• The Journal of the Acoustical Society of Korea
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• v.24 no.7
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• pp.365-370
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• 2005

The present study is purposed to establish a systematic theory for user-friendly approach to the creation of using a programming language using Csound. Csound is a world-wide computer music programming language and a software synthesizer specialized for prominent sound designers developed by Barry Vercoe at the Media Laboratory in M.I.T. The introduction and the main body of this paper suggested as the starting point of creating electronic music and musical sound the time of combination of music with natural sound or sound from specific media from the viewpoint of traditional Western music. and presents a systematic method composed of the principle of the operation of Csound and basic data samples.

• (The) Research of the performance art and culture
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• no.37
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• pp.95-125
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• 2018

While myriads of small and large festivals are being organized in many regions across the country after the successful establishment of local governments around 2000, the undeniable fact is that the identity and purpose of such events are not properly reflected in their programs. This paper carefully examines the 2017 Jeonju International Sori Festival as an exemplary case of a local performing art festival to contribute to the improvement of performing art festivals in the future. In particular, it focuses on a musical program with respect to the composition, content, meaning, and direction that can effectively reveal the identity and intention of a festival. The most significant accomplishment of the 2017 Jeonju International Sori Festival is that it presented a local cultural resource, Pansori, in various ways not only to manifest its identity but also to satisfy both the enthusiasts of such musical genre and the general audience. The achievements of the 2017 Jeonju International Sori Festival through the performing art program can be summarized as follows: first, it created a new image of traditional music; second, it realized the desire to rise above regional and generational demarcations through cultural communication; third, it provided a stage for budding and local artists; fourth, it served as a vehicle for summoning the public; and last, it was conducive to expanding the spectrum of potential audience. This paper has limitation in covering the subject of the improvement of performing art festivals because it analyzed only one event. In follow-up studies, a more objective discussion should be performed by further analyzing the 2017 Jeonju International Sori Festival in comparison with various other performing art festivals.

• (The) Research of the performance art and culture
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• no.19
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• pp.281-315
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• 2009

Korean traditional music has been a process art which has been changed and re-created by musicians to mirror the musical aesthetics of contemporary people. Form court music, which has tried to keep the "authentic" form as much as possible, to folk music, which is closely associated to the people's life style, traditional music has expressed the life of the Korean people. From the early 20th century, traditional music faced a totally new music culture due to the Japanese annexation and rapid westernization. A new music network was established by modern theater and broadcast system. Many gayageum (12-stringed zither) masters were able to develop their own music in this new music culture. Female musicians came to exist because of a new music education system, called gwonbeon (school for female entertainers). Due to the rapid westernization, traditional music was becoming 'extinct'. The government's new system of Intangible Cultural Heritage tried to preserve traditional culture. Traditional music came to revive but became fossilized in order to preserve the 'archetype'. The so-called Living Human Treasures took power and became a social problem. The modern school education system was one of major factors for promotion of traditional music. However, it became one of main reasons for musicians to lose their musical creativity. Today, many performers and composers try to make a new composition and renovated musical instruments to suit the contemporary musical aesthetics.

• Journal of the Korean Society for Library and Information Science
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• v.58 no.1
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• pp.373-393
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• 2024

This study aims to propose the considerations for developing the guidelines for recording a preferred title in musical works by analyzing the RDA rules and guidelines of several national libraries. First, RDA rules were analyzed, and the primary rules for consideration were examined by reviewing RDA application guidelines from eight national libraries that have developed their own guidelines for alternatives and options of RDA rules. Then, by analyzing the contents of each guideline, including MLA, LC-PCC, and DACH, practical considerations was to provide. First, the original language title should be adopted in the selection of preferred title, but if the title in the original language is not suitable for domestic users, the title in other languages should be used. Second, the preferred title was examined in aspects of works with one part, works with more than one part, the complete works of one author, the compilation of a specific type of composition, the incomplete compilation, and the compilation of several composers. Third, medium of performance, numeric numbers, key, and other identifying characteristics were presented as additional factors for consideration in the recording. Fourth, it is necessary to designate or present a control vocabularies for the types of compositions and the medium of performance. This study suggests considerations in developing guidelines for recording the preferred title for RDA musical works, and it will be possible to contribute to the development of rules related to preferred titles for musical works and guidelines for recording the preferred title for musical works in libraries.

