비톨드 루토슬라프스키『현악 4중주』작품 서법의 미적 접근 연구

이진미 대구가톨릭대학교 대학원 2012 국내석사

If the beauty which can be found in music was closely associated with the human emotions such as beautiful and sensual melodies and touching harmony until now, the twentieth century composers pursued from aesthetical perspective in various ways, not tied down to the traditional meanings and emotions. This thesis intended to approach the work in terms of the musical format or the beauty in the sense of trying to adapt to new changes in the music format or the aesthetical scope. One of the examples for ‘chance music’ that the musical time of the traditional meaning which belonged to the scope has met is the beauty of the temporal music. The study is designed to explore the ‘limited chance’ technique in 『String Quartet』by Witold Lutoslawski which is different from that of John Milton Cage and Karlheinz Stockhausen in terms of structure and format, tonal system, rhythms, sensual and spiritual things from aesthetical perspectives. The total playing time of this composition is about less than 24 minutes (First movement 8’29", Second movement 15’08"), which accompanies the short first movement(Introductory Movement) followed by the spread out second movement (Main Movement). The movements are clearly divided but at the ending of the first movement can be seen as being represented as one beauty that cannot be separated by the attacca. Lutoslawski thought that the perfect piece gets to have the mechanical movement unconsciously by looking at it and therefore, he did not use the perfect notation in the composition. The piece starts with the strong solo performance by the first violinist and to the traditional music piece and box-shaped Section①~, the performance is dispersed independently in each part. Starting softly with the first violinist, the music slowly reaches the climax up until the Section㊻. Then again with cello solo the first movement ends softly as if recollecting. This can be seen as the beautiful harmony of flexible curves like the natural round curves like the sun rising from the east and setting towards the west. As for the tonal system, ⓐchromatic development, it uses all twelve sounds, ⓑtritone and two chromatic combination rule the entire composition. From the tonally system, you can see a beautiful harmony of the vertical chromatic cluster sounds and horizontal chromatic development in each part. As for the rhythms, using the micro rhythm system, the increased and reduced the speed and by differing the tempo, the piece made the rhythm sound complicated. Using the limited chance technique and ad libitum for rhythm, the work expected different results from the traditional music. Due to the rhythms of this technique, the duration of the music shows the beauty of the temporal art which is newly performed at every performance Consequently, Lutoslawski showed a late interest in terms of time in the chamber music and it is apparent that『String Quartet』was the work where his musical techniques that he wanted to express at the time were sufficiently concentrated. By approaching the work in terms of the beauty in harmony of forms and format, tonal system and rhythms in the changed music in the twentieth century, the study helps with the deeper understanding of Lutoslawski and establish his musical status, further contributing to the creation of new composition techniques and the study on aesthetical way of thinking.

대구지역 청소년들의 가치인식과 교육적 수요를 통한 스트리트 댄스의 문화적 가치연구

박혜진 대구가톨릭대학교 대학원 2017 국내석사

In the past, the public and youth culture of Korea was controlled by political means and social background. Despite some of the negative perceptions of street dance, the Korean street dancer's received international attention and eventually set the stage for what is now called the "Korean wave". This new sensation is now being developed in various ways. The present researchers tried to investigate the cultural location of street dance in Korea and the level of perceived value of adolescents as a result of the external activities of the street dance, the increase of educational demand and various activities. A questionnaire survey was conducted on Daegu youth from 15 to 24 , cultural value awareness. And we get positive responses to all the questions, then the negative prejudices of past street dance culture is gone and the cultural recognition and value of street dance then becomes positive.

