컴퓨터 음악프로그램을 통한 창의적 활동 중심의 교수 , 학습 방안

조정은 ( Jeong Eun Cho ) 한국컴퓨터교육학회 2011 컴퓨터교육학회 논문지 Vol.14 No.4

21세기를 주도할 자율적이고 창의적인 한국인 육성은 개정된 교육과정에서 강조하는 기본방향이다. 중등음악교육에서는 학습자의 시각과 청각을 함께 자극하고 창의적으로 활용할 수 있는 컴퓨터 음악프로그램이 교수·학습에 효과적인 매체라 할 수 있다. 본 연구에서는 컴퓨터 음악프로그램의 기능을 살펴보고, 그것을 음악수업에서 창의적인 학습활동으로 연계할 수 있는 방안을 모색하였다. 또한 음악활동영역별로 그 적용방안을 제시하고자 한다. 이를 위하여 사보프로그램인 Finale 2010과 이미지 및 동영상편집도구로 Window MovieMaker, 그리고 소리편집의 Goldwave를 사용을 중심으로 학생들의 창의적인 학습활동 방안을 제시하였다. It is the basic direction of revised education course to bring up the autonomous and creative Koreans to lead the 21st century. In the music education of the middle school it could be said that music program using computer is a very effective medium for learners` sake of stimulating their audio-visual sense at the same time. In this study, I will look around the facility of the computer music program and tried to find the application method to connect the creative learning activity in music class. And I will also show the application method in the musical activity area. For this, I proposed the method for students` creative learning activity in the middle of using Finale 2010 for music notation, Window Moviemaker for image editing and Goldwave for sound editing.

음악치료에서의 음악테크놀로지 활용

박예슬 한국음악치료교육학회 2015 인간행동과 음악연구 Vol.12 No.2

The purpose of this study was to investigate music therapists’use and perception of computer-based music technology. Questionnaires were distributed either electronically or in-person to 367 music therapists with credentials. Of the 367 initially distributed questionnaires, 101 were returned and 61 were analyzed after excluding 40 incomplete responses. The survey was comprised of two sections: the use of music technology and perceived importance of music technology in music therapy practice. The results showed that 65.6% of the respondents had used music technology in their clinical practice. The most frequently used type of music technology was Finale, followed by Garage band, and Cubase. With regard to the areas where music technology was used, it was implemented primarily for adolescents for musical or emotional goals, and was applied most frequently as a musical resource. In addition, most respondents showed a positive attitude toward music technology and added that they would need to be trained to use music technology for their clinical practice. These results provide practical information on how music therapists use and perceive computer-based music technology, and its implication for music therapy clinical practice. 본 연구의 목적은 음악치료사의 컴퓨터를 기반으로 음악테크놀로지 활용 현황과 인식을 조사하기 위한 것이다. 조사를 위해 전문 자격증을 소지한 음악치료사 367명에게 온·오프라인으로 설문지를 배부하였으며 이 중 101부가 회수되었고 미완성되거나 대상자 기준에 맞지 않는 50부를 제외한 61부를 최종 분석 하였다. 설문 문항은 컴퓨터를 기반으로 한 음악테크놀로지 활용에 관한 현황, 인식, 치료사의 의견으로 구성되었다. 음악치료에서 음악테크놀로지의 활용현황에 대한 결과는 다음과 같다. 응답자 중 65.6%(40명)가 세션 내 음악테크놀로지를 활용한 경험이 있으며, 활용비율이 높은 음악테크놀로지의 종류는 피날레, 가라지밴드, 큐베이스 순으로 조사 되었다. 음악테크놀로지의 적용 현황을 살펴보면 음악 혹은 정서영역에서 청소년을 대상으로 주로 사용하며, 음악 자원으로 적용하는 형태가 가장 많이 나타났다. 대부분의 음악치료사들이 음악 긍정적으로 인식하고 있으며, 기술 습득에 대한 필요성이 확인 되었다. 이 외에도 음악테크놀로지 활용에 관한 다양한 의견이 취합되었다. 이러한 결과는 음악치료 임상현장에서 음악테크놀로지를 활용하는 현황과 이에 대한 인식에 관한 정보를 제공하고, 보다 효과적인 음악테크놀로지 활용에 대한 시사점을 제시하는 데 그 의의를 갖는다.

전자음악이 그려내는 자연과 인간의 확장된 내러티브: 서울국제컴퓨터음악제 2024 리뷰

이예지 한국전자음악협회 2024 에밀레 Vol.22 No.-

The Seoul International Computer Music Festival 2024 was held from September 5th to 8th at CKL Stage and Art Korea Lab. Following its 30th anniversary last year, this festival welcomed audiences with an even richer program this year. Notably, fest-m, which showcases experimental works by young composers, opened as a pre-festival event. With participation from international electronic music groups and large-scale chamber music performances by Korean composers, the festival demonstrated a broad perspective encompassing both Eastern and Western traditions. The festival explored various possibilities of contemporary electronic music through diverse media including audio-visual works, tape music, electroacoustic pieces, live electronics, radio, and ensemble performances. Each work utilized various elements of sound such as frequency, density, waveform, amplitude, spatialization, transformation, complementation, reverberation, compression, and contrast. Like the poetic phrase "beauty reveals itself when observed closely," discovering profound meanings within subtle changes in timbre was a moment that made one realize the infinite possibilities of electronic music. A particularly noteworthy keyword at this festival was ‘nature’. The author focused on various ways electronic music expresses nature and derived thematic perspectives including 'the charm of indeterminacy,' 'projection of the inner self,' 'reverence for nature and the supernatural,' and 'narratives of daily life.' How does electronic music interpret and express nature and human life to construct narratives?

