• Journal of Music and Human Behavior
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• v.2 no.2
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• pp.57-67
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• 2005

Most of stroke patients have not only physical difficulty but speech and neurological disorder because of hemiplegia and such unexpected changes cause psychologic disadaptability and absent-mindedness. Particularly, lowering of physical ability can lead to serious emotional problem from failure or frustration in daily life. Generally, treatment of patient with stroke put emphasis on physical rehabilitation but actually this patient had considerable speech disorder such as aphasia or articulation disorder. Moreover, failing of recognition function, mental disorder as hypochondria, and even visual and auditory disorder are represented. So it is effective to integrate verbal remediation and other treatments in medical care environment. In particular, patients with language disorder very often wither psychologically therefore it is efficient to use of music therapy that gives opulent emotion to aphasia patients. And primarily to investigate the effects of 10 sessions treatments; change in spoken total number of syllables, to confirm their own value by success of given task and reassure about themselves ability. All of 10 sessions stages were scored by MIT manual and its improvement were measured, that is, accomplishment was analyzed within each level in order to prove detail change of spoken total number of syllables. The result of this program organized from 2 syllables to 4 syllables is summarized as follows. Subject A completed in preliminary stage Level I, in 2 syllables case advanced to Level III in fifth session and to Level IV in seventh session, in 3 syllables case advanced to Level III in seventh session and to Level IV in ninth session, and in 4 syllables case showed 8% low success rate in first session but after repeated practice increased considerably in sixth session and in advanced to Level III in eighth session to Level IV in tenth session. Subject B also completed in preliminary stage Level I, in 2 syllables case advanced to Level III in forth session and to Level IV in sixth session, in 3 syllables case advanced to Level III in fifth session and to Level IV in seventh session, and in 4 syllables case showed 10% low success rate in first session and increased considerably in fifth session and in advanced to Level III in seventh session but could not reach to Level IV until tenth session. As a result, it was shown that music therapy using MIT was not statistically meaningful but improved spoken total number of syllables and success rate of task had improved as a whole. Therefore, music intervention using MIT it has positive affect on verbal ability of patients with Broca's Aphasia and their language rehabilitation.

• (The) Research of the performance art and culture
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• no.37
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• pp.391-435
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• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• (The) Research of the performance art and culture
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• no.43
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• pp.79-120
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• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.

• (The) Research of the performance art and culture
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• no.39
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• pp.279-323
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• 2019

The musical characteristics of Fishing songs in North Korean which recorded on Anthology of North Korean Folk Songs were examined in this paper. The results are as follows. Among Fishing songs in North Korea, there are "Rowing Song," the "Song for Hauling Nets," and the "Song for Picking Up Fish" in songs related to walleye pollack fishing and in songs related to croaker fishing, the "Song for Dropping Anchor" and the "Full-Load-of-Fish Song" in songs related to croaker fishing, the "Song for Weighing Anchor," the "Song for Shaking Fish," the "Full-Load-of-Fish Rowing Song," and the "Song for Hanging Walleye Pollack" in songs related to walleye pollack fishing. There are the "Song for Setting a sail" and the "Song for catching shells" in Fishing songs in North Korea, too. In the rhythmic elements of Fishing songs in North Korea, the tempo of the "Songs for Setting a sail" is moderato, and that of the "Songs for Picking Up Fish" of songs related to anchovy or herring fishing is quite slow. "Rowing Songs"(croaker fishing) have various tempos but faster than moderato, and usually get faster and faster as time goes by. Most songs have 4/♩. time and there are some of 2, 3 or 5 time. Some songs use irregular time or 6 time overlapping 2 beats. The mode Menari is the most common tonal system used in fishing songs of North Korea. And the mode Susimga, the mode Changbutaryeong, the mode Nanbongga, and the mode Odolttogi are also used in the tonal system of Fishing songs in North Korea. There are shoutting intonations that have indefinite pitch, too. Modulation or interaction by the mode Changbutaryeong appeared in songs of the mode Menari. There is a tendency to favor a certain tonal system by category. Responsorial form is mostly used, but in the most cases, they were sung in solo. In responsorial songs, several calling songs overlap with the responding songs. Durchkomponiert form is sung by antiphon or in solo, but the case sung in solo originally seems to have been sung by antiphon or unison, if we consider the procedure of the work. The "Song for Picking Up Fish" of Seonbong-gun of North Hamgyeong Province and Yangyang-gun of Gangwon Province, the "Full-Load-of-Fish Song-Bongjuktaryeong" of Jeungsan-gun of South Pyeongan Province and "Full-Load-of-Fish Song-Baechigisory" of Taean-gun of South Chungcheong Province, "Rowing Song" of Nampo City and Ganghwa-gun of Gyeonggi Province are resembled. In neighboring areas, even if the songs of different categorys, sometimes share a same melody. In a certain category, sometimes a same melody is shared to a considerable distance. It was first identified that in anchovy or herring fishing or dybowskii' sand eel fishing, the "Song for Picking Up Fish" is widely shared in the East Sea Coast area.

