• Journal of Music and Human Behavior
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• v.2 no.1
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• pp.17-33
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• 2005

Music has a vital meaning in peoples' lives, mostly as a communication medium for thoughts and feelings. Because music is nonthreatening and nonjudgmental, its viability works for everyone. The purpose of this research is firstly to compare the effectiveness of existing social rehabilitation program and music integrated social rehabilitation program for people with mental retardation. Secondly, the study purported to find out if the music integrated social rehabilitation program was effective, then how various musical activities can assist communication and expression, and further assist social interactions among the people with mental retardation. The data were collected using Emotions Assessment Tool, Social Skills Assessment, and Skills development in Music were used. Also, verbal contents, voices, gestures, nonverbal expressions were observed and analyzed. As the result, it is shown that the music integrated social rehabilitation program has enhanced communicative and expressive skills of adults with mental retardation, and further improved social interactive skills. This implies that music had positive effects to the mental patients on their social relationship activities, than the program without music integration. The results support previous findings that music can be an effective communicative and expression tool.

• Hwankyungkyoyuk
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• v.12 no.1
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• pp.205-224
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• 1999

This is a study of strengthening the practice of environmental education in the primary and secondary school music program. Since the world war II, the environmental situation has been getting worse and worse. So it is now a global issue to conserve energy and solving the ecological problems we are confronting. Solving the environmental problem is not just a scientist's task nor a specific school education subject's either, but a responsibility of all human beings. In this sense, it is necessary for every school subject, including music, should include elements of environmental education in its education contents. in this paper the researcher has tried to point out some reasonable aspects of environmental education guidelines which would be pursued through school music programs. In the music subject the following eight environmental education strategies could be suggested: 1. An affective aspect of music should be used in educating students to aware of the importance of environmental problems. 2. The effectiveness of employing music for various educational purposes should be implemented to make students environmentally enlightened individual. 3. The main issue of environmental problem must be used in various musical activities such as singing, implementing, composing and appreciating music. 4. By employing an alternative materials for making musical instruments, students and musicians can participate in environmental education program actively. 5. Music is analogues to life and nature. Thus it is highly suggested for teachers to teach students music more sincerely In a way of studying music more seriously, students could achieve environmental education goals by discovering the similarities of the nature of the environment and music as a human environment. 6. By appreciating many musical works of dealing with environmental problems and ecological problems, one could achieve the necessary goals of environmental education. 7. By enlarging the boundary of music including the sounds of nature such as birds' singing, sounds of winds and various streams and tree's trembling, music could achieve the major goals of environmental education. 8. By recognizing sounds as an important human environment, school music program could attain the goals of environmental education. The researcher also has mentioned about the characteristics of music as a schooling subject. and has provided with some detailed curriculum guidelines for strengthening environmental education programs in music classes. Some model lesson plans implementing the environmental education for elementary, junior high school and 10th grade music classes are also suggested followed by six specific teaching ＆ learning methods for environmental education.

• Journal of the Korea Society of Computer and Information
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• v.16 no.11
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• pp.85-93
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• 2011

The music education improves the creative talent, social skills and academic achievement of the students. For the efficient music education, the learner centered study is highly recommended rather than the passive education, which supports self-control in selecting teaching materials, learning patterns and speed. For the successful self learning, it is requested to develop the collaborative educational learning tools, especially electronic collaborators such as H/W and S/W. Though there exist many commercialized electronic instruments and the PC MIDI based softwares, these tools have some limits and problems for the primary student to learn playing the musical instrument by himself. In this paper, we propose a supporting tool implementation method using an electronic keyboard instrument with USB Interface and PC-based software to help the primary student to learn playing the musical instrument. We implemented an electronic keyboard instrument module compactly and at low cost using a PIC18F4550 MCU. PC based software was developed to edit musical score, process the MIDI information, and interact with the electronic keyboard instrument module. This tool can offer a similar keyboard instrument environment and can be incorporated with self learning contents.

