• International Journal of Advanced Culture Technology
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• 제10권3호
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• pp.352-359
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• 2022

The study examined a sentiment analysis based on Tweeter messages between contemporary pop musicians and classical music composers. Musicians of each genre were carefully selected for the sentiment analysis. Many opinion messages on Tweets that users have discussed were collected, and the messages were evaluated by using Naïve Bayes Classifier. The results demonstrated that users showed high positive sentiments for the two different genres. However, on average, the positive sentiment values for classical music composers are higher than for contemporary pop musicians. In addition, the rankings of the highest positive sentiments among contemporary pop musicians and classical music composers did not coincide with the popularity of the two different genres of musicians. This study will contribute to the study of future sentimental analysis between music and musicians.

• 한국의류산업학회지
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• 제6권1호
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• pp.61-70
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• 2004

The purposes of this study are to understand shapes, characteristics and source on the costume of musicians in Baekche gilt-bronze incense burner. Baekche accepted to incense burner as one of developed culture through exchange with China. Baekche gilt-bronze incense burner includes mixed Thought of Confucian, Buddhism and Taoism from China. The five musicians showed in Baekche gilt-bronze incense burner are symbols that include Confucian Ohang-thought and peaceful reign based on musical combination and arrangement. So, musicians in Baekche gilt-bronze incense burner to pray to God for Happiness showed as a kind of Genii. As a results of analyzing costume of musicians in Baekche gilt-bronze incense burner are as follows; Upper garments which open in the center front have wide sleeves and tie up in high waist position. Under garments are long and wide skirts. Those costume styles of musicians were to follow spreaded costumes in the Continent at that time. In conclusion, costume of musicians in Baekche gilt-bronze incense burner was showed to receive influence of costume style in China Whijinambukjo period.

• 복식
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• 제5권
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• pp.83-101
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• 1981

This study is to research and analyse the Musicians' Costumes in Yi dynasty. Each costume for the musicians was, at that time, different in its design and style in accordance with what class the musicians were belonging to and what ceremony they were playing for, and the form and substance of them were changed according to the ages. In the early of Yi dynasty, the musicians wore their costumes imitated from the Song dynasty's. Especially in the 13th year of King Sae-Jong(1431), they divided the costumes into A-ag-Seo Jeon-ag Gwan-bog(雅樂署 典樂冠服) and Jeon-ag-Seo Gwan-bog(典樂署冠服). Meanwhile the musicians had to put on their different kinds of costumes according to the sorts of ceremonies they were playing for since January of the 16th year of king Sae-Jong(1434). It is widely known that confucianism was made a national policy in Yi dynasty. Compared the musicians' costumes for sacrificial rituals, however, with those for every kind of ceremony, one was simpler and shabbier without any strictly established forms than the other. At the same time, the musicians' costumes for ceremonies were, instead, designed in more gorgeous forms; it means that the sacrificial ritual was very lightly dealt at that time. It is very difficult to define, by standard pictures the whole style and form of the musicians' costumes in Yi dynasty in this study. Since we haven't shown any examples of the costumes, this attempt will be keepful.

• Journal of Audiology & Otology
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• 제24권3호
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• pp.140-148
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• 2020

Background and Objectives: The aim of this study is to evaluate the effect of music training on the characteristics of auditory perception of speech and music. The perception of speech and music stimuli was assessed across their respective stimulus continuum and the resultant plots were compared between musicians and non-musicians. Subjects and Methods: Thirty musicians with formal music training and twenty-seven non-musicians participated in the study (age: 20 to 30 years). They were assessed for identification of consonant-vowel syllables (/da/ to /ga/), vowels (/u/ to /a/), vocal music note (/ri/ to /ga/), and instrumental music note (/ri/ to /ga/) across their respective stimulus continuum. The continua contained 15 tokens with equal step size between any adjacent tokens. The resultant identification scores were plotted against each token and were analyzed for presence of categorical boundary. If the categorical boundary was found, the plots were analyzed by six parameters of categorical perception; for the point of 50% crossover, lower edge of categorical boundary, upper edge of categorical boundary, phoneme boundary width, slope, and intercepts. Results: Overall, the results showed that both speech and music are perceived differently in musicians and non-musicians. In musicians, both speech and music are categorically perceived, while in non-musicians, only speech is perceived categorically. Conclusions: The findings of the present study indicate that music is perceived categorically by musicians, even if the stimulus is devoid of vocal tract features. The findings support that the categorical perception is strongly influenced by training and results are discussed in light of notions of motor theory of speech perception.

