• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.181-188
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• 2013

Have been so many times to attempt to enhance the usefulness and convenience about using the sample sound of Korean traditional instruments. Was determined additionally VST plug-sequencer and sample libraries, a variety of methodologies, but did not lead to practical use. This study is a work in order to increase the usability of sample sound of Korean instruments. We have developed sound samples of Haegeum and Daegeum based on most widely used Kontakt sampler. Have aimed to develop sound samples for accompanying with useful function supported by Kontakt sampler helping various musical expressions.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.74-84
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• 2015

The purpose of this study is to examine symbolic meanings of costumes shown by portraits of King Henry VIII and use them as basic data for research on costume design of historical dramas in the Renaissance or on King Henry VIII's costume. This study attempted analysis of symbolic meanings from the paintings-related various domestic and overseas literatures, preliminary study paper, and web sites etc. The symbolic meanings expressed by the portraits of King Henry VIII are characterized by authority, innovation performance, authority, masculinity, innovation performance, artistic taste, intellectual charm, intrepidity and benevolence. Especially, the portraits of King Henry VIII symbolized his masculine beauty by emphasizing sexual attractiveness that cannot be seen in portraits of other kings through broad shoulders and exaggerated codpiece which are the zenith of masculine beauty during the Renaissance age. Through the image of King Henry VIII which was painted with jester or barber surgeons, his characteristic and open mind thinking highly of the technique and human life was also expressed. In the portrait of King Henry VIII, various images set in knights' tournament, playing a musical instrument and reading a book as well as the image of wearing a parliament costume were shown, highlighting King Henry VIII as a person good at both literary and martial arts with open and innovative personality than any other kings in history.

• Journal of the East Asian Society of Dietary Life
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• v.1 no.1
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• pp.31-42
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• 1991

Since the year 1795(in the 19th year of King Jungjo), the form of Banquet Record was established. In the year 1827(in the 27th year of King Sunjo), the formality of Banquet was made at Ja-kyung Palace for the first time. Thereafter it was utilized by all banquets, So it was called the“model of courtesy”. The compostion of Jinchan Uigue of the year 1887(in the 24th year of King Gojong) was identified as follows; Banquet Record was composed of 4 Volumes. In Preface, there were Data choice(Taekil), Personal rank his name(Zwamok), Pictures of ceremonies(Dosik). In 1st Volume, there were King's order(Jungyo), Answer of King's question(Yeonseol), Musuic Record(Akjang), Compliment for King(Chisa), Poem for royal family(Junmun), Procedure of ceremony(Uiju), Works of theauthorities concerned(Samok), Resource indices(Gyemok), Letters from chief of the authorities concerned (Gyeas), Official letters(Imun), Letters to headquarters from local officers(Negwan). In 2nd Volume, there were Consult for budget(Pummok), Letters from to local officers from head quarters(Gamyul), Banquet menu(Chanpum), Utensil item(Gijong). In 3rd Volume there were repairment(Suri), Arrangement(Besul), Umbrella and flag for ceremonies (Ui Jang), Guard(Uiwui), List of quests(Neyebin), Ministers(Munanjesin), Musician and dancer's name and costume (Gongryung), Musical instrument(Akgipungmul), Rewards(Sangjum), Expenditure of banquet(Jaeyoung).

• Journal of the Korea Furniture Society
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• v.22 no.4
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• pp.299-307
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• 2011

This article aimed to provide objective and practical information on wood terms of making furniture focusing on the wood species that furniture designers and firms in Korea have used to create furniture from the traditional up to the modern times. Through the content analysis method with wood information from literature related to furniture at home and abroad, studios of making the traditional Korean furniture, domestic furniture firms, and the catalogues of Korean crafts council and Korea furniture society, the wood species of making furniture was studied in the terms showing the number of the species classified in needle leaf tree and broad leaf tree. As a result, the furniture wood terms were analyzed about 230 species including 200 broad leaf tree and 30 needle leaf tree. 74 out of 100 domestic species studied have been used from the traditional up to the modern time for creating the traditional Korean wood furniture. The 230 species were classified by such detailed uses as furniture mainly and the related small objects, interiors, architecture, exteriors, materials like plywood, toys, musical instrument, exercise equipment, household items, and so on. In addition, some of the terms were clarified such as Madika to Jelutong, Karin to Paudauk and Narra, Red sandalwood to Indian rose wood, and Cherry blossoms from home, the same family as Cherry from abroad but the different species, and so on.

• The Journal of the Acoustical Society of Korea
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• v.40 no.5
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• pp.473-478
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• 2021

Vibrato corresponds to a modulation of frequency and is one of the most frequently used techniques to enrich vocal and musical instrument sounds. Whereas the fundamental frequency trajectories of vibrato tones are generally modeled as a sinusoid, they are sometimes observed to be non-sinusoidal. In this paper, we propose a method to analyze the characteristics of non-sinusoidal fundamental frequency trajectories of vibrato sounds. The proposed method performs Fast Fourier Transform (FFT)-based harmonic analysis on the frequency trajectory, analyzes vibrato parameters, and calculates a sinusoid purity factor. We applied the proposed method to flute, viola, and saxophone vibrato tones, whose results showed the effectiveness of the proposed method.

