• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.5
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• pp.1640-1645
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• 2010

There exists an inconvenience that players of each instrument pass musical score in orchestra recital. In this paper, we implement the electronic musical score transmitting system that possible to hand sheet music automatically, using Mini - ITX and LCD Panel. We made them unite with a sheet music pair, and it was made and a message and data transmission were embodied using reliable TCP/IP socket communication. In this paper, the client hands sheet music automatic, and server implemented the manual function to manage each clients individually. Because one band can be managed by one Access file all together, it is easy to manage each band. Along with this, this system selects TCP/IP as the reliable transfer protocol that protect loss and errors.

• Journal of Korea Multimedia Society
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• v.19 no.5
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• pp.826-836
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• 2016

Mastering a musical instrument for an unskilled beginning learner is not an easy task. It requires playing every note correctly and maintaining the tempo accurately. Any music comes in two forms, a music score and it rendition into an audio music. The proposed method of assisting beginning music players in both aspects employs two popular pattern recognition methods for audio-visual analysis; they are support vector machine (SVM) for music score recognition and hidden Markov model (HMM) for audio music performance tracking. With proper synchronization of the two results, the proposed music learning assistant system can give useful feedback to self-training beginners.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.11
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• pp.437-442
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• 2016

The marriage between music and film, both temporal art forms, demands that the inherent aspects of note in each medium are brought into correspondence within a dramatic context. In film-making, the most crucial and difficult problem a film composer faces is finding the music that seems absolutely right for the film and its characters, sequences and dramatic lines. When writing a film score, composers become musical dramatists; some have a special instinct that enables them to find the right kind of melodic line, orchestral texture, rhythmic device and musical style to bring out what they intuitively recognize as the essential aspect of the drama. In this study, several examples are cited - Alex North, Hugo Friedhofer, Bernard Herrmann and David Raksin - that underline this kinetic function of music in film. Effort is made to uncover as many possibilities as possible, so as to arrive at a better understanding of how the two media interrelate for the purpose of emphasizing the dramatic lines.