한국 영화 속의 음악 -「춘향뎐」과 「성춘향」의 영화음악 비교를 중심으로

진상 인문사회 21 2023 인문사회 21 Vol.14 No.3

The purpose of this study is to understand the flow of Korean film music history and the aspects of traditional music appearing in films. Through literature research, the history of Korean film music is studied, and two films are selected to compare the music for each scene. The period of Korean film music history was divided and its characteristics were identified. Two films, Chunhyang (2000) and Seong Chun-hyang (1961), which have the same musical background as the subject matter of the film, were selected and divided into 10 scenes each to study the aspects of traditional music. The history of Korean film music would divide into four periods, each showing the following characteristics. First, features of early film music revealed the influence of Japanese music, used Korean traditional and Western music and appeared created music. Second, the participation of musicians who studied Western music and young musicians who advocated Western popular music expanded the musical tendency, causing diversity in film music. Third, the prolific phenomenon of few musicians seen in early film music decreased as time passed. The film Chunhyang and Seong Chun-hyang were produced with the same material and had Western music composers as music directors. However, Chunhyang used only Korean traditional music, while Seong Chun-hyang used that mixed with newly created. The study has a future task as the insistent excavation of materials and continuous research to organize scientific theory about the history of Korean film music. In addition, it is considered that the demonstration for artistic value and worth about Korean film music need systematic analysis.

Music Classification Scheme Based on EfficientNet-B3

Park Kyuwon,Jeon Jueun,Park Sihyun,Jeong Young-Sik 한국컴퓨터산업협회 2023 Human-centric Computing and Information Sciences Vol.13 No.-

Several studies have been conducted music genre classification methods for music streaming services to effectively search and recommend music. The existing methods accurately classify known music genres, whereas they cannot distinguish unknown from known music genres or correctly classify unknown music genres as specific known music genres. Thus, this study proposes an unknown music genre classification (U-MGC) scheme that classifies both known and unknown music genres. The U-MGC generates mel-spectrogram images from audio data to indicate frequency changes over time. Then, U-MGC classifies the audio data into specific music genres by inputting the generated images into the EfficientNet-B3 model, which is constructed based on the placeholder for open-set recognition (PROSER) algorithm. Since the U-MGC is generalized for the entire music genre, it accurately classifies different types of unknown music genres. The evaluation results showed that the classification performance of the proposed U-MGC was 74.1% for the GTZAN dataset and 65.6% for the FMA large dataset. These U-MGC improved accuracy by 1.7% to 2.1% compared to the existing music genre classification methods.

독일의 음악 진로교육

김현(Kim Hyun) 낭만음악사 2007 낭만음악 Vol.20 No.1

독일 음악교육은 일반 정규학교 음악과목 외에도 각 시나, 지역별로 구성된 음악학교들의 단체인 ‘독일음악학교협회(Verband deutscher Musikschulen, VdM)’는 오래된 기관으로써 음악의 교육계획 방안을 내세워 조직적으로 잘 정비된 실기교육 일반 정규학교에서 배울 수 없는 악기수업을 중심으로 교육 함으로써 각 학생들의 음악적 재능을 개발시켜 음악의 진로방향을 결정하는데 중요한 역할을 담당하고 있다. 이와는 달리 우리나라의 음악교육은 문화적인 차원뿐 아니라 교육적인 차원에서도 뚜렷한 음악교육의 방향제시를 하지 못하고 있으며, 음악교육의 체계적인 조직조차도 갖추지 못하고 있는 실정이며, 그와 더불어 일반 정규학교에서 배우지 못하는 실기교육을 보완할 수 있는 조직적인 공공기관이 없는것도 커다란 우리나라의 음악교육의 문제점이기도 하다. 그렇기 때문에 음악실기 교육은 대다수가 사교육에 치중되어 있으며, 이로 인해 학생들의 재능이나 적성이 제대로 고려되지 않은 채 음악을 진로로 결정하기 때문에 결국 개인적인 손해뿐 아니라 넓은 의미에서 국가적인 손실을 가져오는 문제점을 지니고 있다. 음악교육에 대한 미래의 확실성은 음악에 참여하고 있는 모든 사람들의 철저한 공동협력으로써 행하여지고 특히 독일에서는 일반 정규학교와 음악학교의 음악교육이 함께 실시함으로써 미래의 음악교육은 더욱 확고해질 것이다. 아울러 우리나라에서도 정부차원에서 아니면 시 차원에서 후원으로 인한 음악기관이 이루어질 바랄 뿐이다. 그러할 때에 음악교육의 효과가 더 잘 나타나리라 본다. Music education in Germany has been done music classes not only in regular schools but in music schools. Germany has VdM, music school association, from the regional groups of the music school. VdM plays important roles in finding students' competence in music and their courses after graduation. It has a long history with systematical music education program and practical training with the musical instruments. On the other hand, music education in Korea could not show clear direction to the education level as well as cultural(artistic) one. It does not have any well planed curriculum and there is no other places to complement the practical training which students can not do in the regular schools. So students rely on the private educational centers. In this case, students make decisions on their courses without considering their talent and aptitude in music. It is a big problem on both students themselves and our country itself in music education. Germany has a firm foundation in music education on the basis of regular school and music school curriculum. We also need cooperation with those who are involved in music education. Founding music schools and organizations by the government or the council level of support could be one way. It could make better music education stand firm in our country for the future.

