• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.33-43
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• 2021

The purpose of this study is to examine the transformation and characteristics of the Verse-Chorus form. The musical form of a musical song is a structural mechanism for expression to effectively convey the dramatic situation of the characters to the audience. This study identified four types of representative forms that can be used to explore the transformation with the verse-chorus form and examined their characteristics. First is the Verse-Chorus form which repeats the description of simple situations and characters in the early stage of the musical. Second is the Verse-Bridge-Verse form which is used to evoke the atmosphere and escape boredom through a slight transformation of the bridge while explaining a simple character. Third is the Verse-Prechorus-Chorus form, which sits just before the chorus, connects the verse and the chorus, and promotes the emotional rise of the characters by smoothing the drama and the harmonic progression. Lastly, this study examined the expanded Verse-BG dialogue-Chorus form used to represent the situation in which conflicts about the complex feelings of the characters and the decisions about them coexist. As such, musical songs use various types of verse-chorus forms. Through the formality and transformation of the verse-chorus, the logic of the music and the logic of the drama are balanced so that the development of the music and the drama does not enter the state of imbalance. Based on this study, further progressive research can take place on the correlation between musical form and dramatic structure, beyond the transformation of musical song form.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.162-170
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• 2012

This study aims to show the possibility of approaching artistic design through the Bergsonian concept of musical vitality by grasping the expression of his musical vitality at the Chapel at Ronchamp. For the purpose of this study, the aesthetic significance of Bergson's philosophy of life was first contemplated, and a case study analysis was conducted on the vitality of music as temporality at the Chapel at Ronchamp. On this basis, the examples of his musical vitality as metaphysical reality at the Chapel were analyzed. The results of analysis are as follows: First, the Bergsonian vitality of music as temporality at the Chapel is expressed as a sense of movement-through the acoustic form, the modulor corresponding to the scale of the music, the opposite composition of musical changes, the fluid space of the music, and the light and shadow of counterpoint-as having been intended by Le Corbusier in the very process of design. Second, the vitality of music as Bergson's metaphysical reality at the Chapel at Ronchamp is expressed in the image and rhythm of music created by intuitive reminiscences. The acoustic form, the form created by the modulor, the opposite form of composition, the fluid space and the light and shadow as the melody and image of music present continuous diversity as vital flow in a uniform direction. The vitality of music as aesthetical reality is imitated by the rhythm of the music deriving from repetitive movements sensed here. Consequentry, the Chapel at Ronchamp can be seen as a vital design that expresses Bergson's notion of musical vitality, indicating that an approach toward artistic design can be realized through his musical vitality. This study holds significance as basic research on artistic design with philosophy and music as its origin.

• The KIPS Transactions:PartB
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• v.14B no.1 s.111
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• pp.33-42
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• 2007

This paper presents a new methodology for music structure analysis which facilitates rhetoric-based music summarization. Similarity analysis of musical constituents suggests the structure of a musical piece. We can recognize its musical form from the structure. Musical forms have rhetorical characteristics of their on. We have utilized the characteristics for locating musical motifs. Motif extraction is to music summarization what topic sentence extraction is to text summarization. We have evaluated the effectiveness of this methodology through a popular music case study.

• (The) Research of the performance art and culture
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• no.35
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• pp.441-470
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• 2017

This paper deals with three issues related to influx and change of the Confucian Shrine Ritual Music. First, the musical instrument of the Akhakgwebeom-wooden frame-form used in the current Confucian Shrine Ritual Music is not a form that came in when the Daesung-Aak of the Song Dynasty was introduced in 1116, but it is a Yuan Dynasty form brought from the Ming Dynasty, in the 19th year of King Kongmin. In the Song Dynasty of the Goryeo Yejong era, when Daesung-Aak came in, there was not yet 'Baeso', a musical instrument of the Akhakgwebeom form, which first appeared in the Yuan Dynasty. A new musical instrument named 'Baeso' appears with the 'So' in the later period of King Gongmin, and it is very likely that this 'Baeso' is the musical instrument of the present Akhakgwebeom form. Second, although the form of the 'So' in the Joseon Dynasty recorded in the Akhakgwebeom was followed by the Chinese one, but the pitch and arrangement are the one of the pitch of '12 Yul and 4 Cheongseong' and the arrangement of the pitch from left to right. Third, in the 1930s, the whole form was the same as that of the Akhakgwebeom, but there existed two types, which several pipes stick together or pipes fall apart. But since then, as seen in the musical instrument located at Kyungpook National University Museum and in instruments currently used in Confucian Shrine Ritual Music, only musical instruments exist which pipes fall apart. It is unclear for what reason and to what extent the 'So' were so transformed, but it would be appropriate to re-establish the form of the 'So' in the musical and historical point of view.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.85-95
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• 2020

An Instruments are not only for musical usage, but also for historical, social and cultural contexts. The yanggeum instrument began to be played in Persia before the 10th century and is played in various parts of the world in the 21st century. It has been handed over for many years and played creatively beyond the boundaries of the region. In this paper, we will learn about the meaning of Korean traditional yanggeum, which preserves its original shape without any change in form or technique, through a method of musical iconography. As a method of musical Iconography for the musical instruments, we examined the data on the drawings and compared it with the literature, focusing on the origin, form and performance of the instruments. I hope that this study will not only provide a new perspective on instrument research, but also help understand the historical, social and cultural implications of the instrument. It is hoped that research on musical instruments will be done in many different ways and that the realm of musical science will be approached widely.

