what the place means. The results of our study are as follows. Buan-hyun(扶安縣) in the Joseon dynasty period blossomed literary culture of enjoying poetry and melody, and this was faithful realization of the concept of "Rakto(樂土)" of 'Saengubuan(生居扶安).' The grand scale letters written by Si-SooPark(朴蓍壽: 1767~1876), head of the office in the early 19th century, in the cursive style on the basis stone of the garden of Buan county building, which was the site of the office of Buan-hyun in the Joseon dynasty period, such as 'Bongraedongcheon(蓬萊洞天)', 'Jurim(珠林)', and 'Okcheon(玉泉)' mean that "'Bongrae', the another name of Buan', is a place where Taoist hermits would live because the spring water of Seorim flows down to be Okcheon.", showing his pride of living Buan. The regions like Seorimjeong, Geumdae(琴臺), and Hyecheon(惠泉) where letters engraved on rocks are located intensively are closely related with those who communicated with Mae-ChangLee(李梅窓: 1573~1610), the slave of the government, and are local attractions and garden traces where the literary culture and scholar's spirit of Buan are well-harmonized. Most of the letters were written from the 19th century to the early 20th century, showing that 4 for landscapes, 8 for Kyungseck(景色: imaginary scenry), 5 for figures, 15 for poems and 2 for others. The ratio of poems is much higher than that of poems in other regions' letters on rocks, and the keyword of the letters is Haecheon. A piece of the place identity heavily influenced by the Taois thermit ideology is revealed by the expressions of 'Bongraedongcheon', 'Sosansaho(蘇山四皓)' or 'the spring water of Haecheon' that was considered as an elixir of Taoist hermits. Seorim the forest, which had been managed after Yeon-Myeong Cho(趙然明: 1797~?), head of the office, planted trees in the 11th year of the reign of King Heonjong(1845), Seorimjeong in the forest, and rocks with engraved letters on them are proof of literary culture and the garden traces showing the characteristics and aspect of Imcheon(林泉) Garden of the office heavily influenced by the Taoist hermit ideology. Along with Naebyeon-san national park and Kyeokpo region, the center of Buan tourism, we hope that cultural heritages including rocks with engraved letters over Seorim park would become a representative cultural heritage and attraction of Buan.