• 대한청각학회지
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• 제24권3호
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• pp.140-148
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• 2020

Background and Objectives: The aim of this study is to evaluate the effect of music training on the characteristics of auditory perception of speech and music. The perception of speech and music stimuli was assessed across their respective stimulus continuum and the resultant plots were compared between musicians and non-musicians. Subjects and Methods: Thirty musicians with formal music training and twenty-seven non-musicians participated in the study (age: 20 to 30 years). They were assessed for identification of consonant-vowel syllables (/da/ to /ga/), vowels (/u/ to /a/), vocal music note (/ri/ to /ga/), and instrumental music note (/ri/ to /ga/) across their respective stimulus continuum. The continua contained 15 tokens with equal step size between any adjacent tokens. The resultant identification scores were plotted against each token and were analyzed for presence of categorical boundary. If the categorical boundary was found, the plots were analyzed by six parameters of categorical perception; for the point of 50% crossover, lower edge of categorical boundary, upper edge of categorical boundary, phoneme boundary width, slope, and intercepts. Results: Overall, the results showed that both speech and music are perceived differently in musicians and non-musicians. In musicians, both speech and music are categorically perceived, while in non-musicians, only speech is perceived categorically. Conclusions: The findings of the present study indicate that music is perceived categorically by musicians, even if the stimulus is devoid of vocal tract features. The findings support that the categorical perception is strongly influenced by training and results are discussed in light of notions of motor theory of speech perception.

• 대한정형도수물리치료학회지
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• 제28권3호
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• pp.21-32
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• 2022

Background: Instrument players are exposed to occupational musculoskeletal symptoms due to constant movement and strain to meet the needs of their audience. This can cause dissonance between the player and the instrument and can cause medical problems in the musculoskeletal system such as pain, tendinitis, muscle spasms, and joint hyperextension from overuse of body parts. Objective: The purpose of this study is to comparatively analyze the characteristics and occurrence of musculoskeletal symptoms in professional and student players, and to find out the awareness of the need for health care professionals and special exercise programs for orchestra players. Methods: The subjects were professional orchestral musicians 191 from the three symphony orchestras and music students 209 from the four universities volunteered to participate in this study; 393 subjects (98.25%) completed the questionnaire. symptom prevalence and related factors of playing-related musculoskeletal disorders (PRMDs) were surveyed with a self-administered questionnaire. Standardized Nordic Questionnaire was complemented by adding a visual-among scale and used to diagnose PRMD. Results: High prevalence of musculoskeletal complaints in both professional musicians (85.30%) and student musicians (82.30%). Professional musicians and student musicians also suffered the highest problem in shoulder and neck complaints. Significant differences were found between groups that recognized of necessity for specialized health professionals, professional organizations, and special programs for musicians. Conclusions: Professional musicians and student musicians, like orchestra players, are already exposed to overuse syndrome. However, student musicians lack awareness of the risk of injury compared to orchestra players. We suggest that an appropriate treatment management program for the prevention and early treatment of musculoskeletal system damage should be provided to performers at an early stage.

• 예술경영연구
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• 제57호
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• pp.85-126
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• 2021

본 연구는 국내 재즈클럽에서 연주하는 재즈 뮤지션과 재즈클럽을 방문하는 관객간의 상호작용성을 심층적으로 고찰하는 데에 그 목적이 있다. 본 연구는 재즈클럽의 뮤지션과 관객이 재즈클럽이라는 연주공간과 재즈클럽 공연에 관해 갖는 주관적 견해를 질적 연구 방법론인 심층 인터뷰를 진행하여 알아보고, 그 내용을 분석하여 결과를 제시하였다. 본 연구의 결과는 다음과 같다. 첫째, 재즈 뮤지션은 재즈클럽을 뮤지션 경력의 구심점으로 인식했고, 관객의 관점에서 재즈클럽은 재즈 애호가들이 자청해서 모이는 공간이며, 편안한 분위기에서 음악적 소통을 누릴 수 있는 공간이었다. 둘째, 재즈 클럽공연은 재즈 뮤지션에게 연주의 자율성을 부여하고, 최적화된 사운드를 만들어 내기에 적합하다고 여겼고, 관객은 객석에 근접한 무대에서 재즈 뮤지션의 연주를 생생하게 경험할 수 있다고 인식했다. 셋째, 재즈 뮤지션과 관객과의 상호작용방식은 관객과의 음악적 소통을 위해 적극적이면서, 상호작용이 본인 연주에 이바지할 수 있는 방식을 선호했고, 관객은 뮤지션과의 음악적 교감과 관객을 향한 뮤지션의 배려를 통해 상호작용을 인식했다. 넷째, 재즈 뮤지션은 관객과의 상호작용이 완성도 있는 공연을 실현하는 데 주요한 역할을 하는 데에 의미를 두었고, 관객은 상호작용을 즉흥 연주가 주는 희열, 재즈 뮤지션과의 유대감, 특별한 경험으로 인식하게 하는 데에 의미를 두었다. 본 연구는 재즈클럽의 뮤지션과 관객의 상호작용을 고찰함으로써 재즈클럽이 궁극적으로 국내 재즈 신의 발전과 확산을 도모하는 연주 저변이자 대중의 재즈향유를 위한 문화적 공간으로서의 위상을 확인했으며, 예술 경영학적 관점에서도 재즈 공연기획과 재즈클럽 운영에 관한 가이드라인의 역할을 할 수 있다는 데에 의의가 있다.

