• Korean Journal of Child Studies
• /
• v.28 no.1
• /
• pp.37-54
• /
• 2007

The purpose of this study was the development and validation of a test of young children's understanding and their ability to represent the elements of traditional Korean music. The test was reviewed by professional groups and modified by preliminary testing. In its final form, the Korean Traditional Music Ability Test(KTMAT) for 4- to 6-year-old children consists of 43 items covering understanding and ability to represent Changdan(Changdanhyung, Bak, Bbareugi and Semyeorim) and Garak(Eumjeong and Sikimshae). Item analysis, reliability and validity tests were statistically significant. The KTMAT is an evaluation tool that can be used as basic material for developing children's musical ability, and it can provide valuable information showing direction for children's Korean traditional music education.

• Korean Journal of Child Studies
• /
• v.30 no.2
• /
• pp.195-209
• /
• 2009

This study analyzed aspects of multiple intelligences related to rhythm, melody, understanding and representation of traditional Korean music. Subjects were 60 4-to 6-years-old children. Instruments were the Children's Korean Traditional Music (KTM) Ability Test (Park 2006)and Korean Multiple Intelligence Development Assessment Scale-My Young Child (MIDAS-MYC, Shearer, 1996). Data were analyzed by correlations and t-test. Findings were that (1) average scores on KTM rhythm and understandings were higher than melody and representation. (2) Traditional rhythm ability correlated most with linguistic intelligence. (3) Multiple intelligences by representation ability for KTM differed significantly in Linguistic intelligence and relationships to Naturalist, Musical, Logical-mathematical, Interpersonal, and Bodily-Kinesthetic intelligences.

• Korean Journal of Child Education & Care
• /
• v.18 no.3
• /
• pp.123-140
• /
• 2018

Objective: This research was designed to investigate how young children's musical ability and interest in Korean music and their playfulness were affected by musical play activities based on traditional children's songs. Methods: In this study, 28 five-year-old children from W childcare center in W city were divided into an experimental and a comparison group. The experimental group then took part in musical play activities based on traditional children's songs while the comparison group, even though they sang the same songs, took part in musical activities based on themes in the 'Nuri curriculum'. The average and standard deviations of the children's musical ability and interest in Korean music and their playfulness were calculated from the collected data, and ANCOVA was computed using the pre-test scores of each subject as the covariate. Results: The results showed that taking part in musical play activities based on traditional children's songs positively affected young children's musical ability and interest in Korean music and their playfulness. Conclusion/Implications: Therefore, it is suggested that such activities could be useful components for effective Korean music programs in the field of early childhood education.

• Journal of Gifted/Talented Education
• /
• v.23 no.6
• /
• pp.919-945
• /
• 2013

Exploring the conceptions of giftedness in arts is very important as the essential prerequisite to identification of giftedness and organizing the curriculum for the gifted in arts. So I have explored the conceptions of giftedness in western music, korean traditional arts(music, theatricals, dance) and ballet based on the results of various studies and cases. The three fields of performing arts mentioned above are operating in the present fields on gifted education in Korea. As the result of this study, I have converged three or four factors on main psychological constructs of giftedness in arts. The giftedness in western and korean traditional music is composed of three sub-factors: high ability in relevant domain, high creativity in general and specific areas, and high motivation including task commitment. However, the giftedness in traditional theatricals, dance, and ballet consists four sub-factors: the physical condition, high ability in relevant domain, high creativity in a specific area, and high motivation including task commitment. The internal characteristics of the gifted in arts mentioned above can be maximized through supporting external conditions like social environments including family and school, and crucial opportunity to meet the teacher who affects the development of giftedness.

• The Korean Journal of Emergency Medical Services
• /
• v.20 no.1
• /
• pp.31-39
• /
• 2016

Purpose: This study proposed an improved method of teaching cardiopulmonary resuscitation (CPR). Methods: A teaching method for CPR using a song was evaluated. To validate the effect of this teaching method, we performed a comparative reference test against a traditional CPR lecture-oriented education method. A total of 202 study participants were enrolled in this project. Half were taught by the traditional CPR education method, and the other half were taught by the alternative educational method using a song. Results: The results for those educated by the traditional lecture-oriented method showed scores of 4.84 / 6.00 (Mean of knowledge) and 70.22 / 100 (Mean of practice ability for CPR). The results for those educated by the alternative method showed scores of 5.26 / 6.00 (Mean of knowledge) and 74.13 / 100 (Mean of practice ability for CPR). The alternative educational method utilizing a song improved the results on written and practical examinations. This improvement could be attributed to the effect of music on memory circuits in the brain. Conclusion: We believe that the results of this study will help to improve the success rates of CPR.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2009.10a
• /
• pp.1059-1062
• /
• 2009

As the electronic processing of music gradually is developed, there has been growing interest in automatical input of music. As a result, various researches which input music in the computer has been studied. However, previous studies have drawbacks that only the experts can do it. In other words, if beginners would like to use traditional production program of music scores than prior knowledge is required. To resolve this, we propose system painting music scores automatically using a bandwidth of soundsource, after extracting the voice sounds created by amateurs. The System provides amateurs with convenience so that they can compose. As well as, the System provides the ability to play music that produced by the computer. By using the system, amateurs can compose using voice and simple system handling. And, they can make a music that plays desired instruments.

• (The) Research of the performance art and culture
• /
• no.37
• /
• pp.249-293
• /
• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• Journal of The Korean Association of Information Education
• /
• v.7 no.3
• /
• pp.373-387
• /
• 2003

Music production, which is a new study, has been introduced and has become part of the curricula at the university music education level in Korea. However, because of the lack of experience and depth in the subject, an effective teaching and learning atmosphere has not yet been attained. It is therefore hard to find effective teaching and learning environments through traditional curricula which deliver a simple knowledge and technique methodology. Therefore, the most important methodology for school education in music production is to domesticate not only the learning of knowledge and skills, but also to design an ability to solve any problem that typically arise when students work in their actual job environments. The purpose of this study is to design a Web delivered problem based learning(PBL) system for studying sound systems effectively in Music production on the college level.

• Journal of Korea Artificial Intelligence Association
• /
• v.2 no.1
• /
• pp.25-30
• /
• 2024

Kodály hand signs are symbols that intuitively represent pitch and note names based on the shape and height of the hand. They are an excellent tool that can be easily expressed using the human body, making them highly engaging for children who are new to music. Traditional hand signs help beginners easily understand pitch and significantly aid in music learning and performance. However, Kodály hand signs have distinctive features, such as the ability to indicate key changes or chords using both hands and to clearly represent accidentals. These features enable the effective use of Kodály hand signs. In this paper, we aim to investigate the changes in recognition rates according to the complexity of scales by creating a device for learning Kodály hand signs, teaching simple Do-Re-Mi scales, and then gradually increasing the complexity of the scales and teaching complex scales and children's songs (such as "May Had A Little Lamb"). The learning device utilizes accelerometer and bending sensors. The accelerometer detects the tilt of the hand, while the bending sensor detects the degree of bending in the fingers. The utilized accelerometer is a 6-axis accelerometer that can also measure angular velocity, ensuring accurate data collection. The learning and performance evaluation of the Kodály learning device were conducted using Python.

• (The) Research of the performance art and culture
• /
• no.19
• /
• pp.161-190
• /
• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.