• The Journal of the Korea institute of electronic communication sciences
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• v.6 no.1
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• pp.84-89
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• 2011

Musical sheet recognition is an emerging area as the role of computers in music increases. Although there are several well-known programs for composition, they have a limitation in that they cannot edit or play music generated from other programs. In this paper, we propose an algorithm that can read, recognize, and play music using printed sheets. The proposed algorithm first removes lines using horizontal histogram and extracts symbols. The symbols belong to one of the three categories; notes, rests, and other signs. Notes are recognized using the context information and rests and signs are recognized using a fuzzy ART algorithm. The proposed algorithm were applied to 50 pages of musical sheets and the experimental results showed that it is effective in automatic recognition of musical sheets.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.10a
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• pp.171-172
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• 2009

Nowadays the music market is getting bigger while students are losing their creativity because of the cramming education even in the music class. Based on the growing music market, we made a project for students to play the musical instruments more easily. The suggested program is different from any other system because, with this program, we can play the musical instruments if only we have a keyboard made of paper and Webcam, which made us save money. When an user put his finger on the paper keyboard, Webcam makes a sound recognizing the position of the finger on the keyboard. We can choose one instrument out of four; Piano, drum, base and guitar. With this system, we can get an opportunity to learn many sounds of musical instruments and make our own melody.

• Journal of Music and Human Behavior
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• v.19 no.2
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• pp.27-53
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• 2022

The purpose of this case study was to construct a social context-based musical play program for children with high-functioning Autism Spectrum disorder (ASD) and to examine its applicability in improving the social skills of the children. The participants were a group of three children with high-functioning ASD with an average age of 9 years. The children participated as a group in 40-minute sessions that were implemented twice a week for 8 weeks. The children's social communication behaviors were observed during the sessions and analyzed in terms of sharing and exchanging their ideas and voluntarily interacting with peers and an adult (i.e., the researcher). The Social Skills Rating System (SSRS) was completed by the teachers of participants before and after the intervention. For all three participants, the occurrence of behaviors to exchange their ideas with peers and voluntarily interacting with an adult increased following the intervention. However, there were individual differences between the participants in terms of changes in each target behavior depending on their level of language and social skill development. These results suggest that social context-based musical play program may produce positive changes in voluntary communication with peers and play a significant role in expanding the scope of interventions that target the social communication of children with ASD.

• Cross-Cultural Studies
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• v.44
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• pp.315-342
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• 2016

There exists a general misunderstanding of the Musical as being both a dramatic genre and a musical genre. This misunderstanding lies in the fact that music fills the role of the drama. In other words, there exist a series of narrative episodes that help the development of the drama and music generates the ambience that corresponds to each episode. In this case, music is subordinated to the drama and thus becomes secondary. However, this paper seeks to show that in the Musical, musical composition is so strongly linked to the development of the drama that it is through the musical development that the drama unfolds. This paper seeks to explore this view through one of the most successful musicals of our time, Les $Mis{\acute{e}}rables$. A musical adapted from a novel is not the retrenchment of a series of episodes from the original novel. The process of dramatizing the novel compels the musical creators to observe what to draw out as a dramatic action. The interesting points of a musical consist of how the musical creator has reflected his understanding of the fiction through the composition of the music. This is why this paper has created a table analyzing the forty musical compositions in Les $Mis{\acute{e}}rables$. This table is meant to visualize the musical motifs employed in this play in order to explain the relationship between the musical composition and the development of the drama. The theme of Les $Mis{\acute{e}}rables$ lies in the transformation of Jean Valjean. His change includes the process of transformation from a thief to finding Jesus and his denial of being a sinner to his confessions of sinning. This paper explores the transformation of the dramatic action of Jean Valjean, which is symbolized by such themes as Misery, Love and Name established in musical form. The dramatic conflict between Jean Valjean and Javert as well as between Jean Valjean and $Th{\acute{e}}nardier$ is also explored through the composition of music. The success of Les $Mis{\acute{e}}rables$ lies in its successful constitution of music that embodies the in depth interpretation of the original play.

• KIISE Transactions on Computing Practices
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• v.21 no.4
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• pp.275-282
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• 2015

The Musical Instrument Digital Interface (MIDI) file format is a typical format for dynamic music that can be used not only for playing, but also for supporting dynamic music activity, such as musical instrument practice. However, almost all of the existing MIDI applications focus only on the playing features. In this paper, therefore, we implement a MIDI file play application that supports various dynamic features such as part-play repeating certain sections that the user wants, tone and speed control while playing a MIDI file, downloading MIDI files from a server, and lastly Digital Rights Management (DRM). By supporting these features, we are confident that our MIDI application will help users who wish to practice musical instruments to do so conveniently, while effectively protecting the copyright of their purchased MIDI files.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.9 no.6
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• pp.9-21
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• 2014

Source and use of investment money in the content business has been subject to closer attention, This study attempts to identify the information asymmetry problem in the performing art are, focusing on the Korean musical play. Despite the various discussions in the venture capital practice in the performing art area, there has been few studies analyzing the investors' perspective. While juggling with the 'artistic value' and 'rate of return', the investors are concerned about the 'transparency' of the performing art practice. When coupled with the subjective judgment of 'artistic value', the information asymmetry between the investor and the performing art manager becomes more delicate. In the performing art business, 'SPC(Special Purpose Company)' is considered a possible solution to organize the deal structure in this field. This study analyzes the role of SPC regarding the information asymmetry problem.