Witold Lutoslawski 작품 Chain의 서법연구

백상희 대구가톨릭대학교 대학원 2014 국내석사

The purpose and significance of this thesis is in analyzing musical style and structural beauty of new contemporary music and technical aspects revealed in pieces through Lutoslawski's pieces in later period, 'Chain' piece. Furthermore, its purpose and significance is also in examining esthetical elements to find esthetical elements in light of the style and note materials revealed in Lutoslawski's pieces. Today, he is being considered as one of important composers in the 20th century Europe with significance influences on the 20th century music. He is a composer that is also dealing with emotional aspect including theoretical foundation instead of being excessively experimental in contemporary music. Since Lutoslawski considered the composition or design of music importantly, having solid composition including rich expressions in his pieces is one of the characteristics of his pieces. The 'Chain' is a piece in which the technical content of 'Chain' is being emphasized. Through this piece, Lutoslawski shows his own unique new composition based on an important element of style, although not being bounded by the style of traditional music of the past. Accordingly, 'Chain' piece is not a contemporary music that only pursues new things while excluding traditional things. The 'Chain' is a piece that most effectively shows how it has differently expressed phonetic value, tone, dynamic and tempo than that of music in the past, and it proceeds as if another element is connected while a certain element is in progress rather than a new element starting after another element has been completed. In the 'Chain' piece, although having slightly different moods, it brings tension through the common progression of chromatic scale and relaxes audience through the same method of recollection in traditional music with uniform composition through variety. In addition, it shows contemporary music based on tradition through anti-progressive composition, counterpoint imitation style and horizontal & vertical relation instead of new experimental style of music. Through 'limited chance music' different from that of John Cage, Lutoslawski gives the freedom of performance to performer but presents a direction of flow or piece from becoming distracted through the limited autonomy through composer instead of vague freedom. Based on this, balance is discovered at a level higher than the order or rule that can be obtained from precise beat, through which he showed profound art that is not revealed outwardly through unseen order while feeling together the joy of nature and all things in the universe. Through the mood expression of『Chain Ⅰ』,『Chain Ⅱ』 and『Chain Ⅲ』pieces, they were found to be pieces expressed as comfortable music that could approach audiences instead of contemporary music focusing only on technical aspect while revealing the mood beauty of margin or the beauty of emptiness. In addition, he expressed new music through new structure and sound based on the frame of traditional music instead of music that excluded the frame of traditional music of the past even though it is contemporary music. Although Lutoslawski is a Western composer, beauty of the East is revealed in the moods revealed in his pieces and mental expressions.

중학교 음악 수업에 있어서 심미적 음악 예술의 지도방법 연구

이안진 대구가톨릭대학교 교육대학원 2015 국내석사

Music Aesthetic Education is important to provide the opportunity to experience the aesthetic experience to the aesthetic sense and empathy that comes from representation. Students will determine the aesthetic quality in a number of ways to experience music and to seek the meaning associated with each of the musical life. Therefore, the teacher valuable artistic music, a variety of music, presenting students and students interested in music and to have their own 'ability to feel' deep interest in instilling the ‘aesthetic attitude’ with an emphasis on art in the life that they should that. Music means of aesthetic experience is an aesthetic perception takes place through music experiences and the interaction of aesthetic response. Will explore the expressive qualities that are inherent in the work and the meaning and By discovering the beauty that was created by the artist when viewed in terms of educational and artistic beauty perfume expresses the meaning of music learners. These experiences are ultimately gives sensitive perception of the beauty of the music and aesthetic sensitivity reactions evolved. This study B. Reimer music education methods based on teaching methods in order to create an appreciation for music aesthetic experience to learn what the aesthetic experience of music tracks, depending on the music selection criteria applied to music aesthetic act of B. Reimer was to create an example of appreciation classes for aesthetic experience. Firstly, that music selection criteria B. Reimer selected by default when music was considered the educational usefulness. Plan a variety of learning resources in order to increase the understanding and interest in art song was able to increase the interest in art songs through the use of various musical components to students by presenting the Plan. Second, if the accompaniment and rhythm to express how the content of the poem is written in the score and musical beauty and artistic insight into the meaning and experience of musical acts through even feel the flow of the rhythm and music can express creatively, that while listening to music Imagine the feelings of the characters are seen in the poetry of Goethe, more aesthetic perception will be able to concentrate. The teaching method is based on the absolute expressionist aesthetic theory of B. Reimer, never expressionism has been teaching approach based on the implementation of the feeling type that art. Third, Configure the lesson plans for students continually motivated to help you remember the rhythm until the end of the first half in the intro music using that directly improves motivation when participating in class and feeling alive when the contents of the is based on the ultimate goal of the cast of the musical aesthetic that could deepen the aesthetic experience to be able to develop their individual aesthetic sensibility as much as possible, by singing the lyrics education. As a result, when you configure a music class B. Reimer's musical aesthetic behavior because that theory is applied to the music lesson plans teaching students to plan a variety of questions and study materials to explore their own musical elements and principles and concepts students to explore themselves and to induce a positive answer to lead an active class participation will reach the goal of aesthetic music education. When you see these findings B. Reimer enjoy the art of music lessons apply the aesthetic experience is based on the teaching of music to students of beauty and aesthetic sensitivity to stimulation due to the execution of an aesthetic act is the development of aesthetic sensibility aesthetic education will enable that.

