컴퓨터음악을 통한 음악치료 : 미디악기를 중심으로

전희준 한세대학교 음악대학원 2007 국내석사

As a result of advancements in computers and introduction of various MIDI instruments, computer music is providing a new musical environment from its composition process to performing to listening. The various application of computer music also provides new possibilities in music therapy to both the therapists and therapy subjects. The purpose of this study is to identify the effects of music therapy using computer music on motor control and coordination of small muscles in adolescents with developmental delays. As subjects of study, 8 male and 1 female who are developmentally delayed who have completed their high school program through a special education school and preparing for employment were selected, and a total of 14 music therapy sessions was conducted from September of 2006 to December of 2006. With the computer, a sequencing program and virtual instruments were used, and input devices such as master keyboard and MIDI drums were used. This study was conducted with the hypothesis that music therapy using such MIDI instruments will have an effect on small muscle control and coordination in adolescents with developmental delays. The therapy was conducted with the object of playing the master keyboard in constant tempo and length through fine control of the upper limbs, and its results were assessed. In addition, with the second hypothesis that music therapy using MIDI instruments will effect coordination of the hands, eyes, and feet, another therapy was conducted with the object of playing the MIDI drum in sequence and its results were also assessed. The results of music therapy using the master keyboard analyzed using the t-test showed a significant enhancement of the ability to control volume perpetual motion of the arms, and the results of music therapy using the MIDI drum showed a change in coordination of hands, feet, and eyes when note values from prior to the study were conducted to values following the study. 컴퓨터의 발달과 다양한 미디 악기들의 등장으로 컴퓨터 음악은 음악의 창작과정에서부터 연주와 감상에 이르기까지 새로운 음악적 환경을 제공하고 있다. 음악 치료에서도 컴퓨터 음악의 다양한 활용은 치료자와 대상자 모두에게 새로운 가능성을 제공한다. 본 연구는 컴퓨터 음악을 사용한 음악치료가 정신지체 청소년의 소 근육 운동 조절 능력과 기관별 협응 운동 능력에 미치는 영향을 알아보기 위한 것이다. 연구의 대상은 특수학교 전공과 재학생으로 고등교과 과정을 마치고 취업을 준비하는 정신 지체 청소년 남학생 7명, 여학생 1명, 총 8명을 대상으로 하였으며 2006년 9월부터 2006년 12월까지 4개월간 주1회 총14회의 세션을 실시하였다. 컴퓨터로 시퀀싱 프로그램과 가상악기를 구동하였고, 마스터 키보드와 미디 드럼 등의 입력장치를 활용하였다. 본 연구는 이러한 미디 악기를 이용한 음악치료가 정신 지체 청소년의 소 근육 조절 능력에 영향을 미칠 것이라는 가설을 가지고 시행되었다. 상지 근육을 세밀하게 조절하여 마스터 키보드를 일정한 세기와 길이로 연주하는 것을 목표로 하여 치료를 시행하고 결과를 측정하였다. 또한 미디 악기를 이용한 음악치료가 손과 발 그리고 눈과의 기관별 협응 운동에 영향을 미칠 것이라는 가설 가지고 미디드럼을 순차적 동작으로 연주하는 것을 목표로 하여 치료를 시행하고 결과를 측정하였다. 연구의 결과 마스터 키보드를 사용한 음악 치료의 결과는 t 검정을 통하여 강약 조절 능력과 주기적인 동작 조절 능력이 유의미하게 향상된 것으로 나타났으며, 미디드럼을 사용한 음악 치료의 결과는 손과 발 그리고 눈과의 협응 운동 능력이 변화되었음을 사전 사후 노트 값을 비교하여 알 수 있었다.