성악과 팝 음악의 융합화에 관한 고찰 및 발전 방향성 연구 - 중국 <성입인심> 방송 프로그램 성공 요인 분석을 중심으로 -

담청의,한경훈 한국문화융합학회 2024 문화와 융합 Vol.46 No.3

본 연구의 목적은 중국 음악 방송프로그램인 <성입인심>의 성공 요인을 음악 융합적 측면에서의 성과와관객의 다양성, 사회적 파급력 및 마케팅 전략 분석을 통해 탐구함으로써, 성악과 팝 음악의 융합화 현주소를 고찰하고 발전 방향을 제시하는 것이다. 이를 위해 성악과 팝 음악의 발성 기술적 차이를 비교분석하고, 음악 융합의 역사적 대표 사례 회고를 통해 음악의 문화적 다양성과 사회적 및 상업적 가치를 탐색하였다. 중국의 <성입인심>은 영향력이 큰 종합 예능 프로그램으로서, 중국 내뿐만 아니라 국제적으로도 일정 부분 파급력을 나타내고 있으므로 분석 연구의 가치가 있다. 이를 위해, 성악과 팝 음악에 대한 이해, 성악 가창기법 이론 및 팝 음악 가창기법 등의 이론적 토대를 바탕으로 방송 프로그램에활용된 다양한 홍보 마케팅 양상까지 분석을 수행하였다. 분석 결과, 다문화 음악의 프로그램 창작 측면에서 일부 전문성의 한계와 사회적 환경 조성의 문제점이 존재하는 것으로 나타났다. 이에 기초하여본 연구를 통해 음악 융합화의 내재적 의미와 가치를 향상하기 위한 일련의 발전 방향성을 제언하였다. 본 연구가 음악 융합화 산업 발전을 위한 지원책 마련과 지속적·혁신적 음악 융합 산업 발전을 위한 담론 형성의 계기가 되길 기대한다. The purpose of this study is to analyze the development direction of the fusion of vocal music and pop music, and to explore the performance, audience diversity, and marketing strategies of the Chinese music program <Super-Vocal> in terms of music fusion. To this end, the differences in vocalization techniques between vocal music and pop music are compared and analyzed, and historical cases of music fusion are retrospectively examined to reveal the cultural diversity, social and commercial value of music. As a highly influential general entertainment program, <Super-Vocal> has a certain influence not only in Korea but also internationally. However, the analysis shows that there are some development capabilities and external environmental problems in the creation of multicultural music programs. On this basis, this study puts forward a series of practical improvement and development suggestions to enhance the intrinsic meaning and value of music fusion. This study hopes to provide theoretical support for the development of the music fusion industry and promote its continuous development and innovation. Based on this research, we hope to continue deeper research and discussion and propose strategies for the development of the music fusion industry.