음악예술작품에 표출된 황금분할적 미에 관한 연구

이서빈 대구가톨릭대학교 2015 국내석사

The history of music is the history of composers’ work rather than players’ it. A remarkable idea of music piece construction, from the Middle age to the now, is the Golden Ratio structural aesthetic. From the Middle age to the now, th music discipline can be considered a river that something flows, one of it is an approaching with the Golden Ratio. This approach can be applied to others such as the architecture, paintings, and so on. Approaching with “following nature” which is a segment in a remark of Bartok, I tried research attributes of Golden Ratio and applications of it in music pieces. And then I found that is common apply points of Golden Ratio in music. With a Question about “Why famous music pieces are renowned?”, this research is initiated, then I could find a direct correlation between the Golden Ratio and few of music pieces’ horizontal structure. Some works of Handel, Beethoven, Chopin and modern area composer Bartok and Gorecki are very appropriate to analyze with the Golden Ratio A case of Bartok, he tend to composes by method originate from Golden Ratio, the method made by himself. In the mathematical analyzes between the Golden Ratio and his music works, there are few errors but they should be regarded as not errors thereby applying round off. The Golden Ratio adapts for counting the number of measures and bits in accordance with composers’ intention to construct a logical oder in their works, therefore that music pieces have stability and equilibrium beauty. First, at a middle one of the oratorio Messiah, Hallelujah’s structure is composed by an intention which composer had the Golden Ratio in mind, for make music reaches to the climax. And An appearance of a trumpet solo phase in an orchestra version is the point of the Golden Ratio, too. Second, Beethoven’s Symphony No. 7, mov. 1, m. 38-39 is the climax which is divided point of the Golden Ratio. Third, the Golden Ratio is applied in Prelude No. 1 by Chopin, too. In m. 8, the lowest note is appeared, a dramatic alteration of harmony in m. 13, the highest note is appeared in m. 21 which is the climax point. Fourth, in Music for String Instruments, Percussion and Celesta by Bartoc, the Golden Ratio is amalgamated with other structural parameters, as a horizontal thing the division of the number of measures, each are important turning points. He put the intention divide each sections obviously by using the Golden Ratio. Consequently, the stability and the equilibrium beauty are come in sight. Fifth, Gorecki’s Symphony No. 3, mov. 1, ‘Lento’, a point of appearance of a mezzo-soprano is to be considered it’s ratio is very adjacent with the Golden Ratio’s one. Sixth, besides upper pieces, it is possible to find the Golden Ratio in others, Passacalia by J. S. Bach, W. A. Mozart’s String Quartet K458, mov. 2, another Bartok’s work Allegro Barbaro and so on. The idea of the Golden Ratio in music works provide useful approach to varied areas such as musicals, synthetic arts and contemporary music works, for research in each disciplines cause of it has a noteworthy beauty, the structural beauty.