창의적인 음악활동을 위한 초등 음악 자료 제작 연구

홍명희 제주교육대학교 교육대학원 2005 국내석사

현재 우리나라 초등음악 교육현장에서 가장 많이 활용되고 있는 웹(Web)을 통한 ICT 교육은 음악 자체에 대한 소리의 질(sound quality)(제재곡이 사운드 카드 음원을 기반으로 제작된 컴퓨터 음악 자료일 경우는 더욱 심각하다)이 대부분 우리가 평소에 듣는 방송음악이나 CD의 음질에 비해 현저히 떨어진다는 점과 상당 부분 비음악적으로 진행하는 음악들이 상호보완적(interactive)이 아니라는 점 때문에 음악적 경험들이 많지 않은 학습자들이 이런 음악을 일방통행으로 듣다 보면 올바른 음악미를 형성하는데 큰 장애가 된다는 문제점을 안고 있다. 그러한 문제를 해결하기 위해서는 교사가 양질의 음악적인 자료를 스스로 제작해서 학습자에게 제시해야 하는 노력이 필요하다. 교사와 학습자 간에 상호보완적인 자료를 제작하는데 최적의 방법은 컴퓨터와 부속 하드웨어, 그리고 음악 소프트웨어로 이루어지는 컴퓨터 음악을 이용하는 것이다. 이것을 통한 자료 제작의 장점은 교사와 학습자가 상호보완적으로 음악을 가까이 접할 수 있고, 즉석에서 특정 부분을 음악적으로 조작하여 다양하게 체험할 수 있으며, 이를 통해 음악 전반에 걸친 이해와 흥미를 높일 수 있다는 것이다. 그러므로 본 연구에서는 창의적인 음악활동을 위하여 초등학교 현장에서 활용할 수 있는 음악자료를 컴퓨터 음악을 통해 제작하는 방법을 제시하고자 하였다. 지금까지 창의적인 음악 활동을 위한 초등음악 자료 제작은 노테이션 프로그램과 시퀀싱 프로그램의 두 가지 영역에서 시도되었다. 이러한 시도는 음악자료 제작의 의도가 상업적 목적이 아닌 교육적 목적을 토대로 한 것이기 때문이다. 여기에 제작된 모든 자료는 시각적인 면과 청각적인 면 모두를 고려하여 실시간 상호보완적으로 제공되어야 한다. 따라서 초등음악 자료를 제작할 때 가장 먼저 생각해야 할 사항은 반드시 제재곡에 대한 악보를 제시해야 한다는 점이다. 그 이유는 교사가 학습자들에게 녹음된 음악만을 들려주는 것보다 그 음악이 어떻게 구성되어 있는가를 악보를 통해 시각적으로 함께 인식시켜 줌으로서 학습자들의 관심을 지속적으로 유지시켜 줌과 동시에 무심코 듣는 음악들이 사실은 상당히 조직적으로 구성되어 있다는 것을 자연스럽게 인지할 수 있기 때문이다. 음악자료의 제작은 먼저 노테이션 프로그램을 이용해서 제재곡의 선율 악보를 만들고, 이를 토대로 여러 악기들을 이용해서 다양한 음색의 음악을 만든다. 이 단계에서 음악은 피아노뿐만 아니라 현악기나 관악기, 나아가 기타와 드럼이 포함된 다양한 악기 편성의 음악 악보를 제시한다. 노테이션 프로그램은 음악적 내용을 통상적인 악보를 통해 정확하게 제시할 수 있기 때문에 학습자가 직관적으로 이해할 수 있는 장점이 있다. 다음에는 악보에 표시되는 입력된 데이터의 실제적인 연주 표현을 위해 듀레이션과 벨로서티 값 등을 조절한 후 볼륨으로 음악 전체의 균형감을 완성한다. 제작의 두 번째는 노테이션 프로그램이 할 수 없는 음악적 표현을 시퀀싱 프로그램을 이용해서 음악적 완성도를 높이는 것이다. 여기서는 지금까지 사용한 일반 사운드 카드의 미디 음질을 개선하기 위해 신디사이저나 사운드 모듈 등의 음원을 사용하여 팬 기능과 세밀한 익스프레션, 코러스와 리벌브 같은 이펙터를 적용한 후, 전체적인 울림을 다시 조절한다. 전체 수정이 끝나면 마지막으로 미디 데이터를 오디오 파일로 녹음한다. 창의적인 음악 활동을 위한 초등음악 자료 제작에서 컴퓨터는 어디까지나 입력된 데이터를 단지 재생시켜주는 역할만 할 뿐이고 주체는 언제나 사용자임을 알아야 한다. 따라서 얼마나 자연스러운 음악을 제작하느냐 하는 문제는 프로그램들을 얼마나 음악적으로 다루느냐 하는 사용자의 음악성과 기법에 좌우된다고 하겠다. Nowadays, ICT education is one of the most popular Internet educational methods in Korean elementary schools. However, ICT's Information and Communication Technologies education method has problems with music education (especially as it is more serious when the music material chosen from a sound card is computer generated) such as the sound quality which is poor quality compared with broadcasted music or CD format. Moreover, most of the nonmusical elements in music are not interactive with each other. Due to these problems, students (or learner) who have not experienced well with music might interfere with studies to build musical aesthetics when they listen to the music lopsidedly. Therefore, it is necessary to look at these problems which teachers should put much effort to produce good quality of the music themselves. The best way of producing interactive materials between teachers and students is to use computer music which consists of attached hardware and music software. Through this, the advantage