• Journal of Music and Human Behavior
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• v.5 no.1
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• pp.67-90
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• 2008

This case used MI techniques that give an imagery experience to depressed client's mental resource, and that makes in to verbalism. Also those images are supportive level therapy examples that apply to positive variation. MI is simple word of 'Music and Imagery' with one of psychology cure called GIM(Guided Imagery and Music). It makes client can through to the inner world and search, confront, discern and solve with suitable music. Supportive Level MI is only used from safety level music. Introduction of private session can associate specification feeling, subject, word or image. And those images are guide to positive experience. The First session step of MI program is a prelude that makes concrete goal like first interview. The Second step is a transition that can concretely express about client's story. The third step is induction and music listening. And it helps to associate imagery more easily by used tension relaxation. Also it can search and associate about various imagery from the music. The last step is process that process drawing imagery, talking about personal imagery experience in common with therapist that bring the power by expansion the positive experience. Client A case targets rapport forming(empathy, understanding and support), searching positive recourse(child hood, family), client's emotion and positive support. Music must be used simple tone, repetition melody, steady rhythm and organized by harmony music of what therapist and client's preference. The client used defense mechanism and couldn't control emotion by depression in 1 & 2 sessions. But the result was client A could experience about support and understanding after 3 sessions. After session 4 the client had stable, changed to positive emotion from the negative emotion and found her spontaneous. Therefore, at the session 6, the client recognized that she will have step of positive time at the future. About client B, she established rapport forming(empathy, understanding and support) and searching issues and positive recognition(child hood, family), expression and insight(present, future). The music was comfortable, organizational at the session 1 & 2, but after session 3, its development was getting bigger and the main melody changed variation with high and low of tune. Also it used the classic and romantic music. The client avoids bad personal relations to religious relationship. But at the session 1 & 2, client had supportive experience and empathy because of her favorite, supportive music. After session 3, client B recognized and face to face the present issue. But she had avoidance and face to face of ambivalence. The client B had a experience about emotion change according depression and face to face client's issues After session 4. At the session 5 & 6, client tried to have will power of healthy life and fairly attitude, train mental power and solution attitude in the future. On this wise, MI program had actuality and clients' issues solution more than GIM program. MI can solute the issue by client's based issue without approach to unconsciousness like GIM. Especially it can use variety music and listening time is shorter than GIM and structuralize. Also can express client's emotion very well. So it can use corrective and complement MI program to children, adolescent and adult.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.467-479
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• 2014

Topophilia refers to emotional bonding such as attachment to or nostalgia for one's home town, which is remembered or imagined as a beautiful and happy paradise experienced in youth. The time spent in one's home town may have been short, but the associated memories of it are strong and enduring. These can later act as a strong motivator to learn if the correlated emotions are positive. According to archival research conducted on Jooyoung Chung's life, his home town and the things found therein, such as cows, were the principal objects of his topophilia, and later became the driving forces behind his success story. The same applies to Dvorak. Dvorak sublimated his nostalgia for his home town by composing a piece of music on hearing the sound of a train. We can discover diverse rhythms in nature such as sunrises and sunsets, the changing seasons, and even our heart beat. If a melody is added to the rhythm, it transforms into art. And if we seek harmony and principles, it becomes science. In this study, Jeonbuk's nature, places, food, and arts, as represented in its educational resources, are analysed for their ability to give rise to topophilia. To gain some experience of this feeling we recommend that you visit the Jeonju Hanok Village, the value of Gochujang, reverse icespike on Mai Mountain or enjoy the works of the painter Book Choi.

• Journal of Music and Human Behavior
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• v.13 no.2
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• pp.67-83
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• 2016

This study investigated the tonal characteristics in Korean emotion words by analyzing the pitch patterns transformed from word utterance. Participants were 30 women, ages 19-23. Each participant was instructed to talk about their emotional experiences using 4-syllable target words. A total of 180 utterances were analyzed in terms of the frequency of each syllable using the Praat. The data were transformed into meantones based on the semi-tone scale. When emotion words were used in the middle of a sentence, the pitch pattern was transformed to A3-A3-G3-G3 for '즐거워서(joyful)', C4-D4-B3-A3 for '행복해서(happy)', G3-A3-G3-G3 for '억울해서(resentful)', A3-A3-G3-A3 for '불안해서(anxious)', and C4-C4-A3-G3 for '침울해서(frustrated)'. When the emotion words were used at the end of a sentence, the pitch pattern was transformed to G4-G4-F4-F4 for '즐거워요(joyful)', D4-D4-A3-G3 for '행복해요(happy)', G3-G3-G3-A3 and F3-G3-E3-D3 for '억울해요(resentful)', A3-G3-F3-F3 for '불안해요(anxious)', and A3-A3-F3-F3 for '침울해요(frustrated)'. These results indicate the differences in pitch patterns depending on the conveyed emotions and the position of words in a sentence. This study presents the baseline data on the tonal characteristics of emotion words, thereby suggesting how pitch patterns could be utilized when creating a melody during songwriting for emotional expression.