현대음악 작품에 표출된 동양적 서법의 미학적 접근

박성미 대구가톨릭대학교 대학원 2013 국내박사

Twentieth-century songwriters and composers defined and clarified the concepts relating to traditional composition techniques handed down through the periods. They tried to differ and innovate in terms of their pursuit of musical tones and other aspects of the composition style rather than in relation to harmony or form and soon. The composers pursued latent aesthetics expression in terms of the possibility of new sounds, atonal music, and the twelve-tone techniques within the sudden changes that took place in the twentieth century in the economic and social realms, as well as relating to materialistic civilization and cutting-edge technology. While seeking out these new forms, several composers produced works based on the ideas of impressionism, expressionism, and neoclassicism. In the 1920s, Schoenberg utilized the twelve-tone techniques in his 1925 Piano Symphonic Suite Op. 25 and reinvented the methods that had previously been handed down through the ages by allowing them to be reborn like a phoenix. However, at a time of great social change, there was an essentialist search for an unchangeable beauty that would withstand the passage of the time. First and foremost, through Cage's Natural Transformations in Art, Asian art philosophy and aesthetics gradually seeped into the artistic consciousness of the age and led to a great awakening. Cage influenced contemporary art and music in an important way by bridging the gap between pop arts, the newly emerging Dada movement, and by bringing the arts into the present. His ideas even ended up influencing his own works. Cage played a leading role in showing that Asian philosophical concepts were present within the sounds of Western music by way of musical expression and noted that "sound must exist independently by itself instead of being created through man-made processes or thought of as a commercial product." His point was that the internal Asian philosophical concepts that the composer wishes to express are dominant over concepts that are visible at a superficial shallow level on the surface. Second, Lou Harrison's union of various sections of a variety of composers' work looked at the relationships between the different sections as they were being combined. Due to the independence of discrete sections of Western music, via harmonic and counterpoint techniques, he was able to develop a musical comparison method that built on the interrelations between sounds. However, in contrast to this, the main themes in Asian music is the weight given to the independence of each note, known in Asian composition theory as 'independent notes.' In Asian music, a composition's form is, in a way, a singular tune or melody in itself, and ultimately the accumulation of the beautiful evolution and constant revision of the tune or melody. This contrasts with the lesser motives of tonal or melodic development in Western music. Humans don't look at how nature is constituted by dividing and separating its constituent parts, but rather by focusing on nature as a whole, and viewing nature as a singular, independent holistic entity. Third, Eastern arts and music tries to create a creative space through the concepts of emptiness and aesthetic white space. Through this process, it isn't reliant on always maintaining the same form, but appears to change meaningfully, in a manner similar to nature itself. Building on these ideas, Cage reversed the traditional conception of the separation of sound and silence. This means that just because no sounds reach our ears directly does not imply that there is no sound whatsoever, but rather that silence is full of a variety of sounds and thoughts. Fourth, as the above-mentioned composers all worked and composed in different time periods, there are differences with regard to the influence of a particular era on the music in question and with the subject matter of the compositions themselves. Having said that, there is one commonality between them. Although there are differences in how the compositions were produced, they appear to be chasing after an identical essence in order to seriously consider their own internal workings. John Cage, Lou Harrison and other composers tried to express the Asian aspect within Western music. In Asian music, the musical and silent parts of a composition are all believed to be equal, and in reality each composer ended up focusing on the importance of the internal aspects of their actual music arising out of Asian philosophy, instead of the external. This change became even more important thanks to Schoenberg as the twentieth century went on. Fifth, there are other composition techniques such as Pointillism and Minimalism. These compositions differ in that they pursue a general simplicity, but the biggest difference is in the composition of their form, subject matter, and spatial conception through the concept of aesthetic moderation. In addition, Pointillism is, of course, emphasizes concision while still maintaining a sense of profound world of composition, while letting each instrument perform separately as a soloist, as it postulates the independence of each short sound. I believe that this rectifies the missing or insufficient aspects of contemporary composers with Asian philosophy and spirit. Sixth, works by composers like Gorecki and Lutoslawski may be said to contain aspects of Asian philosophy and thought rather than just be seen as representatives of twentieth-century musical structure. Although they are Western composers, they seem to seek out an Asian aesthetic and express elements of Asian aesthetics and spirit within their hidden depth. Finally, we may conclude that instead of ceaselessly changing in accordance with humanity or nature, they have instead tried to get closer to the essence of the artistic spirit. Due to the expressiveness of contemporary music works, these kinds of experimental and contingent factors and subject matters appeared in music composed in the 1960s and 1970s while a new style of music may be seen to be emerging. In conclusion, art and beauty change with the times as the value standards for aesthetics fluctuate, but the temporary focus withers as the essential inner aspects remain unchangeable and constant.

한국 전통음악 지도 방안과 Carl Orff 교수법에 관한 연구

이정선 대구가톨릭대학교 교육대학원 2014 국내석사

At the present time, Korea is living culture and competition in an age of globalization. So Korea's traditional music education is important to bring up our cultural identity. And we need to develop more effective and creative music teaching techniques then ever. The purpose of this study was to investigate the applicability of new teaching methods such as Carl Orff to elementary's music. Orff's teaching method allows to get interested in Korea's traditional music. Put simply, Orff was considered important to continuity of words and improvisation. So students sings a Korea traditional children's song and plays the Korea traditional percussion instrument and expresses body movement. If the music teachers learn it and apply it to musical classes, the more students will get interested in Korea's traditional music.