is that it is able to getting closer to music between teachers and students interactively. The learner is also able to learn by direct and actual experience by managing more musically of the specific part. Moreover, it is helpful to understand music overall as well as to promote its interest. Therefore, this dissertation looks at the way in which music education needs to promote interactive music activities more creatively with computer music. Up until now, there are two major field of study in elementary school methods of the producing music materials which are tried with Notation Program and Sequencing Program. This means that it is produced (or tried) for the purpose of the education but not for its commercial value. All the materials should offer immediate and interactive specifications as well as concern with visual and audio aides. Thus, the first stage of the product development for elementary music materials is preparing the theme music. Following this, students could learn how music is well organized with visual aid through musical notes naturally, rather then just listening recorded music. Therefore, students could keep up their interest and improve their understanding of the music. The first approach is to produce the music material which makes the musical note. Proceeding to the melody of the theme music with Notation Program then making a variety of the tone color with musical instruments. At this stage, music includes not only piano but a stringed instrument, wind instrument, guitar, drum etc could offer the musical note with many different kinds of instruments. Taking advantage of Notation Program highly accurate musical contents through music notes then students could understand the music more intuitively. Next, it is necessary to make musical balance with volume for the real musical performance viainput data of the musical note which is modulated with duration and velocity. In the second stage, it would make musical perfection with Sequencing Program unavailable in the Notion Program. Therefore, one of the sound sources which is a synthesizer or sound module is used in order to improve MIDI Musical Instrument Digital Interface tone quality. Further, it is balanced with Pan which is able to control whole music echo after the effectors which are detailed expression, chorus or revolve. Finally, after all these reformation, it is recorded MIDI data to the audio file. To give due weight to the main important view, computers play a major role in the replay with input data. However, the learner participation and understanding should be considered as the most important role in music educational material products for creative music activity in elementary school. Indeed, it will be give the impression whether the music is more natural or not, it depends on how music producer use their musicality and methods more musically themselves.