• Korean Institute of Interior Design Journal
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• no.31
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• pp.19-28
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• 2002

This study aims to show a possibility that music can be expressed in an architectural way by attempting architectural interpretation and application of the musical piece, Beethoven Piano Sonata op.57 through analyzing it and to suggest a method for the architectural design where spirituality and internality is emphasized on the basis of music. In conclusion, it was clarified that the concept and form of the music could be expressed architecturally. That is, the concept of time and space in the musical piece is expressed in that of time; the musical form in that of the spacial structure; and the rhythm, melody, harmony, timbre and tone color of the musical piece in point, line, shape, texture and color in the architecture.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.217-226
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• 2020

Ajaeng is the bowed string instrument among zither instruments in East Asia, which has a circular form to date, and it has established itself as an important instrument in today's creative Gugak along with traditional music. Looking at previous prior studies, musical instrument studies have not been actively conducted due to insufficient data from musical history studies, and this study looked at the origin, form of musical instrument, and performance methods of zither bowed string instrument through historical records of Chinese Yazheng and music drawings. The analysis of various documents showed that Ajaeng originated from an ancient Chinese traditional musical instrument called Chuk. In terms of the performance style, the Chinese Yazheng had different musical forms depending on the purpose and location of the performance, and there was a method of standing up and fixing the musical instrument horizontally to the ground. Ajaeng in Korea has been handed down without much change in the form of musical instruments introduced in China during the Goryeo Dynasty and the way they sit on the floor and play on a pedestal. Through this study, we hope that it will help to preserve and develop traditional music and Korean traditional musical instruments by enhancing understanding of musical.

• The Journal of the Korea Contents Association
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• v.6 no.5
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• pp.131-144
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• 2006

This study tries to segment musical market to provide Korean musical marketers with marketing strategy implication. We focused university students who are known to form attractive market in the musical market through existing studies. For this research, we divided whole musical market using various variables such as musical audience' demographic, lifestyle and purchasing behavior variables. Using mixture model, we could divided as four significant segments : 'the type of musical mania', 'the type of musical preference', 'the type of musical medium' and the type of indifferent musical'. Each segment showed different musical purchase behaviors, lifestyle and demographical characteristics, also we suggested marketing strategy to each segment. Our research results can contribute to understand objectively musical market.

• Journal of Sasang Constitutional Medicine
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• v.15 no.1
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• pp.50-59
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• 2003

Purpose Five animals sounds which are come under five sounds(Gong, Sang, jiao, zhi, yu) which are compared with the musical scale. It is looking for similarity between five animals' sounds and the musical scale. Methods 녹음 record 1 ig machine 1. Five animals (cattle, horse, pheasant, pig, sheep) sounds has been recording on tape. 2. That was transfer to CSL(computerized speech lab) 3. That was analysed to pitch, formant 1,2,3. energy pitch 4. That analysed result (Pitch, formant 1,2,3. energy ratio) of five animals are calculated and compared with the five musical scale(five sounds) Result The ratio of five animals sounds is not consistent with the musical scale in any five item (pitch, formant 1,2,3. energy). Conclusion 1.The five musical scale has no similarity with the five animals sounds 2.The five sound is supposed to oriented form theoretical back ground of five-going not have no relative with the five animals sounds

• The Journal of the Acoustical Society of Korea
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• v.22 no.4E
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• pp.141-149
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• 2003

As music of digital form has been widely used, many people have been interested in the automatic extraction of natural information of music itself, such as key of a music, chord progression, melody progression, tempo, etc. Although some studies have been tried, consistent and reliable results of musical information extraction had not been achieved. In this paper, we propose a method to extract chord and tempo information from general polyphonic music signals. Chord can be expressed by combination of some musical notes and those notes also consist of some frequency components individually. Thus, it is necessary to analyze the frequency components included in musical signal for the extraction of chord information. In this study, we utilize a sinusoidal modeling, which uses sinusoids corresponding to frequencies of musical tones, and show reliable chord extraction results of sinusoidal modeling. We could also find that the tempo of music, which is the one of remarkable feature of music signal, interactively supports the chord extraction idea, if used together. The proposed scheme of musical feature extraction is able to be used in many application fields, such as digital music services using queries of musical features, the operation of music database, and music players mounting chord displaying function, etc.