• Journal of Naturopathy
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• v.9 no.2
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• pp.46-56
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• 2020

Purpose: This study proposes a concert oriented music therapy (COMT) program which takes into account the personal and social factors of depression, and its clinical effects were validated on elderly persons with visual impairments who were susceptible to depression. The experiment was conducted on 34 elderly persons with visual impairments, randomly allocated to either the experimental group (n = 15) or the control group (n = 19). The COMT program was applied 20 times in total to the experimental group for 110 minutes every other week, for a duration of 10 months. The depression level was evaluated using the Korean form of the Geriatric Depression Scale (KGDS). The experimental results showed that the average KGDS score in the experimental group decreased by 4.1 points (19.4%), from 21.0 to 16.9, whereas it increased by 1.16 points (5.8%), from 19.95 to 21.11, in the control group. The reduction in the depression level was significant for the following 4 depression factors : decreased social interest (40%), negative thinking and the unhappiness feeling (20%), emotional discomfort (16.3%), and cognitive dysfunction (7.6%), whereas it was negligible in the factors of physical weakening and decreased vitality. The COMT program reduced the KGDS scores of the experimental group regardless of their experience in musical performance. In conclusion, the proposed COMT program proved to be efficacious in alleviating depression in elderly persons with visual impairments. In particular, it proved highly effective in helping with decreased social interest, namely, the social factor of depression which is not properly considered in existing music therapy methods.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• The Journal of the Acoustical Society of Korea
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• v.42 no.2
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• pp.102-111
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• 2023

Automatic Music Transcription (AMT) is a task that detects and recognizes musical note events from a given audio recording. In this paper, we focus on reducing the latency of real-time AMT systems on piano music. Although neural AMT models have been adapted for real-time piano transcription, they suffer from high latency, which hinders their usefulness in interactive scenarios. To tackle this issue, we explore several techniques for reducing the intrinsic latency of a neural network for piano transcription, including reducing window and hop sizes of Fast Fourier Transformation (FFT), modifying convolutional layer's kernel size, and shifting the label in the time-axis to train the model to predict onset earlier. Our experiments demonstrate that combining these approaches can lower latency while maintaining high transcription accuracy. Specifically, our modified model achieved note F1 scores of 92.67 % and 90.51 % with latencies of 96 ms and 64 ms, respectively, compared to the baseline model's note F1 score of 93.43 % with a latency of 160 ms. This methodology has potential for training AMT models for various interactive scenarios, including providing real-time feedback for piano education.

• Cartoon and Animation Studies
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• s.39
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• pp.321-348
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• 2015

The purpose of this study was to find a system and a progression principle in orchestral piece based on the outcome after comparatively analyzing the orchestral operation technique in "Battle for The Glory" out of the background music in the animation "Dragon Quest IV" by Koichi Sugiyama(1931~), who is a leading runner of Japan's animation music, based on functional parts daccord & Instrumentation Pattern, Rhythm Pattern, Voicing Pattern, and harmonic ratio by progression section devised by the writer. As a result, first, five themes in this music have specific instrumentation pattern, respectively. In a passage that is shown exposition, reprise, and representation in theme, the unity was emphasized by maintaining the same instrumentation pattern. On the contrary to this, a passage of being suggested new theme is being used the exchange method and addition & subtraction in musical instrument in order to strengthen diversity. Second, the voicing pattern is forming the vertical contrasting relationship of "thinness-thickness" on the whole. However, the diversity is being intensified that is changed into the structure of "thickness-thinness" in the third theme and of "thinness-thickness" that has two melodies in the fourth theme. Third, the rhythm pattern is forming the vertical contrasting relationship of "big-small" on the whole. However, the fifth theme is being given diversity with being changed into the structure of "small-big." Fourth, the harmony by progression section from the horizontal perspective is shown to be high in the proportion of unity in the section of being repeated and represented the theme and to be high in the proportion of diversity in the section of being suggested new theme. In this study, the balanced orchestral operation technique through the operation technique, which was used in this work, is what extracts the relationship of diverse proportions in the horizontal progression section based on the technique of vertical perspective. In this aspect, this analytical study is desired to be positioned as a new paradigm in establishing a theoretical system and an educational method in orchestration.