• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.78-87
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• 2015

This study aims to grasp the vital rhythm of the Chapel at Ronchamp by analyzing its rhythm through Henri Lefebvre's 'rhythmanalysis' in an effort to show the possibility of approaching the presence of this chapel. For the purpose of this study, Lefebvre's thought of rhythmanalysis was first contemplated, and a case study analysis was conducted on the concept and presence of the chapel in the design process. On this basis, examples of the chapel's rhythms were analyzed through Lefebvre's dialectical analysis of the triad of time(melody), space(harmony) and energy(rhythm). The results of analysis are as follows: First, the concept intended by Le Corbusier in the process of designing the Chapel at Ronchamp is expressed as the acoustic form, the modulor corresponding to the scale of the music, the light and shadow of counterpoint, and the opposite composition of musical changes. Consequently, the concept-mediated presence of this chapel is the presence of music. Second, at the Chapel at Ronchamp, a Lefebvre's rhythmanalyst experiences, or rather senses, two vital rhythms of an antithetical unity (i.e., acoustic curved rhythm and modulor-generated linear rhythm), with reference to his/her own rhythms. These rhythms are a dialectical union of spatiality of melodies temporalized through continuity, (i.e., acoustic curved form and modulor-generated linear form), and temporality of harmonies spatialized through simultaneity (i.e., light and shadow, materials and color, form of interpenetration, and stairs or windows/doors). These rhythms carry the measures generated by music-specific repetitions and differences in movements(energy). Consequently, the rhythm-mediated presence of this chapel is also the presence of music. In conclusion, the Chapel of Ronchamp indicates that an approach toward its presence can be realized through vital rhythms derived from Lefebvre's 'rhythmanalysis'. This study holds significance as an analysis of spatial rhythm and presence, employing a philosophical thought.

• Smart Media Journal
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• v.9 no.3
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• pp.90-97
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• 2020

With the development of the Internet and smartphones, digital sound sources are easily accessible, and accordingly, interest in music search and recommendation is increasing. As a method of recommending music, research using melodies such as pitch, tempo, and beat to classify genres or emotions is being conducted. However, since lyrics are becoming one of the means of expressing human emotions in music, the role of the lyrics is increasing, so a study of emotion classification based on lyrics is needed. Therefore, in this thesis, we analyze the emotions of the farewell lyrics in order to subdivide the farewell emotions based on the lyrics. After constructing an emotion dictionary by vectoriziong the similarity between words appearing in the parting lyrics through Word2Vec learning, we propose a method of classifying parting lyrics emotions using Word2Vec and LSTM, which classify lyrics by similar emotions by learning lyrics using LSTM.

• Journal of Digital Contents Society
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• v.18 no.4
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• pp.641-647
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• 2017

In this paper, we propose a method to automatically generate a configured song with melodies composed of front/middle/last parts by using hierarchical artificial neural networks in automatic composition. In the first layer, an artificial neural network is used to learn an existing song or a random melody and outputs a song after performing rhythm post-processing. In the second layer, the melody created by the artificial neural network in the first layer is learned by three artificial neural networks of front/middle/last parts in the second layer in order to make a configured song. In the artificial neural network of the second layer, we applied a method to generate repeatability using measure identity in order to make song with repeatability and after that the song is completed after rhythm, chord, tonality post-processing. It was confirmed from experiments that our proposed method produced configured songs well.

• Journal of Digital Contents Society
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• v.5 no.3
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• pp.213-218
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• 2004

The objective of this paper is to verify the usefulness and validity of ICT-based elementary education for musical composition using multimedia technology. Cearing with the characteristic of musical education, multimedia technology, which has made dazzling progress thanks to the rapid development of computer for the last several year, is expected to be a new alternative to overcome various problems of musical education and enhance students` musical function and knowledge. In particular, if ICT-based musical education is introduced in teaching musical composition, in which many elementary school techers feel difficulties, significant education effects will be produced. ICT-based musical education method in the paper identified imitation and problems in traditional theory-based learning and musical composition class using musical instruments and, as a part of resolving the limitations and problems, instructed elementary students in how to use a computer program and applied the program to musical composition class. As a result, the method maximized learning effect and improved stusents` ability to create melodies in a short term compared to traditional teaching methods.

• The Journal of the Korea Contents Association
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• v.13 no.9
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• pp.81-91
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• 2013

Chongsanbyeolgok is one of Goryeo songs which might be composed in Goryeo dynasty, the composer of which is not known as well as other Goryeo songs. Balsang songs is structured with eleven songs that has been composed newly by King Sejong in Joseon Dynasty for using at Jongmyo (royal ancestral shrine), Johoe (royal audiences), performance, Gangbo is one of 11 songs in Balsang. In Sejongsillok, it is written that Balsang was composed by taking the melody and rhythm of gochwiak (processional music) or hyangak. Thus, it is interesting to know how gochwiak and hyangak, especially Chongsanbyeolgok affected structure and rhythm of Gangbo. As an analytical result of Gangbo and Chongsanbyeolgok, Gangbo consisted of 48 Haeng(line) repeated Chongsanbyeolgok's melody (10 Haeng) by three times. That is, 1-16, 17-32, and 33-48 Haeng of Gangbo excerpted from Cheongsanbyeolgok's melody, and those melodies of Gangbo are same or similar to Chongsanbyeolgok. In this report, Gangbo, one of Balsang's musics in Jos대n Dynasty is proven to be excerpted from the melody of Chongsanbyeolgok in Goryeo Dynasty and repeated.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2004.05b
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• pp.203-207
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• 2004

This treatise presents that a possibility of non-musician's composition. In fart, as a development of music composition program(used by IAVA) helps to compose music easily, but non-musician still feels hard to compose some musics and perform some musics even though the band-in-a-box is already existed(which is an auto accompaniment program). This treatise shows non-musicians' special music composition way. Select a cord and put the cord to special program which ratted ‘the cord composition program’, and then the cord composition program creates the rest cords. After this progress, non-musicians overwrite their own melodies in accordance with created cords. Finally, they can perform their own musics with the sound of master-keyboard and other sound sources using by the band-in-a-box program.