• 대한공업교육학회지
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• v.31 no.2
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• pp.64-82
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• 2006

This study investigated what effects multiple intelligence, through which the diverse intelligence abilities of a learner are identified, has on technological problem solving ability according to sex. And it was carried out to present a way to reduce the gap between boys and girls in technological problem solving ability. The subject was 833 middle school students in the third grade (boys: 423, girls: 410) whose schools are located in a megalopolis or more large area. And the instruments developed by Yong-Lyn Moon(2001) and in CRESST(1998) were used. The results of this study are as follows. First, it appeared that there were statistically meaningful differences at six items in multiple intelligence between boys and girls. The six items were bodily-kinesthetic intelligence, logical-mathematical intelligence, naturalistic intelligence, musical intelligence, interpersonal intelligence, and introspective intelligence. Second, in technological problem solving ability, it appeared that boys and girls showed statistically meaningful differences at self-regulation and problem solving strategy. Third, it appeared that logical-mathematical intelligence, linguistic intelligence, introspective intelligence, and natural intelligence had an effect on boys in the way of self-regulation and logic-mathematical intelligence, introspective intelligence, naturalistic intelligence, and linguistic intelligence did on girls. Fourth, it appeared that logical-mathematical intelligence, musical intelligence, and bodily-kinesthetic intelligence had an effect on boys in the way of problem solving ability and linguistic intelligence and musical intelligence had on girls. Fifth, it appeared that logical-mathematical intelligence did an effect on both sexes in drawing up the understanding of contents. On the basis of the results of this study, the area related to multiple intelligence directly or indirectly should be developed in the course of designing the primary and secondary curriculums to reduce the gap between boys and girls in multiple intelligence. With these efforts, the scholastic attainments gap caused by the difference of multiple intelligence will be overcome.

• (The) Research of the performance art and culture
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• no.33
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• pp.9-31
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• 2016

Shin Gwang-su (申光洙, 1712~1775), also known as Seokbuk (石北), is a well-known poet and author of the song poetry (詩唱) "Gwanseo-akbu (Poems of the Gwanseo Region, 關西樂府)" in the late Joseon Dynasty. "Gwanseo-akbu" was popular among the Joseon Dynasty musicians. This fact confirms that the tradition of adding a melody to Shin Gwang-su's "hansi (Korean poetry recorded in Chinese characters, 漢詩)" already existed in the Joseon Dynasty. It is also a proof that the hansi poem was used in songs. Besides Seokbuk, other literary figures in the Joseon Dynasty wrote and sang hansi. In that case, the place of communication for songs was a poet's personal study, or "sarangbang." But when, like the works by Seokbuk, poems were sung by musicians, they became available to the public to communicate through music. This study is one of the attempts to re-make Seokbuk Shin Gwang-su's poems and songs, once popular among the Joseon Dynasty people, into the contemporary music that can be performed on stage. By adding a certain melody to his poems, this study introduces a case of musical work and offers an opportunity to consider hansi as performance art. There is a number of hansi works by Shin Gwang-su, and each poem includes material which can help survey Shin Gwang-su's musical life. And, working on his hansi works makes it possible to narrate major events that took place in Shin's life. Thus, this study attempts to focus Shin Gwang-su's musical life and introduces methods and contents to stage his hansi poems as performance art.

• Korean Association of Arts Management
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• no.57
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• pp.85-126
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• 2021

