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민족음악학회> 음악과 민족> 인공지능(AI) 시대의 음악 연구 단상

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인공지능(AI) 시대의 음악 연구 단상

이희경
  • : 민족음악학회
  • : 음악과 민족 51권0호
  • : 연속간행물
  • : 2016년 04월
  • : 5-10(6pages)

DOI


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ECN

I410-ECN-0102-2017-670-000122906


UCI

I410-ECN-0102-2017-670-000122906

간행물정보

  • : 예체능분야  > 음악
  • : KCI 등재
  • : -
  • : 반년간
  • : 1225-7834
  • :
  • : 학술지
  • : 연속간행물
  • : 1991-2018
  • : 990


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1인공지능(AI) 시대의 음악 연구 단상

저자 : 이희경

발행기관 : 민족음악학회 간행물 : 음악과 민족 51권 0호 발행 연도 : 2016 페이지 : pp. 5-10 (6 pages)

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2한국음악 20세기(19): 한국음악의 관점(10) : 윤이상의 음악미학 또는 도교와 드뷔시

저자 : 홍정수 ( Jung Soo Hong )

발행기관 : 민족음악학회 간행물 : 음악과 민족 51권 0호 발행 연도 : 2016 페이지 : pp. 11-36 (26 pages)

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The composer Isang Yun explains most of his works in terms of Taoism, which reflects East-Asian mindset. His Taoistic intention is attested in his writings since 1958. In this year in Darmstadt he met European avant-garde music (Serialism and Chance music) and made a complete turnaround. He abandoned Europe-centered techniques turning to the East-Asian music and thinking. But turning to this direction was in fact as a matter of time in that he wanted to compose Westernized Korean work from his early time in Korea. To be Koreanized, his Taoistic method is paired with ornamentations of ancient Korean court music. His Taoistic works sound sonorous mysticism. Yun's Taoistic explanation of the cosmos increases the aura of mysticism of his music which was composed in a free way upon it. The music of Isang Yun was strongly influenced from Claude Debussy also, especially in these two points: 1) The strong eliciting of inexplicable mood; 2) The ornamentation, often called “arabesque”, always remains undefined and vague. Of course Isang Yun's compositional techniques themselves, based on Korean ornamentation, atonality and 'sound music', have nothing to do with Debussy's music. What``s in common between them is far from specific theoretical systems, and reflective of particular effects: Indefinite, inexplicable, vague and mysterious. Thus, Taoism was Yun's Instrument for explanation, and Debussy's music was the prototype of sound for his composition.

3한국음악 20세기(20): 작곡가들의 음악어법(2) : "정다움"을 형성하는 선율과 조성의 관계를 넘어 새로운 화성이론으로

저자 : 신인선 ( In Shun Shin )

발행기관 : 민족음악학회 간행물 : 음악과 민족 51권 0호 발행 연도 : 2016 페이지 : pp. 37-60 (24 pages)

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The purpose of this paper is to follow the process of western theory of harmony theory based on tonality becoming a 'new korean harmony theory' in Korean composers creative works, transgressing a mere acceptance. In order to do that it is necessary to investigate the course of reception and development of western music in Korea. The reason why the early korean art songs based on tonality were able to approach korean audience 'friendly' and 'intimately' was found in comparisons among four-part choral arrangements of monophonic folk song(Refrain from Nong-bu ga). Through the analyses of various arrangements of folk song, it is found that the development of western music in Korea may confirm the possibility of 'naturalization' of western music theory through a mixture of pentatonic scale which is the foundation of korean folk music, far beyond a simple reception. The formation of korean harmony was materialized by La, Unyung(1922-1994) in his theory of 'melody-centric harmony stacking'. This paper discusses the basic aspects of this new korean harmony theory which is based on the theory of harmony by Paul Hindemith(1895-1963), and illustrates instances applied to his works. Furthermore, 'modified twelve-tone technique' with elements of korean music by Yun, Isang(1917-1995) is a representative example of 'naturalization' of western music transgressing a mere acceptance.

4음악연주연구(Music Performance Research)의 경향

저자 : 이미경 ( Mi Kyung Lee )

발행기관 : 민족음악학회 간행물 : 음악과 민족 51권 0호 발행 연도 : 2016 페이지 : pp. 61-84 (24 pages)

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Research on Music performance has increased considerably during recent decades. The purpose of this article is to introduce a new issues and various methodological problems of music performance research. Short history of performance research before 1990s is summarized, followed by a review of empirical performance research up to the present. Historical, psychological and socio-cultural approaches to music performance research are reviewed, and some representative articles adopting various empirical and interdisciplinary procedures are introduced. The paradigm-shift to the process-oriented analysis of musical performance research is expected to influence on the traditional musicological studies.