포스트모더니즘 이후의 멀티미디어음악 제작을 위한 실시간 인터랙티브 오디오-비주얼 시스템 연구 : 멀티미디어음악 작품 <Anthropocene Desolation II>를 중심으로

김연주 동국대학교 영상대학원 2023 국내석사

Audio-visual work of art requires technical achievements, aesthetics, and the very idea of the person who wish to create them. This study explores the technical part of the work and the idea and the cultures behind it. Computer music has earned remarkable achievements as today’s computer technology prevails and expends to other technologies and cultures. As an art-art, computer music is recognized as a serious form of art that could be studied in the academic context and has been discussed for decades in the field of academic music. And for its experimental, ‘artistic’ nature, computer music alienates itself from the general public. Meanwhile, electronic music constantly expends to and absorbs the minorities and even the mass culture. Precisely, computer music is included in the context and the history of electronic music, and electronic music is also engaged in and leans on computer technology’s achievements. However, to clarify this point, this study defines computer music as the counterpart of today’s electronic music as there seems to be ‘objective’ but unseen differences between the two concepts. That is, there is relation of power, which is not visible, between computer music and today’s electronic music. This study brings today’s electronic music to the academic field of computer music, in the way of audio visualization. Audio-visual describes music in a visual form. As 3D graphics has accomplished remarkable achievements with the developments of computer technology, audio-visual art has been capable of realizing real-time interaction and more detailed visual expressions. Unlike music video, audio visual requires sophisticated data filtering, and data visualization technique. This study suggests FFT as an advanced method of data filtering for audio visual. FFT stands for Fast Fourier Transform, and was introduced by James Cooley and John Tukey in the year of 1965. Fourier transform or Fourier analysis converts a signal from the time domain to the frequency domain and vice versa. The quality of data filtering is up to elaborate data analysis system design. FFT could be an optimized data filtering solution for this task. The study constructs two key systems on max/MSP and Jitter. The two systems are: 1) audio data filtering system 2) audio visualization system. For establishing data controllable audio system, two different data filtering systems were used. One transform signal data to absolute numbers. The other transform signal data to frequency data. For the visual expression, jitter generated 3D models are used. The sound design also has a great portion for this study. The multimedia piece for this study named <Anthropocene Desolation II> has musical background of ‘leftfield bass’ and ‘breakcore’. It’s hard to define these genres by its musical structure, but generally these two genres sound ‘violent’ and ‘metallic’. Therefore, to make this piece sounds more like these genres, this study employs comb filter, wavefolding, and granular synthesis techniques which have been known for their brutal, unique sonic features. This study aims at building visualization system that visualizes subculture-based electronic music into three-dimensional space in real-time by detecting specific audio data using FFT audio analysis system and combining the processed data with 3D models.

컴퓨터음악과 phase music을 이용한 인터랙티브 멀티미디어 퍼포먼스 연구 : 멀티미디어음악 작품 <The Phase>를 중심으로

전우진 동국대학교 2017 국내석사

Phase music is a form of music that uses phasing as a primary compositional technique. Phasing is a compositional technique in which two instruments play the repetitive same melody in different beats. Thus, the two instruments gradually shift out of unison. It was popularized by minimal music composer Steve Reich. The computer music system made in this study is for phase music and interactive multimedia performance. The system developed in this study consists of controlling sound effects for phasing, the visualized image controlled by instrument’s sound and interaction between the two. The sound effects are divided for rhythm phasing and for pitch phasing. Delay effector and phase vocoder are used for rhythm phasing, and pitch shifter, granular synthesis and frequency filter are used for pitch phasing. The video system is designed to shape the musical instruments, and all video images are created in real time. In this study, composer used electric guitar and oboe, and the video images respond to the volume values of these two instruments. Video image of the electric guitar mainly visualizes rhythm phasing, and that of the oboe visualizes pitch phasing. So this images react eidetically to the instruments, thereby assisting the music. As digitization of analogue sound, phasing can be quantified, and it is now possible to use various methods such as pitch phasing. Not only rhythm and pitch phasing, but also tone change by change harmonics phase is phase music. These can create compelling music without compromising any existing phase music. Of course, that is not mean acoustic phase music is bad. However, the potential for musical use of phasing using computers are also attractive. And that is not limited in phase music. In the future, it will be an additional research topic to learn how artistic effects can be obtained from the basic elements of computer music, such as phasing. And that is not limited in phase music.

