• Sijohaknonchong
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• v.19 no.1
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• pp.235-260
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• 2003

Recently, I presented Gagok(歌曲) Collection Yeong-eon永言 to learned circles. Yeong-eon is very similar to Yukdang-version六堂本 CheongGuYeongeon靑丘永言. Compared with Cheong- Yuk, it is the same age or little bit early time of Cheong-Yuk in culture Icon. This paper paid attention to the considerable difference between Yeong-eon and Cheong-Yuk in the way of the distribution of Yisakdaeyap二數大 葉's Woo mode羽調 and Ke-myeon mode界面調. There was the way of gathering ‘real name’+‘namelessness’ in Yisakdaeyap, which is the feature of the 18th century Gagok Collection. I found this way just put on the 19th century Gagok Collection way which is the distribution of Yisakdaeyap's 'Woo mode and Ke-myeon mode' in CheongYuk. Then I proved in this paper that the way of gathering Yisakdaeyap in Cheong Yuk didn't correspond to an actual singing in the early 19th century when 'Woo mode and Ke-myeon mode' was fixed. In case of Yeong-eon, however, it was not written any writers' names at all, when it was researched retroactively, I knew it was distributed evenly both the works of 'real name' and 'namelessness' in Yisakdaeyaps 'Woo mode and Ke-myeon mode'. Consequently, I found Yeong-eon is the good Gagok Collection for an actual singing at that time. In addition, there was discord in the mode or key distribution among many Gagok Collections. I found this issue of the application had kept on make Gagok Collections edit during 2 centuries. Because the actual Gagok enjoyment in the specific time is connected the way of the mode application directly.

• 재활복지
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• v.21 no.3
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• pp.165-186
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• 2017

The purpose of this study was to compare adults' with intellectual disabilities voice pitch between who have choir experiences and those who do not. Participants were a total of 21 male adults with intellectual disabilities (12 choir group members and 9 non-choir group). Praat test was conducted to compare the characteristics of pitch, produced by the participants while they were singing in their comfortable pitch range. The results showed that the range of melodic contour in the choir group was broader and higher than those of the non choir group. Participants in the choir group produced a lower pitch in the beginning note, and they produced a higher pitch compared to the non-choir group on the highest and lowest note of the song. An analysis on the pitch of the individual note that the participants produced revealed a gap between the expected pitch notes and the actual notes produced while singing. In all syllables of the song, participants in the choir group showed higher accuracy of the pitch production, and significantly more accurate on the perfect fifth and eighth intervals. Regarding to the relative pitch, participants in the choir group produced significantly more accurate notes on perfect fifth, perfect fourth, and perfect eighth intervals. Findings of the study suggest that constant singing experience enable them to have pitch training. It also implies for further studies regarding to singing abilities of adults with intellectual disabilities.

• Sijohaknonchong
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• v.20
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• pp.197-215
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• 2004

In this paper, I reexamined the word 'Sijo-samjang(시조삼강)' and gave a new meaning of it. In addition, I proposed the new concept of 'Sijo-samjang' which meant the characteristic of a Pyon'ga(편가) in Sijo-chang(시조창). For a long time, 'Sijo-samjang' was regarded as a word which indicated the three sections of a Sijo. It was because of the fixed idea that a Sijo was always composed of a form separated by three parts. Unlike the fixed idea, I found the fact that 'Sijo-samjang' meant singing successively three different Sijos which adapted three different music by reexamining the actual uses of the word in the texts of the days. Thus, I could come to a conclusion that 'Sijo-samjang' was the word indicating a specific music system of a Sijo-chang(singing a Sijo) corresponding to a Pyon'ga of a Gagok(가곡). 'Sijo-samjang' seemed to be molded up while the music of Sijo-chang developed. Usually, a successive singing of the three different Sijos, such as Pyong-sijo(평시조), Chirum-sijo(지름시조), and Sasol-sijo(사설시조), was called 'Sijo-samjang'. However, some of the three could be omitted, and some of it could be substituted by a derived song. This kind of a usual and a derived form seemed to be settled as an important custom of singing a Silo after the 19 century. The main point of the development of music in Sijo-chang was having the characteristic of compilation which meant singing Pyong-sijo, Chirum-sijo, and Sasol-sijo successively. 'Sijo-samjang' was the concept which explained this kind of characteristic and was one of the key words to understand the development of Sijo-chang.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.235-242
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• 2010