5디지털 복제시대의 예술음악 듣기 -21세기의 예술음악 청취문화 연구-

저자 : 원유선 ( Yu Sun Won )

발행기관 : 민족음악학회 간행물 : 음악과 민족 51권 0호 발행 연도 : 2016 페이지 : pp. 85-122 (38 pages)

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This study explores the listening culture of art music led by the digital technology in the 21st century. Digital technology changes the paradigm of listening and shows the new ontology in art music. Music had been mainly preserved in a physical medium to overcome its intangibility in the 20th century. Furthermore, digital technology on the basis of intangibility has made music overcome not only the restriction of time and space, but also the physical restriction. The listening culture of art music based on this change of media environment in the 21st century could be discussed in three aspects. First, the concept of traditional 'musical works' focused on the composer and score in art music has changed into a more open meaning. The listener understands art music focusing on subtle differences between multifarious performances. Secondly, audio-visual medium mediated by digital video clips provides unique perceptual experience and reconstructs the experience of time and space in a concert hall. The listener experiences expanded musical events in more active ways through hyperreality mediated by a screen. Thirdly, the virtual concert hall such as Digital concert hall and Second Life exhibits interactivity in art music with rapid development of listening environment. In short, Interactivity in the virtual concert hall is meaningful in that it presents everyday listening practices intensively on the digital virtual space. These three characteristics have been expanding the border of art music. They have also blurred the boundary of 'the musical work and the audience,' 'listening and seeing,' and of 'a stage and an audience.' Active communication between listeners has changed music from the object of contemplation to performative behaviors.

6최초의 한국찬송가집들의 번역자, 작사자들에 대한 연구 2

저자 : 나진규 ( Jin Gyu Na )

발행기관 : 민족음악학회 간행물 : 음악과 민족 51권 0호 발행 연도 : 2016 페이지 : pp. 123-156 (34 pages)

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This is the second part of the study which I began last year and published partly in 50th. edition of Music and Korea. It focuses, on one side, upon the foreign missionaries as translators or writers, and on the other, on their works included in the first hymnals of the Korean evangelical church, which were published in 1890s (Chanmiga, Chanyangga, Chanseongsi). The purpose of this study is to find out the exact numbers of their works and to identify their original works written in Korean. Because of the vast amount of the work, I explored last time only three missionaries who worked actively as translators and writers, i.e. Annie A. Baird, F. S. Miller, and W. L. Swallen. This time I study those who worked only as translators and those who paraphrased the biblical poems (psalms or canticles). Also, I explore those as the third group who worked as writers and translators but their achievements were not so significant as those described in the last paper. 21 missionaries belong to them: James S. Gale, Oliver R. Avison, Ellen Strong, Miss Jean (?) Perry, Alexander A. Pieters, Horace G. Underwood, Mattie Wilcox Noble, George H. Johns, Louisa C. Rothweiler, Robert G. Grierson, Malcom C. Fenwick, Susan A. Doty, William B. Scranton, Ella A. Lewis, Margaret Best, Samuel F. Moore, Charles F. Bernheisel, George O. Engel, Anna R. Miller, Edward H. Miller.

7즐거움과 국가: 1950년대 음악 교과서에 담긴 국가주의

저자 : 김희진 ( Hee Jin Kim )

발행기관 : 민족음악학회 간행물 : 음악과 민족 51권 0호 발행 연도 : 2016 페이지 : pp. 157-182 (26 pages)

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The destruction of the Korean War and the requirements of the post-armistice reconstruction severely affected Koreans' lives, including the lives of children. This research explores the ways South Korean children's musical lives were shaped within this political climate. In particular, this paper investigates the ways South Korean state ideology was disseminated through songs at elementary schools during and after the war in the 1950s. By analyzing music textbooks from the 1950s, this paper reveals that there was a notable increase in the number of children's songs that explicitly inscribed the state ideology. Alongside this explicit expression of state ideology was an increasing emphasis on the expression of delight and happiness. I discuss that the emphasis on the sentiments of delight and happiness promoted a sense of optimism for the South Korean state and strengthened the acceptance of the South Korean state ideology in the 1950s during the post-war reconstruction.