연산량 감소를 위한 2D MUSIC 알고리즘 설계

최윤섭(Yun Sub Choi),진미현(Mi Hyun Jin),최헌호(Heon Ho Choi),이상정(Sang Jeong Lee),박찬식(Chansik Park) 한국통신학회 2012 韓國通信學會論文誌 Vol.37 No.11(융합기술)

GNSS의 재밍에 대응하는 기법은 입사되는 재밍 전력을 억제하는 항재밍 기법과 재밍신호원의 위치를 찾아내는 재머위치결정 기법이 주로 사용된다. 두 방법 모두 재밍신호의 방향을 탐지해야 하며 일반적으로 대표적인 도래각 결정알고리즘인 MUSIC이 사용된다. 그러나 MUSIC은 높은 분해능을 가짐에도 불구하고 모든 후보각에 대한 검색을 수행하므로 검색시간이 길다는 단점이 있다. 본 논문에서는 MUSIC의 목적함수를 Cholesky 분해를 이용하여 제곱 항들의 합 형태로 나타내고, 목적함수 계산 도중 일부의 합이 이미 기존의 최소값 보다 크면 계산을 중단함으로써 검색속도를 향상시키는 새로운 알고리즘을 제안하였다. 제안한 알고리즘의 동작은 소프트웨어 기반의 모의실험을 통하여 검증하였으며 기존 MUSIC 알고리즘과 비교하여 도래각 추정 성능은 같으나 검색속도가 최대 1.15배 향상됨을 확인하였다. The jamming countermeasures in GNSS includes anti-jamming technique and jammer localization technique. In both techniques, direction of jamming signal is important and generally the MUSIC algorithm is used to find the direction of jamming signal. The MUSIC is super-resolution algorithm for detecting incident direction of signal. But, the search time of MUSIC algorithm is too long because all candidates of incidence angle are searched. This paper proposes the new method that has less computational burdens and therefore faster than the conventional MUSIC algorithm. The proposed method improves performance speed by reducing unnecessary calculations. In the proposed method, the cost function of conventional MUSIC algorithm is decomposed into the sum of squares and if the partial sum of cost function is larger than the minimum cost function so far, then the candidate is rejected and next candidates are searched. If the computed cost function is less than the minimum cost function so far, the minimum cost function so far is replaced with newly computed value. The performance of the proposed method was compared with the conventional MUSIC algorithm using the simulation. The accuracy of the estimaed direction of jamming signal was same as the conventional MUSIC while the search speed of the proposed method was 1.15 times faster than the conventional MUSIC.

악보의 난이도 평가를 위한 방법

송양의(Yang-Eui Song),이용규(Yong Kyu Lee) 한국컴퓨터정보학회 2016 한국컴퓨터정보학회논문지 Vol.21 No.4

While the difficulty of the music can be classified by a variety of standard, conventional methods are classified by the subjective judgment based on the experience of many musicians or conductors. Music score is difficult to evaluate as there is no quantitative criterion to determine the degree of difficulty. In this paper, we propose a new classification method for determining the degree of difficulty of the music. In order to determine the degree of difficulty, we convert the score, which is expressed as a traditional music score, into electronic music sheet. Moreover, we calculate information about the elements needed to play sheet music by distance of notes, tempo, and quantifying the ease of interpretation. Calculating a degree of difficulty of the entire music via the numerical data, we suggest the difficulty evaluation of the score, and show the difficulty of music through experiments.

Compositional Structure and Functional Analysis of ‘Globalalia’

Berk Yagli(버크 야글리) 한국전자음악협회 2023 에밀레 Vol.21 No.-

Electroacoustic music has a remarkable place in sound art and music composition. Regarding its complexities and radically different approach compared with conventional music genres, electroacoustic music is often rated as hardly understandable. Hence, this genre does not get enough recognition-especially from musicologists which could dramatically change the understanding of the works in the canon through extensive analysis. In this study Trevor Wishart’s well-known work, Globalalia is held under the microscope. Wishart is a well-known composer mostly with his vocal works. Especially, he is known for composing long-scale works that are highly unusual for the field of electroacoustic music. For understanding his long-scale works, our study focuses upon Wishart’s means of creating structure, concentrating specifically on one of his longer works, Globalalia. The study utilizes Stéphane Roy’s idea about formal functions as a way of unpicking the structural processes that are happening on both micro and macro levels in the piece. Even though there are many articles regarding Globalalia, the exhaustive analysis or written work focusing on the structure of the piece has been a novel study and it helps readers to understand the piece better.