다성부 음악활동의 가치와 접근 위계에 관한 기초연구

홍승연 한국음악교육공학회 2019 음악교육공학 Vol.0 No.38

본 연구의 목적은 일차적으로 음악과의 한 부분을 차지하는 다성부 음악활동의 음악교육 내ㆍ외적 가치를 살펴보고, 이어 어떤 구조 속에서 다성부 음악활동을 접근해야 하는지 살펴보는데 있다. 궁극적으로는 교사가 조성, 화성 등 다성부 관련 음악수업을 구상할 때 큰 그림을 가지고 음악수업을 접근하도록 도움을 주기 위함이다. 연구문제들에 대한 결과로 첫째, 초등학교 교실음악 내 다성부 음악활동은 ‘반주와 노래’, ‘합창’, 그리고 감상을 포함한 ‘합주’ 등의 형태로 나타났고, 둘째, 다성부 음악활동을 통해 음악과 교육과정이 요구하는 성취기준이나 학년군별 음악요소와 개념을 체득할 수 있는 음악교육적 가치와 신체, 사회, 언어, 인지적 영역 등에서 얻을 수 있는 비의도적 효과와 가치가 나타남을 알 수 있었고, 셋째, 다성부 음악활동을 구조화하고 접근하는 위계의 필요성과 넷째, 다성부 음악을 지도함에 있어 돌림노래에서부터 시작하여 단순한 화성진행의 곡, 그리고 종국에는 교향곡 같은 다악장의 악곡 등의 위계를 지도 순서로 제시하였다. The purpose of this study is to examine the internal and external values ​​of music education of multi-parts music activities, which composed of a part of elementary school music curriculum, and then to investigate how to approach multi-parts music activities in music classes ultimately. It is to help teachers or student teachers to draw a detailed picture with a big picture when designing music classes for composition, harmony and multi-parts music activities. Secondly, it is needed to find what the intentional or unintentional music educational value that can be obtained through the multi-parts music activities and the approach of multi part music activities are. Finally the sequences of approaching music to teach or instruct are found and suggested. As a result of the study, there were many multi-part music activities such as 'accompaniment and singing', 'chorus', and 'instrumental ensemble' including appreciation. Through these activities, students can be able to acquire musical elements and concepts according to achievement standards or grade level required by music and curriculum. And the unintentional values ​​that can be obtained allow students merits and effects in their body, language, and as well as cognitive domain. Through the suggested sequence of approaching any multi-parts music activities, teachers can systematically guide and instruct activities with multi-parts music.

유교적(儒敎的) 관점에서 본 음악(音樂)의 도덕교육적(道德敎育的) 함의(含意)

이상호 ( Sang Ho Lee ) 동양철학연구회 2011 東洋哲學硏究 Vol.65 No.-

Music exposes people`s impulse and desire of expression hidden in their mind. Contemporary popular music reflects the characteristics of contemporary popular culture that emphasizes commerciality. Most of contemporary people are interested in discharging their stress and satisfying their desires to the full through music rather than in forming a consensus with others. Particularly because contemporary popular music appeals only to teenagers and pursues transient catharsis, music itself is becoming more sensual and stimulating. Riding on this trend, music production is also inclined to music more sensuous and stimulating peripheral senses, overlooking the functions of music for public interests and social integration. Good music relieves people suffering under competition from excessive mental tension, and gives them peace through calming down unpleasant emotions coming from stress. Confucianism, which emphasizes leading a life according to inborn nature, also believes that people`s inborn nature, which has been degenerated by difference in temperament and acquired environment, should be cultivated through training. In addition, one of the training methods is restoring the inborn nature by developing a pure heart and suppressing desires through music. The point of view Confucian music is natural and moderate music of harmony with inborn nature, and what are important in the music are the musician`s pure and truthful sentiment and the expression of the musician`s pious and peaceful and joyful heart in a natural way rather than the expression of music skills or techniques. If a peaceful and joyful heart is expressed naturally in music, the expression matches well with the atmosphere or situation. Such music restores the inborn nature in the listeners, and raises emotional responses of feeling what is beautiful and loving others. In this way, Confucian music can contribute to character building. Furthermore, when sound and good music is spread throughout the society, it can lead social customs and manners in a healthy direction, and ultimately, lead to harmony with the universe. What is more, if those who create such music restore their inborn nature and live a moderate harmonious life, naturally they can produce music that breathes together with basic human sentiments. If contemporary popular music, which is busy in pursuing commercial benefits, respects and learns the old traditions and admits the view of music of Confucianism, which is performing functions such as character building, social integration, and cosmic harmony, it may be able to play the original roles of music and to be a solution for many problems in contemporary popular music.