• Journal of the Korean Institute of Intelligent Systems
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• v.26 no.6
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• pp.445-451
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• 2016

This paper introduces a postprocessing method, an iteration method for melody, and an average neural network method for learning a large number of songs in order to improve musically insufficient parts in automatic composition using existing artificial neural network. The melody of songs composed by artificial neural networks is produced according to the melodies of trained songs, so it can not be a specific tonality and it is difficult to have a repetitive composition. In order to solve these problems, we propose a postprocessing method that converts the melody composed by artificial neural networks into a melody having a specific tonality according to music theory and an iteration method for melody by iteratively composing measure divisions of artificial neural networks. In addition, the existing training method of many songs has some disadvantages. To solve this problem, we adopt an average neural network that is made by averaging the weights of artificial neural networks trained each song. From some experiments, it was confirmed that the proposed method solves the existing problems.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.25 no.7
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• pp.869-876
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• 2021

In the field of music, various AI composition methods using machine learning have recently been attempted. However, most of this research has been centered on Western music, and little research has been done on Korean traditional music. Therefore, in this paper, we will create a data set of Korean traditional music, create a melody using three algorithms based on the data set, and compare the results. Three models were selected based on the similarity between language and music, LSTM, Music Transformer and Self Attention. Using each of the three models, a melody generator was modeled and trained to generate melodies. As a result of user evaluation, the Self Attention method showed higher preference than the other methods. Data set is very important in AI composition. For this, a Korean traditional music data set was created, and AI composition was attempted with various algorithms, and this is expected to be helpful in future research on AI composition for Korean traditional music.

• SUVANNABHUMI
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• v.2 no.1
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• pp.95-110
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• 2010

Poem plays an important role in Ca trù. Many music researchers say that singing Ca trù is singing poem. Of 46 tunes of Ca trù, there are more than 10 tunes expressed in available poems or styles of poetry; for example: in the tune Tỳ bà, the performer could sing Tỳ bà hành by Bạch Cư Dị being converted into seven-seven-six-eight-word-meter; in the reciting poem tunes, just reciting 5 Thien thai poems by Tào Đường or 3 Thanh Bình tune poems by Lý Bạch; in the reciting poetic essay (phú), reciting Tien Xich Bich and Hau Xich Bich by Tô Đông Pha. Others like bắc phản, cung bắc sometimes used six-eight word meters. Structurally, those are available for familiar types and beyond the scope of particular creativity because they do not originate from Ca trù's activity environment like recitative. Recitative is the main tune of Ca trù and has become an independent poem type. In terms of literature, recitative has a particular form structure and special type content. Unlike other tunes of Ca trù that only stop at some fixed works, recitative has increased to thousands of works in quantity and has been composed for many centuries. For those reasons, we confined ourselves the research to the creation which is the most typical of Ca tru: The recitative.

• (The) Research of the performance art and culture
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• no.32
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• pp.31-70
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• 2016

Jongmyo Jeryeak [Royal ancestral shrine music] is a precious cultural heritage, which has been played till now since two great kings Sejong and Sejo who made it. But going through Japanese occupation, Jongmyo Jeryeak has been changed into a music totally different from the music the two kings intended. And the changed Jongmyo Jeryeak is being played these days. The original Jongmyo Jeryeak, which was made by the two kings, remains in old music scores. Therefore there is a need to investigate the differences between the original and current Jongmyo Jeryeak by interpreting the old music scores and recovering the original. This paper recovers the origianl Jongmyo Jeryeak from the music score Daeakhubo and compares it with the current Jongmyo Jeryeak. The results are as follows. The origianl Jongmyo Jeryeak is a set of common songs made with Hyangak and Gochiak to sing the verses which extol royal ancestors' virtues. All of the musical elements are matched with the verses so that the meaning of the verses is transmitted naturally. Jangdan musical time musical structure are matched with the structure of verses, and the musical motif of the songs is matched with the meaning of the verses. The music, which is easy and expresses the meaning of the verses well, demonstrates King Sejong's talent as a musician. The current Jongmyo Jeryeak is a set of special songs in which Sigimsae is emphasized rather than the meaning of the verses. The melodies are broken into pieces inconsistently, the meaningless word 'ae' is added thoughtlessly, and Jangdan musical time musical structure are unrelated to the verses. Therefore the meaning of the verses is not transmitted at all. These changes, which were made during the period of Japanese occupation, seem to desecrate the verses of the original songs. The melodies, which are broken into pieces inconsistently, revive into the current mysterious ritual music through Sigimsae. But in order to be a proper ritual music, some corrections have to be made to convey the meaning of the verses.