• 한국의류학회지
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• 제28권9_10호
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• pp.1231-1241
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• 2004

The purpose of this study was to investigate the musicians' body image and fashion styles portrayed in Korea and American music' video in aspects of body dimension such as sex, race, nature, and technology. The results were as follows. In aspects of sex, male musicians showed the blurring of gender appearance, while female musicians reflected sexuality which intensified the gender norms. In aspects of race, musicians pursued the racial blending appearances. In nature and technology dimension, Korea music video focused on natural imagery, while American music video showed a lot of technology imagies. And, the body combined with the nature and technology implied the post human image in the future.

• 한국콘텐츠학회논문지
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• 제16권4호
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• pp.262-274
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• 2016

인디뮤지션에 대한 사회적 의미와 관심이 높아지고 있음에도 불구하고, 인디뮤지션을 학술적인 차원에서 이해하기 위한 시도와 이들을 위한 제도적 평가는 미흡했다. 본 연구에서는 105명의 국내 인디뮤지션에 대한 온라인 설문 조사를 통해 이들의 음악 환경, 음악 활동의 특성, 인디뮤지션 만족도에 영향을 미치는 요인들을 살펴보고자 하였다. 분석 결과, 대부분의 응답자들은 작업 시설과 50석 이상의 공연장 이용 기회가 부족하다고 평가한 것으로 나타났다. 또한 활동 경력이 6년 이상인 집단의 경우, 대형 공연장 공연 기회가 많으며, 음악 활동 횟수와 음악 활동 수입이 상대적으로 높은 것으로 나타났다. 인디뮤지션의 만족도에는 음악활동 횟수, 사회적인 인정이 영향을 미치는 것으로 나타났다. 인디뮤지션에 대한 지원제도는 다양한 영역에서 제공되는 지원이 서로 조화를 이루는 토대를 마련하는데 집중해야할 것이며, 정부가 모든 것을 해야 한다는 가부장적 사고를 버리고 다양한 부문과의 조율을 통해 인디뮤지션의 창작을 독려해야할 것이다.

• 영재교육연구
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• 제22권2호
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• pp.221-241
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• 2012

본 연구는 음악영재의 학년수준에 따른 완벽주의, 스트레스, 그리고 진로결정 유형을 조사하고자, 예술 중학교에 재학 중인 음악영재를 대상으로, 다차원적 완벽주의 척도(Hewitt & Flett, 1991), 청소년 스트레스 척도(이정순, 1988), 그리고 진로결정 척도(Harren, 1984)를 실시하였다. 연구 결과, 음악영재의 학년수준에 따라 완벽주의 하위 요인에서- 자기지향, 타인지향, 그리고 사회적으로 부과된- 차이가 나타났다. 학년이 올라갈수록 음악영재의 완벽주의 성향이 강해지는 것으로 나타났다. 스트레스 역시 학년수준에 따라 유의한 차이가 나타나, 음악영재는 학년이 올라갈수록 자아발전, 부모자녀관계, 또래관계, 학교생활에서 스트레스를 점차 많이 경험하는 것으로 나타났다. 예술 중학교에 재학 중인 음악영재의 진로결정 유형에 미치는 학년수준의 효과는 합리적 진로결정 유형과 과도적 진로결정 유형에서만 나타나, 학년이 올라갈수록 합리적 진로결정 유형은 증가하나 과도적 진로결정 유형은 감소하는 것으로 나타났다. 한편, 음악영재의 합리적 진로결정 유형에 미치는 완벽주의와 스트레스의 영향을 조사하였을 때, 자기지향 완벽주의와 자기발전 스트레스 요인만 합리적 진로결정 유형을 유의하게 예측하는 것으로 나타났다. 이에 본 연구는 연구 대상자의 특징과 반응을 근거로 연구 결과를 논의하고 향후 상담 및 진로지도를 계획할 때 고려해야 하는 사항과 방향을 제안하였다.