예비유아교사의 음악개념 인식에 대한 연구

고미애,박주연 미래유아교육학회 2020 미래유아교육학회지 Vol.27 No.3

The purpose of this study was to establish the content of the music concept to be recognized by the pre-service early childhood teacher and to lay the foundation for the development of programs and teaching methods centered on the music concept. The subject of study was 192 students enrolled in the Department of early childhood education at the Junior College of P Area. As a research tool, the tools (Park Ju-Yeon and Lee Min-Jung, 2016) used in the study on the level of understanding of music concepts in early childhood teachers were modified and supplemented to suit the purpose of this study. The music concept presented in the questionnaire was composed of 48 questions in 7 areas: rhythm, melody, harmony, tempo, dynamics, form, and timbre. Preliminary early childhood teachers were asked to choose their perception of the music concept on the Likert 5-point scale. As a result of analyzing the relationship between music concepts perceived by pre-service early childhood teachers, it was found that there was a statistically significant correlation between music concepts. As a result of verifying the difference in recognition of music concept according to the background variable of the pre­service early childhood teacher, the pre-service early childhood teacher’s grade, music-related experience (music lesson experience, number of musical instruments that can be played), musical activity simulation lesson experience, and the music concept were statistically significant. The difference appeared. 본 연구는 예비유아교사의 음악개념에 관한 인식 수준을 알아봄으로써 예비유아교사가 인지해야 할 음악개념의 내용을 정립하고, 음악개념 중심의 프로그램 및 교수법 개발의 기초를 마련하고자 하였다. 연구대상은 P지역 전문대학 유아교육과 재학생 192명이며, 음악개념에 관한 인식수준을 알아보기 위해 설문조사를 실시하였다. 연구도구는 유아교사 음악개념 이해수준에 관한 연구에서 사용한 도구(박주연ㆍ이민정, 2016)를 본 연구의 목적에 맞게 수정ㆍ보완하였다. 설문내용에 제시된 음악개념은 리듬, 가락, 화음, 빠르기, 셈여림, 형식, 음색의 7개 영역, 총 48개의 문항이며, 예비유아교사가 음악개념에 대한 자신의 인식을 Likert 5점 척도에서 선택하도록 하였다. 예비유아교사가 인식하는 음악개념 간의 관계를 분석한 결과, 음악개념 간에서는 통계적으로 유의미한 상관관계 있는 것으로 나타났다. 그리고 예비유아교사의 배경 변인에 따른 음악개념 인식 차이를 검증한 결과, 예비유아교사의 학년, 음악 관련 경험(음악 레슨 경험, 연주 가능한 악기 수), 음악활동 모의수업 경험과 음악개념 간에 통계적으로 유의미한 차이가 나타났다.

The Power of Music

Myung B. Yoo 한국기독교교육정보학회 2017 Journal of Christian education information tech Vol.0 No.32

Music is an integral part of everyday life and culture. Since the creation of the universe music has had a tremendous effect on mortals. Music is used in many ways to improve and enhance the lives of people. People use music to change emotions, to release emotions, and to match their current emotions. Emotion is directly or indirectly related with health. Music has long been utilized in the realm of healing and health across times and cultures. Some therapeutic functions attributed to music are discussed. Emotion and spirituality are correlated. Music seems to have its own emotional content and in many instances may encourage spiritual involvement. Music has several roles in the spiritual realm: means of expression, channel of spirituality, and enrichment of spirituality. Due to music’s complexity and variety, it is very difficult to form a set of standards to govern our listening choices. However, it is very important for us to grasp whether music is spiritual help or harmful. Music education for congregations should be a required component in the church. Discernment and careful planning and implementation of the music ministry of the church are needed.

The Music Analysis Method Based on Melody Analysis

Tsukasa Endo,Shin-ichi Ito,Yasue Mitsukura,Minoru Fukumi 제어로봇시스템학회 2008 제어로봇시스템학회 국제학술대회 논문집 Vol.2008 No.10

Recently, we can have large amounts of music thanks to the development of the computer technology. However, as the data of the music becomes larger, it is a hassle to classify the music based on the music content manually. We think that it is necessary to categorize the music automatically based on our mood. In this paper, we propose a novel method to analyze the music automatically based on melody analysis. The proposed method considers music genres as the measure of music analysis. We extract the acoustic features to characterize the music. Then, we classify music using multi-class classifiers based on the support vector machine (SVM).We adopt two approaches to the multi-class classification method. Furthermore, we propose a visualization method to specify the musical structure on the music genres from the classification result. Finally, computer simulations are done by using real music data in order to prove the effectiveness of the proposed method.