Differently from instruments which synthesized sounds and tones in the past, voice synthesis engine for music production has reached to the level of creating music as if actual artists were singing. It uses the samples of human voices naturally connected to the different levels of phoneme within the frequency range. Voice synthesis engine is not simply limited to the music production but it is changing cultural paradigm through the second creations of new music type including character music concerts, media productions, albums, and mobile services. Currently, voice synthesis engine technology makes it possible that users input pitch, lyrics, and musical expression parameters through the score editor and they mix and connect voice samples brought from the database to sing. New music types derived from such a development of computer music has sparked a big impact culturally. Accordingly, this paper attempts to examine the specific case studies and the synthesis technologies for users to understand the voice synthesis engine more easily, and it will contribute to their variety of music production.

• The Journal of the Korea Contents Association
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• v.17 no.9
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• pp.375-384
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• 2017

The objective of this study is to suggest problems and complementation of Korean curriculum by comparatively analyzing curriculums of domestic/foreign musical-related departments. In order to compare differences in domestic/foreign curriculums, selecting musical-related departments of domestic colleges with four-year course and 2 or 3-year course, and also five musical-related schools in the US and another five schools in France, the actual lesson status of dance curriculum was researched. In the results, for the development of Korean musical, it would be necessary to reorganize its curriculum. First, the systematic dance curriculum suitable for musical site would be needed. Second, the dance technique lesson suitable for diversified musical expressions should be strengthened. Third, teaching methods for the characterized musical dance would be necessary. Above all, we need effective education method concerned with performance venues. Musical students are facing difficulties in performing acting, singing, and dancing at the same time. In reality, it is even tough to learn a single area among them. For the original Korean-style musical that could be imitated by no one, the systematic curriculum of college is very important.

• Journal of Physiology & Pathology in Korean Medicine
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• v.22 no.3
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• pp.516-527
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• 2008

Sounds and music have been used in various ways in the East and the West, as it is well known that they influence the human mind and health a lot. Recently, there have been many studies regarding the remedy through sounds and music in the West and they have made good effects in the actual therapy. In the East, people knew that sounds and music would make great effects on human mind long time ago and they placed importance on sounds and music. Although there is a Sound Therapy in Oriental Medicine, it is not studied sufficiently in modern Oriental Medicine. It does not have clear standards for the clinical application and has not been frequently used. Accordingly, Yukjagyeol which has long been used in Korean Medicine and Younggamudo which was made by Kim Il-bu in late Chosun were compared from the perspective of acoustics and demonstrative treatment theory of Korean Medicine. Younggamudo by Kim il-bu allot the five sounds such as 'Eum, Ah, Eo, Ih and Uh' to 'spleen, lung, liver, heart and kidney' respectively. As the five sounds are all vowels and vibrate the vocal band as much as possible, they vibrate and resonant the respective organs to help them to function and promote circulation. In oriental medicine, there is 'Singing and Dancing Treatment'. They say songs and dances nurtures personality, supplement blood stream and comfort the mind. As the five sounds of Younggamudo take the melody while vibrating the vocal band sufficiently, when it passes from Youngto Ga(Songs) we may dance moving our bodies according to the rhythm. Therefore Gongbeop of Younggamudo helps the functionality of human organs and promotes blood circulation. As Yukjagyeol is Sabeop(discharging method), it should be used for those who have surplus Sagi and should not use for Heojeung. As Younggamudo is Bobeop(supplementing method), it is not for Shiljeung but for Heojeung which lacks of Jeonggi. It is considered that healthy people without specific disease can use it as a preventive method of 'Chimijeong' to maintain their physical and mental health. It is considered that we can have useful effects if we apply Yukjagyeol and Younggamudo dialectically with the concept of Bosa. It is considered that concrete application to Sound Gigong can be possible by searching for the methodology for empirical further study and clinical experiments and clinical application in the future.