Evolution and Historical Review of Music in Video and Computer Game

정지영 국제인공지능학회 2025 International journal of advanced smart convergenc Vol.14 No.3

This paper explores the functional, historical, and artistic significance of music and sound in video games including computer g. As the gaming industry has evolved from its early technological limitations into a sophisticated form of interactive media, audio has emerged as a central element in shaping player immersion and emotional engagement. Game sound, encompassing both background music and sound effects, is no longer a supplementary feature but a fundamental component of modern game design. The study examines how audio elements function interactively in games, particularly in enhancing realism, providing feedback, and supporting narrative progression. The historical development of game audio is traced from the simple 4-channel mono sounds of early consoles to the high-fidelity, cinematic soundscapes of contemporary titles. Special emphasis is placed on the importance of repetition in game music composition, distinguishing it from commercial music. The paper also analyzes genre-specific approaches to game music, highlighting the use of orchestral, electronic, rock, hip-hop, and fusion styles tailored to various gameplay experiences. Furthermore, it profiles influential composers—including Koji Kondo, Glenn Stafford, Mick Gordon, Jesper Kyd, and Hans Zimmer—who have significantly shaped the evolution of video game music. The contributions of Korean composer Yang Seung-hyuk are also discussed as part of the growing international presence of Korean game soundtracks. In conclusion, this study underscores that music and sound are indispensable to the game development process, enhancing not only the emotional and narrative depth of games but also their artistic value. As video games continue to integrate with other forms of media, the role of audio will remain vital in defining the future of interactive entertainment.

인터랙티브 컴퓨터 음악에 대한 분류 방식 연구

이희영,김현태 한국문화융합학회 2023 문화와 융합 Vol.45 No.9

Advances in science and technology have brought about great changes in music creation and performance, and in particular, interactive computer music provides new approaches to creators and receivers. The purpose of this study is to analyze the characteristics and applications of two sampling models for an in-depth understanding of the creation and performance of interactive computer music. As a research method, a new classification method based on a sampling model is proposed through a literature review of existing classification methods by Robert Rowe, Todd Winkler, etc. Through a comparative analysis and characteristics of the two models, focusing on the preset sampling model and the real-time sampling model, we examine how the two sampling models affect the creation and expression of interactive computer music. This study provides an interpretation of the possibilities and applications of interactive computer music, and is expected to contribute to research and practice in this field.

스크린리더 사용자의 NCS 컴퓨터음악제작 직무수행을 위한 소프트웨어 접근성 평가: Sonar X3 Pro.를 중심으로

석용환(Seok Yong-Hwan) 한국시각장애교육재활학회 2019 시각장애연구 Vol.35 No.1

The purpose of this study is to evaluate of the accessibility of the Sonar X3 Pro. for the screen reader users to produce a computer music based on the NCS(National Competency Standards). An evaluation was performed by testing the accessibility of each task which is segmented the process of music production based on the NCS by using the Sonar X3 Pro. and the Sense Reader. The results of this study are as follows. The Sonar X3 can t provide enough accessibility for the screen users to produce a professional music. The worst access parts of the Sonar X3 are virtual instruments and virtual effects which are bundled as plug-in softwares. It is very difficult for the screen users to produce professional musics by using the Sonar. The NCS of computer music production is not suitable for the screen reader users to be a professional computer music producer. To solve this problem, several suggestions are proposed.

Sound Forge 기반 컴퓨터 음악 작곡 전략에 대한 연구

김진호(Jinho Kim) 낭만음악사 2008 낭만음악 Vol.20 No.2

본 논문은 사운드 포지 기반 컴퓨터 음악 작곡 전략, 즉 사운드 포지 프로그램을 이용하여 컴퓨터 음악을 작곡하는 몇 가지 방식들을 연구한다. 녹음된 소리에 대한 편집 및 조작으로서의 구체음악이 그 첫 번째 방식인데 이러한 구체음악의 실행 방식으로서 음향 콜라주와 음향 변주곡이 대표적으로 취급되어 논의되었다. 다음으로 구체음악의 구성적 관점을 폐기하여 편집 및 조작이 없는 녹음 그 자체가 작품 혹은 음악이 되는 경우에 대한 논의가 있었으며 이에 대한 예로서 머래이 셰퍼(Raymond Murray Schafer)가 이끄는 “세계소리풍경 기획(World Soundscape Project: WSP)” 등을 다루었고 그 밖에 르포음악이라는 개념에 대한 논의를 하고 있다. 마지막으로 음악적 라디오 드라마의 작곡에 대해 논문은 짧게 할애하고 있다. This article studies on some methods of composing computer music using Sound Forge program. Firstly, the concrete music as the result of operation on the recorded sound is discussed. Sound collage and sound variation are treated as subdivisions of the concrete music. Secondly, the sound recording itself without editing and operation on the recorded sound is treated as musical composition, even if it rejects the constructive viewpoint of the concrete music. As a example, “World Soundscape Project(WSP)” conducted by Raymond Murray Schafer is treated. The concept of reportage music is discussed besides. Finally the article studies on musical radio drama.