• Proceedings of the KIEE Conference
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• 1992.07a
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• pp.427-430
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• 1992

In this paper, we proposed an algorithm for the musical note recognition. Firstly, a given bit-mapped music score image is converted to a set of individual note pattern images via vertical projection. Then, the pitch of a note is determinal by comparison in the note-head position with the reference five-lines. Also, the length of a note is found via leader clustering with a set of normalized note patterns. Finally, a datafile to play the music is obtained using the pitch and length of musical notes. Experimental results with a simple musical score image show that the proposed scheme is performed well.

• (The) Research of the performance art and culture
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• no.32
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• pp.371-397
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• 2016

The function of the Duhak nongak(農樂) in Jecheon consist of Ceremony, Labor, and Entertainment. Before the commemorative rites for village god village people beat a small gong. This is a evidence of the drive away evil spirits in New Year's Eve of the lunar year. Before harden house site village peoples beat musical instrument noisily. In order to press hard the god of the earth they play musical instrument. Musical instrument not a simple musical instrument, but a purify and wish tool. When weeding a rice paddy Durae organized in Sangpung village. Durae are less effective than communal sharing of labor in weeding effect. Nonetheless, Nongak carried out core function in Durae. In order to participate Nonngak concours, peoples made a Pangut. From independence to 1970s people combine traditional nongak and Pangut. Since then village people played Pangut. From 1990s Pangut was played by Duhak Nonngak Preservation Association. Through the participation Nonngak concours, Duhak nongak was regrouped. Finally this nongak prepared Taeguk-jin, Snail-jin, Cross-jin, Sabang-jin, Sanggyeonrae Bans anggyeonrae-jin, Palbang-jin, Rope making and individual play. Duhak Nonngak promptly met the needs of the times. So, they could play Pangut. The feature of the Duhak Nonngak is that active cognition, highly skilled musician a patron and scouting a competent leader.

• International Journal of Contents
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• v.9 no.4
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• pp.78-85
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• 2013

Music functions as a catalyst for various emotional experiences. Among the numerous genres of music, film music has been reported to induce strong emotional responses. However, the effectiveness of film music in evoking different types of emotions and its relationship in terms of which musical elements contribute to listeners' perception of intended emotion have been rarely investigated. The purpose of this study was to examine the congruence between the intended emotion and the perceived emotion of listeners in film music listening and to identify musical characteristics of film music that correspond with specific types of emotion. Additionally, the study aimed to investigate possible relationships between participants' identification responses and personal musical experience. A total of 147 college students listened to twelve 15-second music excerpts and identified the perceived emotion during music listening. The results showed a high degree of congruence between the intended emotion in film music and the participants' perceived emotion. Existence of tonality and modality were found to play an important role in listeners' perception of intended emotion. The findings suggest that identification of perceived emotion in film music excerpts was congruent regardless of individual differences. Specific music components that led to high congruence are further discussed.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.251-262
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• 2020

The purpose of this study is to analyze musical styles emerging in modern musical history from the perspective of integration and deconstruction, and to academically investigate the characteristics contained in each style. The style of musicals can be divided into periods of non-integrity, integration, deconstruction, and convergence. The rise of musical styles and the associated meanings can be studied from the perspective of modernism and postmodernism. In modernism, the energies of 'integration' and 'concentration' form the major trend while in early postmodernism, the powers of 'deconstruction' and 'dispersion' play the main role. Late postmodernism is a dialectic result of both trends in which the philosophy of 'convergence' and 'harmony' operates as the main theme. The principle of integration and deconstruction, which forms the base of musical creation, emerged after the development of the unstable style of non-integrity in the early days of musical. Later, with the advent of Rogers and Hammerstein II, the principle of integration was established for book musicals, emphasizing the linearity of drama, and the principle of deconstruction was born for concept musicals to contain new contents. The 'convergence' found in later musical works turn the theme from non-integrity to integration, and from deconstruction to integration again, which indicates that integration is embracing the concept of deconstruction again in a more advanced sense. Such convergent compromise that constantly influences each other and develops in a better direction can contribute to the development of musical styles.