Witold Lutosławski 『Symphony No.2』작품서법의 미적 접근 연구

염미희 대구가톨릭대학교 대학원 2013 국내석사

As human life undergoes change, so too does art develop according to the flow of history. Music in the twentieth century has been more about trying to bring about a contribution to the development of new styles of music by innovating, finding new forms of musical application, and incorporating diversity rather than simple musical purity. What, then, is musical beauty? How can we evaluate the artistic value of musical works? These are questions people have asked throughout the ages. Up until the present day, if we may posit that beauty experienced through music has been beautiful, has had a sweet tune, struck an emotional cord in human listeners, and otherwise been able to move human emotions, then twentieth-century composers have not been bound up by the traditional meaning of emotions and have pursued it from a variety of different aesthetic angles. This thesis will approach and examine the aesthetics of applying changes through new musical forms and musical styles, within certain aesthetic boundaries, instead of the fundamental concepts of aesthetics. Within those boundaries of traditional meaning, a new dimension in musical time, know as "contingent music," can enable us to see the beauty in a time-limited and 'momentary' piece of art. In contrast to John Cage, the structure, style, tonal system, rhythm and emotional and psychological aspects of Symphony No. 2 by Witold Lutoslawski, who invented 'Limited Tychism,' can be examined from an aesthetic angle. This composition can be performed in under thirty minutes and is composed of two movements. Lead by the short Introductory Movement, it is followed by the extremely spread out Main Movement. Although the two musical acts are quite clearly separated, the end of the first movement is connected via an attacca that may be seen as one expression of musical beauty. Using cords and tunes, it is composed of two steps, complete four steps, and even complete five step tunes. A twelve-note harmony constituted this way includes one, two, or even three notes in separate and distinct units that are bound and divided into parts. If the general change in speed and tempo is examined, the rapid and diverse tempo changes in the first act create a sense of expectation for a new tempo, while the second act hints at a sense of adherence for a new speed. As far as rhythm is concerned, the first act contains a slow and irregular rhythm which changes into a fast and regular rhythm in the second act that highlights the contrast between the two. The two acts have different musical structure as well. The first act is a monody while the second act is polyphonic. In addition, the two acts differ in tone. While the first act induces a homogenous tone via a strongly affinitive vertical arrangement of musical instruments, the second act emphasizes a strong contract in musical tone by arranging the instruments both vertically and horizontally. As this symphony was composed using revolutionary techniques and structure, it is very different from traditional symphonies. In spite of its hugh scale and extreme spread, it does not feel carelessly put together. It creates an expectation for a different result compared to a traditional symphony by using the techniques of 'ad libitum' and 'limited contingency.' The incorporation of rhythm derived from 'Limited Tychism' ensures that it is played differently every time it is performed. This enables listeners to hear the beauty related to time-limited art within the multiple scopes of twentieth-century aesthetics. This type of composition by Lutoslawski is not at first familiar to the listener, and the psychological, philosophical, and aesthetic factors cannot be heard or seen superficially, but can inform us of the existence of another artistic and aesthetic dimension that we cannot be told to listen for. As an inquiry into a work of composition from the viewpoint of the aesthetics of structure and harmony, this thesis creates a deep appreciation of Lutoslawski that will raise his status within the world of music and also advance the new creation of composition techniques and help in the research of the aesthetics of music.

디지털음악이 인체 및 식물의 성장에 미치는 영향에 관한 연구

한봉수 대구가톨릭대학교 음악대학원 2016 국내석사

Music has been studied for a long period and it is being used as a media of prenatal education and therapy. Our society had gone through the rapid development of computer and semi-conductor technology, which made our lives totally different from 20th century. With the development of the technology, our lives have changed from Anolog to Digital. The change has influenced in many aspects of human lives, especially the music. Digital music with the developments of recording technology has reduce the producing time, which was the main cost reducing factor. It has also allowed music to be played through personal devices and on internet. This convenience made people to be fund of digital music. Music industry in Korea has turn to digital music and we hardly can find analog music as the digital music industry took over every part of it. Digital music, however, didn’t only give us the advantages. It was once told through mass media that digital music causes negative effects to our body. But, it is not easy for us to go back to Analog ignoring all the advantages that technology has given us. On this paper, I have studied about all the effects that music has not only on human beings but also on all the living things. I have compared the differences of effects that analog music and digital music on human being and plants. As a result, I could find out that the Analog music has more positive effects than the digital music. Of course, now we have high definition digital audio technology so called lossless-music such as MQS or FLAC that made digital music equivalent of analog music. As those high definition digital music files require additional players, however, they cannot be provides to us with convenience that common digital music has. With the developments of the industry and mass media, we, Koreans, use to use the word ‘healing’, which refers to the recovery of our spirit as well as our physical body. Common people who suffers from study and labor find music as a media of ‘healing’ as it is easy to access. Although music has positive effects to our body, music is not the same when it comes to healthy growth and recovery. Good music source can maximize the effects that music gives us. With the increased number of ‘return to the farm and rural’ people, the concern about the method of farming is being increased. If we graft analog music playing on farming, the productivity will surely be increased. Even with the maleficence that digitalization has brought, we can overcome the problem with better developed technology. Finally, the development of modern technology can make the digital music analogized, which means that the technology can realize the motto ‘Back to the Analog’ technically.