• Journal of Families and Better Life
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• v.27 no.4
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• pp.31-39
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• 2009

The purpose of this study is to how the music therapy effects to older person's self-esteem feeling and a emotional mood improvement after reminiscence therapy through songs. The object of this research were 10 old men and women, age of 67 to 90 with dementia, and mental and physical dysfunction, but can be self-walking and the stool was made up in social welfare center in the Yuseong-gu, Daejeon-city, The experiment of the research was done from June 18th until July 18th, week 2 each 50 minutes the total 12 times. This study was an experiment, the treatment of a same group before and after treatment. Before the first session I check the self-esteem and emotional mood. And after the final 12th session, post-therapy examination was conducted the same tests. The tools of Self-esteem test is the self-esteem scale developed by Rosenberg(1965) and Jun Byung-se(1974), which was translated. Emotional state check tools developed by MoNair(1992), which was translated by Yun Jae-ryang, and it can also apply to the Korean older person has been modified by Shin yon-hee. The results of changing mood state to 3 factors are as follows: The score of anxiety-depression factor changes from 50.42($\pm$14.15) to 35.10($\pm$10.60), and this is statistically significant.(p<.05). The score of anger factor changes from 11.20($\pm$4.39) to 6.90($\pm$2.51), and this is statistically significant.(p<.01). The score of vitality factor Changes from 30.00($\pm$4.27) to 23.90($\pm$5.09), and this is Statistically significant.(p<.05). For this research, I selected older person's favorite songs which have a positive lyrics and bright melody. And This has significance in terms give positive effects to older person's emotion which influence on their self-esteem and better mood positively. In the clinical treatment for the elderly to improve the positive sentiment and give practical assistance on the basis of this research is done to the future, And I look forward to the future development of a variety of music therapy.

• Journal of Music and Human Behavior
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• v.9 no.1
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• pp.1-19
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• 2012

The purpose of this research was to investigate the musical activities and musical preference according to coping strategy of university students. The survey was conducted to 200 students and the data of 168 was analysed. The results of the research are as follows. First, the number of problem-solving coping was the highest, and the number of emotional-alleviate coping was the lowest. And coping strategy between male and female student showed a significant difference. Second, music listening was the most preferred activity. There was a significant difference in the most preferred activity between male and female students, also between active and inactive coping strategy. However, the most doing activity between music major students and non-music major students showed a significant difference. In addition, there was a significant differences in the purpose of playing instruments between male and female students and among academic year. Third, Korean-pop was the most preferred genre. Result showed a significant difference in preferred musical elements between male and female students. There were genre, melody, loudness, and theme of lyric. Meanwhile, preferred musical elements between active and inactive coping strategy showed a statistical differences. There were rhythm, timbre, and medium of listening. Finally, there were statistical differences in the preferred harmony and familiarity between music major students and non-music major students.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2000.04a
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• pp.113-119
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• 2000

The Pansori is a Korean traditional vocal music that has a unique story and melody which converts deep emotion into art. It has both verbal and emotional components. which can be coordinated by large-scale neural network. The purpose of this study is to illustrate the cortical network activated by a Korean traditional opera, Pansori, with different emotional valence using functional MRI (fMRI).Nine right-handed volunteers participated. Their mean age was 25.3 and the mean modified Edinburgh score was +90.1. Activation tasks were designed for the subjects to passively listen to the two parts of Pansories with sad or hilarious emotional valence. White noise was introduced during the control periods. Imaging was conducted on a 1.5T Siemens Vision Vision scanner. Single-shot echoplanar fMRI scans (TR/TE 3840/40 ms, flip angle 90, FOV 220, 64 x 64 matrix, 6mm thickness) were acquired in 20 contiguous slices. Imaging data were motion-corrected, coregistered, normalized, and smoothed using SPM-96 software.Bilateral posterior temporal regions were activated in both of Pansori tasks, but different asymmetry between the tasks was found. The Pansori with sad emotion showed more activation in the light superior temporal regions as well as the right inferior frontal and the orbitofrontal areas than in the right superior temporal regions as well as the right inferior frontal and the orbitofrontal areas than in the left side. In the Pansori with hilarious emotion, there was a remarkable activation in the left hemisphere especially at the posterior temporal and the temporooccipital regions as well as in the left inferior and the prefrontal areas. After subtraction between two tasks, the sad Pansori showed more activation in the right temporoparietal and the orbitofrontal areas, in contrast, the one with hilarious emotion showed more activation in the left temporal and the prefrontal areas. These results suggested that different hemispheric asymmetry and cortical areas are subserved for the processing of different emotional valences carried by the Pansories.