This study aims to examine the interaction between jazz musicians playing in domestic jazz clubs and audiences visiting jazz clubs in depth. This study conducted an in-depth interview, a qualitative research methodology, to find out the subjective views of jazz club musicians and audiences about jazz club performances, and analyzed the contents and presented the results. The results of this study are as follows: First, jazz musicians perceived jazz clubs as the center point of their musician careers, and from the perspective of the audience, jazz clubs were a place where jazz lovers gathered voluntarily, and where they could enjoy musical communication in a comfortable atmosphere. Second, jazz club performances gave jazz musicians the autonomy to play and considered them suitable for creating optimized sounds, and the audience recognized that jazz musicians could experience performances vividly on stage close to the audience. Third, the way jazz musicians interacted with the audience was active for musical communication with the audience, and the audience preferred the way that interaction could contribute to their performance, and the audience recognized the interaction through musical communication with the musician and the musician's consideration for the audience. Fourth, jazz musicians played a major role in realizing a performance in which interaction with the audience was complete, and audiences perceived interaction as a joy of improvisation, a bond with jazz musicians, and a special experience. This study confirmed the jazz club's status as a cultural space for the public's jazz enjoyment as well as a performance base that ultimately promotes the development and spread of jazz gods in Korea, and it is meaningful that it can serve as a guideline for jazz performance planning and jazz club operation from an art management perspective.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.175-187
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• 2020

The purpose of this study is to discuss the elements and meanings of the performative scenography which has been revealed through the new directorial interpretation and deconstruction process of the musical 『All Shook Up』. The performative scenography characteristics after postmodernism aim to create individual active perceptions and various social meanings through audience's voluntary and particular emergence. To this end, the theoretical foundation of scenography was examined by periods in advance. Based on this, I attempted to establish performative scenography for synthesized scenic and media design through the reconstruction process for the 『All Shook Up Travelers』. As a result, I set up visual narrative based world of 『All Shook Up Travelers』 which was produced by text-based intense images for a direct medium in order to expand actors' inner narrative and established unique performative scenography of its own: 1. enhancing the adapted one's narratives for the actors' and audience's co-existence and detachment, 2. delivering its own independent meanings which have double meanings, 3. encouraging audience's critical and active perception experiences through collage and montage of media.

• International Journal of Contents
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• v.10 no.4
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• pp.11-17
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• 2014

The influence of acquisition environment on music score images captured by a camera has not yet been seriously examined. All existing Optical Music Recognition (OMR) systems attempt to recognize music score images captured by a scanner under ideal conditions. Therefore, when such systems process images under the influence of distortion, different viewpoints or suboptimal illumination effects, the performance, in terms of recognition accuracy and processing time, is unacceptable for deployment in practice. In this paper, a novel, lightweight but effective approach for dealing with the issues caused by camera based music scores is proposed. Based on the staff line information, musical rules, run length code, and projection, all regions of interest are determined. Templates created from inverse filter are then used to recognize the music symbols. Therefore, all fragmentation and deformation problems, as well as missed recognition, can be overcome using the developed method. The system was evaluated on a dataset consisting of real images captured by a smartphone. The achieved recognition rate and processing time were relatively competitive with state of the art works. In addition, the system was designed to be lightweight compared with the other approaches, which mostly adopted machine learning algorithms, to allow further deployment on portable devices with limited computing resources.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.707-715
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• 2016

The most important role of actors is to transmit the thoughts and feelings to the audience or viewers. The expression methods of acting of each genre are clearly different. In order for the actors to act, crossing over the boundary of each genre such as movies, TV, dramas, musicals, they should understand the characteristics of each of the subdivided genres. If they understand the characteristics of the acting method different from one another and acquire the expression method to adapt to the spatial circumstances of each of the media, it becomes freer to act, crossing over the boundary of each of the genres. For the sake of this, actors must understand and acquire the characteristics of each of the genres. First of all, it is important to understand the difference between acting in the media and acting on the stage and to understand the characteristics of each of the genres.

• The Journal of the Korea Contents Association
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• v.18 no.7
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• pp.120-126
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• 2018

The film is an audiovisual art and conveys stories using various audiovisual techniques. Among the auditory elements, music has a wide variety of expressive techniques, a wide range of applications, and is sometimes used as a proprietary tool to convey stories. This study examines the musical expression technique for expressing the psychology of the character in the film by using the movie "Punch Drunk Love" as a subject of study. We study the use of music used to reveal meaning that does not appear on the screen in the film story flow, which is a tool to create the hidden meaning of the person's inner psychology and situation. This provides an example and perspective of the contrast and symbolic expression of character psychology in film music.