• Korean Journal of Childcare and Education
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• v.15 no.2
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• pp.125-144
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• 2019

Objective: The purpose of this study was to examine the effects of early childhood teachers' music attitude and emotional leadership on their music teaching efficacy in the music education. Methods: 301 early childhood teachers answered the music attitude scale, music teaching efficacy belief instrument, emotional leadership scale, and questionnaire for socio-demographic characteristics and music experiences. Data were analyzed by t-test, one-way ANOVA, Pearson's productive correlation analysis and hierarchical regression analysis. Results: First, early childhood teachers had a higher music teaching efficacy in case of at least 10 years of teaching experiences period, having a post-graduate degree, having a music training experience, enjoying learning musical instruments and singing and listening to music during regular music lessons, and having a long music training experience. Similar results were derived from the subfactors of music teaching efficacy. Second, there were positive correlations(r=.172-.659, p < .001) in the total and subfactors scores among early childhood teachers' music attitude, emotional leadership, and music teaching efficacy. Lastly, early childhood teachers' music attitude and their emotional leadership were explained at 39~52 percent for their music teaching efficacy. Conclusion/Implications: This study suggests that it is important for early childhood teachers' perception of their belief, knowledge and feeling about music education.

• Journal of Music and Human Behavior
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• v.14 no.2
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• pp.19-43
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• 2017

This study aimed to examine the effects of a reciprocal attention intervention on the joint attention behaviors of children with autism spectrum disorder (ASD) by comparing the music and nonmusic conditions. An alternating treatment design was applied as one of the single subject designs and the reciprocal attention intervention included music and nonmusic conditions implemented alternately within a session. The participants were four children between the ages 4 and 5 years and each participant who participated in 23 intervention sessions that followed the sequence of baseline (3 sessions), treatment (15 sessions), and follow-up (5 sessions). The music condition consisted of structured joint instrument playing, trials for attentional shift, and interactive instrument playing. The nonmusic condition consisted of joint toy play, trials for attentional shift, and turn taking-based play. The occurrence of target behaviors (i. e., joint attention behavior, eye gaze, and joint action) was analyzed across sessions. At pretest and posttest, the Early Social Communication Scale was administered. All participants showed increasing tendency in all target behaviors, but such occurrence was greater in the music condition than in the nonmusic condition. The findings support the use of a reciprocal attention intervention with musical stimuli to effectively improve joint attention in this population.

• Journal of Music and Human Behavior
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• v.3 no.2
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• pp.29-44
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• 2006

Trust and understanding relationship promoted between a therapist and a client is the basic building block to successful recovery. Its importance is not only pertaining to the music therapy but also to counseling and psychological therapy. Because of its gnificance, broad spectrum of research has been conducted for quite a long time. Historically, researches have been focused on therapists or client's chological variables rather than emotional effects on each other that occur during the therapy session. Recently researchers turned their attention to emotional relationship between a therapist and a client. With recent advances in the field of music and psychological therapy, subsequent study has been conducted to investigate the role that music plays in the therapeutic relationship. For this research, eleven music therapy sessions were conducted for the adult females who are alcoholics. The first three sessions were of group therapy. Fourth to eleventh therapy session was done individually. Throughout the research case-by-case study has been conducted on the basis of the analysis of video and audio taped materials. Analysis depends heavily on its reference from the Amir's music research of 1990, which used Ferrara's seven phases of phenomenological study. Especially, verbal and nonverbal communications were closely analyzed in musical perspective. Research revealed that music and musical instruments act as a mediator between a therapist and a client. By doing so, it protects a therapist from unnecessary negative emotional displacements of a client and creates mutual reliability between a therapist and a client. Here, research suggests that music and musical instrument play a central role in building relationship between a therapist and a client, and it indicates that it has positive effect on treatment.

• Journal of Korean Society of Forest Science
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• v.87 no.4
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• pp.577-583
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• 1998

Chestnut and paulownia boards for the traditional musical instruments were air dried to compare moisture contents(MC), drying rates and drying times between the air drying for 70 days in a yard and the shed drying for 150 days in a closed shed when piled in early June. An average final MC and the drying rate of chestnut boards were 20.6 percent and 0.78%/day for the air drying, and 16.6 percent and 0.44%/day for the shed drying. An average final MC and the drying rate of paulownia boards were 16.7 percent and 1.53%/day for the air drying, and 13.5 percent and 0.77%/day for the shed drying. Drying rates of air-dried boards were nearly twice as high as those of shed-dried boards for both species. Air drying rates of chestnut and paulownia boards were very high and exhibited falling drying rate above the fiber saturation point(30%), and then decreased irregularly. However, shed drying rates of chestnut and paulownia boards were high and exhibited falling drying rate above 55 percent MC for chestnut boards and above 80 percent MC for paulownia boards, and then decreased irregularly.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.13-25
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• 2021

Hoseonmu belongs to the genre of a composite of song, music, and dance. At that time, there was no widely known record of Hoseonmu in Baekje, but it is clear that it was popular enough to be invited to Changan by Emperor Yang of Sui. The musical instruments, songs, and dances were analyzed through the research method of literature and the content of the Hoseonmu version was established. The setting of the stage for the performance of Baekje instrumental music reveals its characteristics through sabangak from Gigaku in the neighboring countries. The stage for Hoseonmu was set up utilizing the creation of the imperial performance stage in the Baekje instrumental music. In particular, Hoseonmu has two types: heavenly and earthly. The heavenly Hoseonmu can be found on the wall of the Cave No. 220 formed in the Chodang (618-707) era. They include Dongbang Pharmacopoeia jingbian and Western Paradise jingbian. Hoseonmu would have chosen to be the fast-paced spinning dance. Motions for Hoseonmu could be set up through them. Meanwhile, Mimaji's instrumental dance is presented. Six dancers appear in two turns of the performance. Four dancers in front row and other two in the back are dressed up as hunters, wearing goblin masks, and holding flowering plum tree branches in their right hands. Through this, the movements and costumes of Hoseonmu are reproduced in more detail. Various sectors of education, theater, dance, and tourism in the Hoseonmu contents of Baekje instrumental music contributed to the Korean Wave.