컴퓨터를 사용하는 음악 교수법에 관한 연구

이영아 경희대학교 교육대학원 1994 국내석사

MIDI를 응용한 Computer Music에서 효과적인 Orchestration에 관한 연구

이현근 제주대학교 교육대학원 1999 국내석사

본 논문은 MIDI를 응용한 Computer Music에서 효과적인 Orchestration에 관하여 연구하였다. 기존의 작품들을 대상으로 MIDI를 통하여 어떻게 표현하고 있는지에 주안점을 두었으며, 특수한 주법보다는 가장 기본적인 음색(Patch), 음량(Volume), 좌우위치(Pan), 음세기(Velocity), 음길이(Duration) 등을 중점적으로 다루었다. 따라서 이미 보편화되어 정보의 교환이 비교적 용이한 GM(General MIDI), GS(General Standard) 규격과 SMF(Standard MIDI File)에 근거한 예제를 기준으로 연구하였으며, 자료의 분석을 위하여 Finale와 CakeWalk Pro Audio를 사용하였다. 연구 결과 각자의 취향과 보유하고 있는 기기(신디사이저 등), 사용하고 있는 프로그램의 특성에 맞추어 다양한 설정과 손쉬운 방법을 사용하고 있었다. 예를 들면, 음량(Volume)의 경우 반드시 Control 7번만을 고집하지 않고 Velocity 등과 연관지어 사용하고 있었으며, 음색(Patch)의 경우는 보유하고 있는 기기들의 특성에 맞추어 고유악기의 음색을 사용하는 반면, 때로는 중복하거나 비슷한 계열의 음색으로 대체하는 경우가 있었다. 또한 음세기(Velocity)와 음길이(Duration)에 있어서 스텝타임입력과 리얼타임입력에서 그 사용상의 현격한 차이를 느낄 수 있다. 이러한 사실로 미루어 볼 때 MIDI를 응용한 Computer Music에서 음악을 표현하는데 있어서 기본적인 음악이론은 물론 하드웨어 및 소프트웨어의 특성 을 이해하고 이에 알맞은 적절한 사용법이 필수적이라는 것을 알 수 있다. This study was done on effective orchestration in computer music by application of MIDI. The object of the study was focused on the methods to express the existed works, and the basis on patch, volume, pan, velocity and duration, etc were manly dealt with, rather than special techniques. Consequently, the study was done, based on the examples of General MIDI, General Standard and Standard MIDI File. And the data were analyzed by Finale and Cake Walk Pro Audio. According to the study, a variety of creations and easy methods are used, based on the performers' own tastes and their own instruments such as synthesizors. For example, in case of volume, velocity is used, instead of persisting control 7. with regard to patch, the patch of the possessed instruments is used while similar or duplicated patches are often substituted. Besides, remarkable difference exists in velocity and duration in inputting step time and real time. In conclusion, in expressing computer music by application of MIDI, the understanding of soft and hard wares and the appropriate techniques are necessary, to say nothing of the most basic theory about music.

베이스 기타의 실시간 사운드 프로세싱을 이용한 멀티미디어음악 작품 제작 연구 : (멀티미디어음악 작품 <Overcome>을 중심으로)

이도희 동국대학교 영상대학원 2022 국내석사

작품 <Overcome>을 중심으로 베이스 기타의 실시간 사운드 프로세싱(real-time sound processing)을 통한 새로은 음색을 구연하는 효과를 제작하는데 중점을 두었다. 또한 그에 반응하는 영상을 제작하여 멀티미디어음악 작품 제작 연구를 다루고자 한다. Multimedia music is a combination of technology and art, and art can be expressed in the aesthetic sense of the artist's individual and reconstructed in various forms based on aesthetic value. Technology creates a new media genre as a means of expressing this form of art over time. Multimedia is constantly evolving, such as interactive media art, in which music and images are newly changed according to changes or reactions in the surrounding environment, from the traditional way of composing music for a given video or scene as it becomes possible to visualize sounds that were previously impossible. Studying on the production of multimedia music works using real-time sound processing of bass guitar performances. By producing video that interacts with real-time sound processing that can only be done by computer music at the same time as bridging the gap with the public in the field of computer music, multimedia music is intended to produce intuitive interactive multimedia music works that make it easier to appreciate the public. For Real-time sound processing, Max for Live which is part of the Max/MSP with produced tape music uses and various sound effects such as reverb, chorus, delay, phase vector is applied to granular synthesis in a series to create sound that could not naturally occur in the bass guitar. This allowed new acoustic and artistic expressions beyond the physical limitations of the instrument. The visualized video is also produced in real time through Arena which can be changing in the parameters and image effects of the video visualized what the music wanted to express to help understand the work. The Arena application also using the data transmitted by OSC protocol can be able to create intuitive interactions from made music and video interactions felt by the audience and helped them understand the work by responding in real time to images and effects. The multimedia music <<Overcome>> was used of the bass guitar's attack and volume data of the performance. This could be applied to interactions and visualizations with images without strain. However, there is still a wide variety of data available in music, as well for volume and attack, as to study multimedia music in the future and come up with a visualization method of music, can use more data to organize the work in more individual and colorful ways and deliver the messages contained in the work in it in various ways.