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.572-577
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• 2019

This study aims to classify and examine Changjak Gukak composed by composers who majored in Western music and help the composers with the composition of Changjak Gukak. As a result, it was investigated that Korean traditional musical elements have been used on the basis of the traditional or modern Western composition technique. The traditional composition techniques such as motive, theme, keys, homophony, contrapuntal methods, fugue form, sonata form, baroque concerto form and borrowing of Western art works have been used, and the contemporary composition techniques such as timber melody, a-tonality, irregular meter, poly rhythm and aleatory have been used. In addition, it reflects the Korean expression and identity by applying the Korean traditional instruments, Sigimsae, Jangdan, traditional scale and mode, form and melody.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.163-176
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• 2015

This study aims to decode newly 'Mojookjirangga' of the Sillian songs on higher viewpoint that is to integrate previous decodings; furthermore to discuss a musical composition of the Sillian song. So to speak, when we read 'hoe(廻)' as 'gam(감)-' instead of 'dol(돌)-' in the song 'Mojookjirangga' which was written in Chinese Characters, such a decoding contributes largely to grip the deep meaning-structure of the elegiac song. Consequently we are able to sing that 'Mojookjirangga' according to the characteristics of national music. However the characteristics of national music are 1) the length of a phrase makes a rhythm, 2) the first beat is strong beat and becomes more and more weak, 3) there are shaking sounds on the long rhythm and changing vowels, 4) there is deep and great dignity in those national music songs. Then we can find those characteristics easily at Sijo-songs. In fact, the Sillian songs and Sijo-songs of Chosun period are more popular music. Then we are going to sing 'Mojookjirangga', referring to the method of Sijo-song and the characteristics of national music. Nowadays such an attempt is to contribute to enrich our national culture and to make the global Korean-stream more abundant.

• (The) Research of the performance art and culture
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• no.39
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• pp.749-774
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• 2019

In the situation where the interest of the academics related to the Hyangje Samhyunyukgak is increasing, the task of identifying the identity of the Hyangje Samhyunyukgak should precede. In this paper, we will discuss the characteristics of the Hyangje Samhyunyukgak distinguished from the court style Samhyunyukgak. First, we will discuss the characteristics of instrument organization. In the form of the Hyangje Samhyunyukgak, the composition of the musical instrument is flexible. Depending on circumstances such as the geographic region or the composition of the player, the set of instruments were added or reduced. The second part relates to composition of music. Among the various pieces of music, a piece of music to be selected in a specific situation is music pieces related to the use of the piece of music in depth. In this phenomenon, the music with the greatest change is Geosangak(거상악). The music played as Geosangak repertoire showed various musical pieces that are related to various situations in different regions. Finally, I would like to discuss the problems related to the origins of Hyangje Samhyunyukgak music. Compared to the songs of Ginyeombul(긴염불), Gutgeori(굿거리), and Taryeong(타령), it is difficult to totally exclude the relationship from the local music genre. And I could guess that such a common denominator was closely related to the Jangdan.

• Cross-Cultural Studies
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• v.32
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• pp.29-61
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• 2013

When turning to determining a subject position for the digital age, one may look beyond the invention of its technologies and instead begin with the development of its aesthetic of networked communities, nodal expression, and collaborative identity. Virginia Woolf's The Waves demonstrates this aesthetic in both form and content. In this paper, I will examine the role of collaboration in the form of interdisciplinary composition, arguing that Woolf's use of musical form and dramatic monologue and dialogue structurally secure an investment in collaborative models of expression. Digital texts taut their inherent multimodality, but such compositions are also evident in pre-digital texts. In addition, I will decipher the subject position Woolf puts forward in The Waves by looking closely at how the characters determine their own identity and existence when they are alone, when they interact with one individual, and when they congregate as a group. These are exemplified more specifically in the representations of Rhoda and Bernard as equally refusing to collaborate between a self-defined identity and a group defined identity; Bernard's channeling of Lord Byron while writing a love letter; and Woolf's use of the red carnation as a repeated image of the intertwined nature of the characters' collaborative identity and mutual dependence on one another.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.793-800
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• 2015

This study is to analyze correlation between Daniel Libeskind's architecture works and the effects as a series of music works be learning in youth and opera "Aron and Mose". The results showed that First, Libeskind created convergence of invisible line by borrowing the composition of freely flowed scales in score from his architecture. Second, he composed geometrical shapes of contrapuntal reiteration based on double tune in music structure, in other words forms of polyphonic proportion. and he expressed the geometrically, freely line rhythm by planning composition of multidimensional spaces, "Hybrid", planning the contrast of material, form by results of Intertextually combination between Architecture and Music. Third, he tried to express the pain, fear, anxiety, etc. of the past spatially, and constructed "the spaces of absence" on his works through inspiration from Arnold Sch$\ddot{o}$nberg's works.

• Journal of Digital Convergence
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• v.15 no.6
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• pp.377-383
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• 2017

In this thesis, Improvisation of Jazz Vocal that can be characterized as Jazz music, namely practice of Scat suggest that way of applied approach that root position of chord and chord tones. Scat plays a solo using reproduced tunes of meaningless scat syllable that is not use the lyrics and melodies, which are written in a score. For this, Using the root position of chord is a reference point that Jazz vocal constructs a musical melody. Singing person can develop that reference point from simple scat to develop increasingly complex scat and can express that musical expression and communion. It analyzed the music functionally with a standard Jazz music 'All of me' as the center from composition of chord tone that improvise song to bass line, bass scat, analysis of chord tones arpeggio and expression. In this thesis, the improvisation of a Jazz vocal that may seem somewhat abstruse and complex could be relatively easy to construct through a gradual approach.