태교 음악에 있어서 태아와 임산부에게 미치는 영향에 관한 연구

이주영 대구가톨릭대학교 교육대학원 2015 국내석사

As discussed so far, the fetus is closely connected to the mother through the umbilical cord and is affected from her. In other words, the fetus experiences what the mother sees, hears, and feels. Therefore, prenatal music which gives physical, emotional, and mental stability is beneficial to the mother. Music expresses human ideals and emotions like happiness, sadness, joyfulness, peacefulness and other emotions as well as providing emotional stability. Therefore, the mother and fetus who uses prenatal music will feel emotionally peaceful and stable. Music is effective in helping developing the fetus’ brain functions. The right hemisphere of the brain controls the thought ability and emotions. Music stimulates the right hemisphere and helps to develop the fetus’ thought ability and emotions. Of the factors that help the development of the fetus’ brain, hearing is 90% responsible. This shows how important music is to the fetus in the womb. Compared to infants that have not listened to music, those who have listened have quicker intelligence development, larger range of emotions, and are mentally stable. Also their thinking abilities and concentration are improved as well as their hearing abilities. Prenatal music is effective because it helps with the child’s intelligence and language development, personality formation, and intelligence growth. Also, compared to a child who experienced prenatal music to someone who did not, there was a difference in emotional and concentration capabilities. The fetus is not affected by directly hearing the music, but when the mother listens to music her mental reactions affect the fetus. Also, the environment outside of the womb is important because it not only affects the genetic tendencies of the child, but also stimulates acquired tendencies. Therefore, the mother and fetus must be maintained in a state of mental stability through music that helps it so. Prenatal music should appropriate for the situation and when the mother listens to it, it is important to choose peaceful, stress-free, familiar, and comfortable music. The fetus always feels the heartbeat of the mother so music that has a similar pace of the heartbeat is good. Of western music, the pace of Adagio, Andante, and Andantino is good and of domestic music, the 10 tempo of ‘Seyrongsan’ or the 4th chapter of ‘Yeomilak’. Classical music is preferred for prenatal music because it is well known to the public of classical music’s effects. However, if the mother does not regularly enjoy classical music, there is no need to listen to it. Nature sounds, the mother’s voice, domestic music and others can be good prenatal music and it is beneficial to listen to music of a similar pace of the mother’s heartbeat. As John Diamond’s deltoid research has shown, digital music stresses the nerves and muscles and has negative effects to the healing abilities and vitality. In order to listen to prenatal music, the mother and fetus are close to the digital machine, which exposes them to electromagnetic waves. Pregnant women should be aware of the negative effects of digital music and listen to prenatal music in healthy methods. Earth radiation can cause chronic fatigue, neurosis, headaches, insomnia, and other negative effects to health. To the pregnant mother these can hinder the development of the fetus, cause miscarriages and premature births, or increase the probability of deformed births. Therefore, if the mother is close to this radiation belt, it will interfere with the listening of the prenatal music. Every pregnant woman has different attributes and her personality and tendency structure is a very important factor to the fetus’ attributes. The fetus’ natural and acquired attributes are affected through the mother’s mental state that affects the environments of the womb, which is in turn determined by her environment. Therefore, the effects of music cannot be ignored through its indirect effect of helping the fetus’ emotional development, various potential abilities, and growth development. The mother must determine her emotions, listen to music accordingly, and the physical and mental state must be comfortable and maintained. Also, rather than digital music through CDs or MP3s, the analog vinyl like LP music or tapes or actual music, which has no flaws that digital possesses, is recommended. Moreover, the best prenatal music is something the mother plays herself or through her voice.