음악평론가 김관과 식민지 근대 ‘음악’의 의미(1)

이미나(Lee Mi Na) 구보학회 2020 구보학보 Vol.0 No.24

Kim Gwan is the first Korean music critic, and he played a critical role in forming the colonial era’s modern band, and we can define him as a man who pioneered the field of ‘music critique’ by emphasizing the necessity of specialized criticism. He proposed many music critiques based on specialized view of criticism which was rare at that time, and he was a music professional who led music education such as founding music laboratory. Kim Gwan is also a pioneering intellect who published many writings as working actively in various fields of not only music but also literature, play, movie, and broadcasting. This essay clarified his life by tracing back his biographical facts and parts of his specific life, which is Kim Gwan’s exchange of works, management of music acfe ‘Eliza’, and his career history as ‘Meridian’ agent. Kim Gwan published considerable writings to main media such as newspaper and megazine, and he was an active musician in wide area. Also ‘Eliza’, managed by Kim Gwan, was very popular so that it was introduced in many media, and it was a meeting place for ‘Meridian’ agents. Kim Gwan was having close relationship with writers of that time as working as an agent of ‘Meridian’. This essay contemplated about the music theory that he stated and the meaning of ‘music’ that was formed during modern colonial era, based on his newly found writing and music critique. Kim Gwan can be evaluated as a pioneering music critic who led not only Chosun’s band but also the artistic community while working actively in modern colonial times. This study is significant because it establishes a toehold for active study about Kim Gwan who worked as the first Korean music critique, and it is the starting point of later studies that investigates the interface between literature and music. 김관은 한국 최초의 음악평론가로 식민지 근대 악단을 형성하는 데 결정적인 역할을 하였으며, 당시 연주 중심의 악단을 비판하고 전문적인 비평의 필요성을 역설하면서 ‘음악평론’의 분야를 개척한 인물로 평가할 수 있다. 그는 당시로서는 드물게 음악에 대한 전문적인 비평관을 바탕으로 다수의 음악평론을 발표했으며, 음악연구소를 설립하는 등 음악교육에도 앞장섰던 음악 전문인이었다. 또한 김관은 음악뿐만 아니라 문학, 연극, 영화, 방송 등 다양한 분야에서 활발히 활동하면서 상당한 양의 글을 발표한 선구적인 지식이었다고 할 수 있다. 본고에서는 아직 해명되지 않은 그의 전기적 사실과 구체적인 삶의 일면, 즉 김관의 문단과의 교류와 음악다방 엘리자의 운영, 자오선 동인으로 활동했던 이력들을 추적하여 실증적으로 그의 생애를 밝혔다. 김관은 당시 신문과 잡지 등 주요 매체에 상당한 양의 글을 발표하였고, 넓은 범위의 분야에서 활발하게 활동한 음악인으로 평가할 수 있다. 또한 김관이 경영했던 ‘엘리자’는 당시 여러 매체에 소개될 정도로 상당한 인기를 누리고 있었으며, 자오선 동인들의 모임의 장(場)이었다고 할 수 있다. 김관은 자오선 동인으로 활동하면서 당시 문인들과 친밀한 관계를 맺고 있었다. 본고는 새롭게 발굴한 김관의 글과 음악평론을 중심으로 그가 개진한 음악이론과 식민지 근대라는 시기에 형성되었던 ‘음악’의 의미에 대해 고찰하였다. 김관은 식민지 근대 왕성한 활동을 하며 조선의 악단뿐만 아니라 예술계를 이끌어갔던 선구적인 음악평론가로 평가할 수 있다. 이러한 연구는 한국의 제1호 음악평론가로 활동했던 김관에 대한 본격적인 연구의 발판을 마련하는 일이자, 문학과 음악의 접점을 살피고자 하는 이후 연구의 출발점이라는 데 의의를 갖는다.