베이스 트롬본과 피아노의 실시간 사운드 프로세싱을 이용한 멀티미디어작품 제작 연구 : 멀티미디어음악 작품 <Yes, I am.>을 중심으로

조환희 동국대학교 대학원 2019 국내석사

20세기를 기준으로 컴퓨터의 비약적인 발전으로 인해, 청중들은 어쿠스틱 음악을 듣는 것만이 아닌 디지털 매체로 음악을 들을 수 있게 되었다. 또한 시각적인 측면에서도 많은 발전을 이루었으며 미술 작품 및 안무가의 퍼포먼스를 관람하는 것을 비롯해 디지털 매체를 통한 컴퓨터 그래픽, 프로젝션 매핑(projection mapping), 미디어 파사드(media facade) 등 다채로운 경험을 할 수 있게 되었다. 즉, 관객들은 시각적인 측면과 청각적인 측면을 동시에 즐길 수 있게 되었으며, 음악과 영상이 서로 결합된 멀티미디어 (multimedia)작품을 어렵지 않게 감상할 수 있다. 또한 음악과 영상이 서로 연동되어 인터랙션(interaction)이 부여된 작품도 나오게 되었다. 본 논문에서 설명하는 <Yes, I am.>은 악기 연주와 동시에 실시간으로 프로세싱된 소리와 그에 반응하는 영상을 같이 보여줄 수 있는 멀티미디어음악 작품이다. 어쿠스틱 악기 소리와 함께 실시간으로 악기의 소리가 변형이 되어 다른 형태의 음악을 만들고, 음악에 실시간으로 반응하는 영상의 인터랙션을 통해 음악을 시각화하여 하나의 멀티미디어 작품으로 만들어 내는 것에 중점을 두고 있다. <Yes, I am.>에 사용된 악기는 베이스 트롬본과 피아노이다. 베이스 트롬본은 금관악기 군에 속하는 악기이며, 밸브, 크룩, 키 등을 사용하는 다른 금관악기와 다르게 슬라이드를 가지고 있어 반음계를 연주하는 것에 탁월하다. 슬라이드를 활용하여 글리산도효과를 내기 쉬우며, 선율을 부드럽게 이어서 연주하기에 효과적이다. 또한 스포르찬도나 포르테-피아노, 텅잉등의 주법을 활용하여 다양한 표현을 할 수 있는 악기이다. 피아노는 넓은 음역과 폭 넓은 다이내믹 레인지(dynamic range)를 가지며, 선율악기와 화성악기 이 두 가지 요소를 모두 포함하고 있다. 두 악기의 공통점은 풍부한 배음이 있다는 점이다. 따라서 악기를 통한 사운드 프로세싱에 적합하며, 다양한 효과를 구현할 수 있다는 이유로 본 작품에 사용하게 되었다. 본 논문에서는 Max를 활용한 사운드 프로세싱 기술과 Processing과 Arena를 사용하여 영상을 만든 방법에 대해 알아보며, 연구 기술을 적용한 방법과 그에 따른 효과를 언급한다. The work <Yes, I am.> is a multimedia music piece that can be performed real-time processing sounds and videos of responses to instruments. This work focuses on making different types of music by transforming the original sound of acoustic instruments in real-time, and visualizing the music through the interaction of video that responds to the music in real-time to make it into a multimedia production. Real-time sound processing of the bass trombone was used with flanger, granular synthesis, comb filter, and ring modulation. Also real-time sound processing of the piano was used with phase vocoder, delay, and granular synthesis. All mentioned processed sound effects were produced through Max and were mapped to the controller for each processed sound effect. In order to create a work with an interaction between music and video, specific information figures must be delivered and responded by the numerical value. Processing program was used to link with Max and OSC, and produced the music by linking the instrument volume values. Syphon was used to share the videos of the other two Processing sketches, and Arena was used to mix the videos and apply video effects. As a result, the audience could feel that the created videos interact with the music. The interaction system of music and video was also well controlled through OSC communication, allowing stable performance without delay or error of data.

