• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.56-61
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• 2015

This is the Study of the Bass performance of the Jimmy Blanton who is first pioneer of Jazz Style Bass playing. Since the contrabass is using in jazz Performances Before jimmy Blanton, playing technique was mainly played repeatedly with simply two or four Beat with Root or 5th degree of Chord Tone. In Other words, there was only root based Note along with Harmony which doesn't have Bass Solos or Melodic phrase Appeared in Bass playing. Jimmy Blanton Was the First Bass Player who changes This Traditional Concept of Jazz bass playing after New Orleans Jazz era. He was introduced variety of accompaniment Style with Various rhythmic phrase and Bass Soloing like a horn Player. We could know that His Style Continues to Such as Ray Brown, Paul chambers who has a big Name after Jimmy Blanton. I analyzed accompaniment Style and solo techniques Of Jimmy Blanton with the Song "Cotton tail and MR.JB Blues" Which He Performed with Duke Ellington. I learned a lot while I'm analyzing his Performing Style from Jimmy Blanton, such as Target Note playing, using Chord Tones and Arpeggios, Melodic Solo Style, Jazz Style Bowing Technique, Question and Answer Phrasing etc. I could notice That He Was the true Pioneer of the First Bass player In the Early Jazz days.

• The Journal of the Acoustical Society of Korea
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• v.26 no.8
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• pp.403-408
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• 2007

In a large corpus-based speech synthesizer, a break, which is a parameter influencing the naturalness and intelligibility, is used as an important feature during a unit selection process. Japanese is a language having intonations, which ate indicated by the relative differences in pitch heights and the APs(Accentual Phrases) are placed according to the changes of the accents while a break occurs on a boundary of the APs. Although a break can be predicted by using J-ToBI(Japanese-Tones and Break Indices), which is a rule-based or statistical approach, it is very difficult to predict a break exactly due to the flexibility. Therefore, in this paper, a method is to conduct a unit search by dividing breaks into two types, such as a fixed break and a flexible break, in order to use the advantages of a large-scale corpus, which includes various types of prosodies. As a result of an experiment, the proposed unit selection method contributed itself to enhance the naturalness of synthesized speeches.

• (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.