81945-1959년 한국 대중가요 가사의 특징 -사랑과 이별의 정서를 중심으로-

저자 : 배샛별 ( Saet Byeol Bae ) , 이승연 ( Seung Yon Seny Lee )

발행기관 : 민족음악학회 간행물 : 음악과 민족 51권 0호 발행 연도 : 2016 페이지 : pp. 183-210 (28 pages)

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The purpose of this thesis is to analyze the sentiment of lyrics singing love and break-up in Korean pop songs from 1945 to 1959. The analyze will be divided into two parts by the time periods; one is the time between liberation from Japan and Korean War, or between 1945 and 1953, and the other is the time between post-Korean War and the beginning of Korean pop song market or between 1954 and 1959. The lyrics are categorized into four themes; reflection of social conditions, sentiments of individual, exotic sentiment and naturally-born local sentiment. Those lyrics are directly elaborating the social conditions under the effect of Korean War and the formation of independent government from Japan. After the end of Korean War, break-up and love became the main subject for lyrics amid increasing the variation of main characters. Also, it was the time of turbulence when people experienced liberation from Japan, separation of nation and war within 6 years. Also, it was the time when Korean pop, which has been funded by Japanese capital under Japanese colonial period, started to be funded by Korean capital. Thanks to that, those Korean lyrics show the transitional features what covers musical trend of music made during Japanese colonial period, domestic and overseas political circumstances, war and western cultures.

9한국 대중음악에서의 전자악기 수용 연구 -1970년대부터 1980년대 초까지의 사례를 중심으로-

저자 : 권현우 ( Hyun Woo Kwon ) , 박재록 ( Jae Rock Park )

발행기관 : 민족음악학회 간행물 : 음악과 민족 51권 0호 발행 연도 : 2016 페이지 : pp. 211-234 (24 pages)

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A variety of musical experiments and tests were conducted on the popular music genres in Korea in the 1970s-80s. This article focuses, in particular, on the introduction and use of electronic instruments in the development of popular music of that time. The use of electronic instruments in the popular music introduced numerous new musical genres to the Korean popular music industry such as folk, progressive rock, and funky disco. Meanwhile, it also paved the way for the development of ballad and dance music, which eventually became the two pillars of Korean popular music. In particular, the subsequent merger of the dance music with techno contributed significantly to the advent of the new generation of Korean popular music in the 1990s. In the study of Korean popular music and to understand its past, present and future, it is imperative to adopt a new perspective that is different from the existing approaches to analyze the genre, generation, lyrics and music of the time. In addition to adopting a new perspective, this study highlights the past of Korean popular music by way of in-depth historical research and reflects on the present development of the same. Thereafter, it suggests a possible path of development for the continued evolution of popular music in Korea.

10엔카의 정의와 기원 그리고 역사

저자 : 이경분

발행기관 : 민족음악학회 간행물 : 음악과 민족 51권 0호 발행 연도 : 2016 페이지 : pp. 235-246 (12 pages)

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KCI후보

음악과 민족
56권 0호 ~ 56권 0호

기독음악·문화
2권 0호 ~ 3권 0호

KCI등재

음악교수법연구
19권 2호 ~ 19권 2호

KCI등재

음악과 문화
39권 0호 ~ 39권 0호

KCI등재

이화음악논집
22권 3호 ~ 22권 3호

KCI후보

미래음악교육연구
3권 1호 ~ 3권 1호

KCI등재

음악이론포럼
25권 1호 ~ 25권 1호

KCI등재

음악학
34권 0호 ~ 34권 0호

KCI등재

이화음악논집
22권 2호 ~ 22권 2호

KCI등재

한국음악사학보
60권 0호 ~ 60권 0호

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음악이론연구
30권 0호 ~ 30권 0호

KCI등재

서양음악학
45권 0호 ~ 45권 0호

한국음악사학회 학술발표논문집
10권 0호 ~ 11권 0호

한국음악사학회 학술발표논문집
12권 0호 ~ 13권 0호

한국음악사학회 학술발표논문집
14권 0호 ~ 15권 0호

한국음악사학회 학술발표논문집
16권 0호 ~ 17권 0호

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이화음악논집
22권 1호 ~ 22권 1호

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음악교수법연구
19권 1호 ~ 19권 1호

KCI후보

음악과 민족
55권 0호 ~ 55권 0호

KCI등재

음악과 문화
38권 0호 ~ 38권 0호
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