인도음악 연구를 통한 인터랙티브 멀티미디어음악 제작 연구 : 멀티미디어음악 작품 <Drawing Down the Moon>을 중심으로

강현우 동국대학교 2017 국내석사

This study will explore the composition of a multimedia work of Indian music using elements such as real-time reverse effects produced for use on guitar and vocals, projection mapping, and interactive sound visualization. Because there is a strong religious emphasis on the celebration of god in Indian music, much of it is mythical in content. The phrase “Drawing Down the Moon” refers to a ritual in which priests summon the power of the moon through invocation. This is also commonly referred to as “Esbat,” which follows the phases of the moon. The message that “Drawing Down the Moon” seeks to convey is that these phases, in which the moon changes shapes before returning to its original form, reflect the ever-changing nature of the universe itself. Using real-time reverse effect, it was possible to maintain the original pitch of the vocals, but certain consonant sounds (like spitting) from the vocals also gave a different effect to the overall texture. With the same reverse effect on the guitar, subtle pitch changes occurred, the overtones of which were maximized in order to emulate the timbre of the sitar, an instrument commonly used in India. In order to make the real-time reverse effect, “Fast Fourier Transform” (FFT) was used. FFT is a useful tool in distinguishing the fine differences between musical intervals. In this piece, the Max/MSP Object, “pfft~”, designed to simplify spectrum audio processing, made use of FFT. Reversing a musical sound necessitates the reversal of the sound’s recording itself. However, if reversed, the pitch of the original sound will differ based on their temporal order. In order to produce a reverse effect in which the temporally ordered pitches remain constant, the role of FFT is of the utmost importance. For the live performance, this sound-effect patch was utilized through Live 9’s Max for Live. For sound visualization, objets were installed with projection mapping. The image of the moon, matched to the rhythm of the tabla, produced motion graphics which were mapped on the installed objet. Following the volume of the vocal and guitar, interactive sound visualization was produced by communicating between programs in Open Sound Control (OSC), a communication network for sharing computers, instruments and other multimedia tools. Using OSC, a patch was created through which images changed according to the volume of the performer. These images were subsequently mapped upon a scrim drop. Because this method, is, for the most part safe, with little latency, the image moved intuitively, matched to sound of the performer. The most important aspect in the creation of a successful multimedia piece is direction method. For this direction to be harmonious, it is necessary that the content, as well as the visual and auditory elements be accepted as natural by the audience. Going forward, to ensure that multimedia works continue to stand out, continuous research inquiries into technological development as well as direction must be made.

범패를 이용한 실시간 인터랙티브 멀티미디어음악 제작 연구 : 멀티미디어음악 작품 <Aruna>를 중심으로

강신애 동국대학교 2016 국내석사

Bumpae is a kind of Buddhist music when monks perform ancestral rites for Buddha. Bumpae includes dancing, singing, and playing instruments. The songs of Bumpae have a unique feature which uses vowels to connect each letter of scriptures. So, the vowels have taken the largest part of the songs of Bumpae. In this study, a song ‘Bokcheongge’ is selected. This study focuses on the feature of Bumpae and has developed a sound effector and a video system for it. The sound effector produces sound which has the same vocality of original sound by using real-time formant analysis and resynthesis technique. So, this effector can give different effects such as delay effectors used for vocals which cannot be naturally produced. Next, the video system has been made for implying meaning of the lyrics of Bumpae. Sound visualization techniques have been used. All colors and shapes used have been selected based on buddhistic world view. The pitch and amplitude variation affects the shape, size, and color of objects in the system. Combination of the sound effector and video system can create a synergy effect while making a new impression to the audience.