일렉트로닉 댄스음악(Electronic Dance Music) 분석 방법에 대한 연구: 달파란의 <휘파람 코믹 댄스 파티>를 중심으로

권현우(Kwon Hyun-woo) 한국대중음악학회 2017 대중음악 Vol.- No.20

1980년대 미국의 시카고를 중심으로 탄생한 하우스음악은 테크노와 함께 영국을 거쳐 1990년대 전 세계 주류 음악으로 부상하였다. 하우스, 테크노, 레이브, 트랜스 등 일렉트로닉 댄스음악은 영국, 미국뿐만 아니라 한국의 대중음악에까지 영향을 미치며 한국 대중음악 차트를 점령하였다. 한국에서의 하우스 및 테크노 등 어법을 따른 본격적인 일렉트로닉 댄스음악은 1990년대 후반 홍대 클럽을 중심으로 한 DJ들에 의해 만들어지기 시작하였다. 일렉트로닉 댄스음악은 클럽문화와 함께 성장하면서 상업적 이미지와 마약 등 향락적 문화 이미지가 더해져 저급한 문화로 취급받기도 하였다. 이러한 이유로 일렉트로닉 댄스음악은 대중음악 연구에서 외면당해온 것이 사실이다. 본 논문에서는 음악 분석을 중심으로 한 일렉트로닉 댄스음악 분석 방법에 대해 연구하였다. 일렉트로닉 댄스음악에 대한 범위와 기존 분석 방법을 형식, 리듬, 음색적 측면으로 살펴보고 이러한 분석 방법을 한국 일렉트로닉 댄스음악 형성 초기 작품인 달파란의 <휘파람 코믹 댄스 파티>에 적용하였다. 적용 결과 곡의 고유의 특징과 일렉트로닉 댄스음악으로서의 장르적 특징 등을 확인할 수 있었으나 분석에 한계는 존재하였다. 현재 한국 대중음악의 한 축을 담당하고 있는 일렉트로닉 댄스음악에 대한 연구는 앞으로 다가올 새로운 대중음악 연구에 새로운 방향을 제시할 것이다. House music which was born in Chicago in the United States in the 1980s became a mainstream music through UK along with Techno. Electronic dance music such as House, Techno, Rave, and Trance had influenced Korean pop music as well as the United Kingdom and the United States, and had occupied tqhe Korean pop charts. In Korea, electronic dance music following the syntax of House and Techno began to be produced by DJs who actively played music in the Hong-dae Clubs. Electronic dance music grew along with the club culture. Electronic dance music was once treated as a low grade culture as it grew with club culture and drug addiction image was added to its commercial image. For this reason, it is true that electronic dance music has been neglected in popular music research.  In this paper, electronic dance music analysis method focusing on music analysis was studied. The scope of the electronic dance music and the existing analysis method were examined in terms of form, rhythm, and timbre, and this analysis method was applied to the <Whistle Comic Dance Party> of DALPARAN, one of the earliest Korean electronic dance music works. As a result, the unique characteristics of the song and the genre characteristics of the electronic dance music were identified. But there were some limitations in the analysis. The study of electronic dance music, which currently plays an important part of Korean popular music, will present a new direction for the study of new popular music in the future.

Analyzing the Archetype of House Music Focusing on “Move Your Body” of Marshall Jefferson

권현우 국제문화기술진흥원 2025 International Journal of Advanced Culture Technolo Vol.13 No.4

We are designed to elucidate how house music functions, seeking new methodological possibilities for the analysis of electronic dance music and contributing to the expansion of the scholarly horizon on house. To this end, we focus on Marshall Jefferson’s 1986 track, ‘Move Your Body.’ Applying an integrated analytical framework that combines Hawkins’s CGP(Cellular Groove Pattern) theory, Butler’s rhythm‑layer theory, and spectral analysis, we investigate three strata: macrostructure, microrhythm, and physical acoustics. The analysis shows that the musical achievement of ‘Move Your Body’ lies beyond the introduction of a piano riff, residing instead in a refined design in which heterogeneous musical layers interact organically toward the singular objective of ‘controlling dance‑floor energy.’ CGP analysis demonstrates that the track is constructed from functional cells—intro, chorus, breakdown—whose arrangement shapes narrative flow and dynamics. Rhythm‑layer analysis establishes that the groove emerges through ‘metrical dissonance’ between a stable drum grid and the bass/piano’s unpredictability. Finally, spectral analysis provides objective evidence that these structural and rhythmic transformations are directly instantiated as changes in spectral density. In conclusion, by integrating structure, rhythm, and acoustics, the study identifies ‘Move Your Body’ as presenting an archetype of house music, and it suggests that a methodology bridging humanistic theory with engineering‑based analysis opens new avenues for research on recorded popular music.

드론음악의미시적음향변화분석 - 엘리안 라디그의 <Kyema>를 중심으로 -

권현우 대중음악콘텐츠학회 2026 대중음악콘텐츠 Vol.10 No.1

드론 음악은 "변화가 거의 없는 것처럼 들리는 상태"라는 정의와 함께 음악 분석에서 충분히 다루어지지 못했다. 본 연구는 엘리안 라디그의 <Kyema>(1988)를 대상으로 Python 기반 MIR 방법 론을 활용하여 드론 음악의 미시적 음향 변화 양상을 살펴보고, 전자음악 분석에서 MIR 방법론의 가능성을 검토하는 것을 목적으로 하였다. 분석은 두 단계로 수행되었다. 1단계에서는 MFCC 기반 자기유사성 행렬과 Novelty Curve를 통해 전곡을 8개의 거시 구간으로 귀납적으로 분석하였고, 2단계에서는 S4~S7 네 구간에 대해 스펙트럼 센트로이드, RMS 에너지, 스펙트럼 플럭스, 스펙트럼 평탄도 등을 활용한 고해상도 미시 분석을 수행하였다. 분석 결과, <Kyema>의 음향 데이터 층위에 서는 S4의 극도로 안정된 정체로부터 S5의 에너지 축적, S6의 텍스처 전환, S7의 폭발적 미시 변 화 증가로 이어지는 구조화된 흐름이 확인되었다. 스펙트럼 플럭스 평균값은 S4 대비 S7에서 약 3.2배, 스펙트럼 평탄도 평균값은 S6이 S4의 약 2.7배에 달하였다. 이는 드론 음악을 "변화가 거의 없는 것처럼 들리는 음악"으로 규정하는 기존의 이해에 실증적 근거를 통해 재고의 여지를 제공하며, MIR 기반 정량 분석이 드론 음악의 정체 내부를 탐색하는 유효한 분석적 접근이 될 수 있음을 시사한다. Drone music has often been defined as “a state that sounds as if there is little to no change,” and, under this definition, it has not been sufficiently addressed in music analysis. This study aims to examine the patterns of micro-level sonic variation in Kyema(1988) by Éliane Radigue, using a Python-based Music Information Retrieval (MIR) methodology, and to explore the analytical potential of MIR approaches in the context of electroacoustic music. The analysis was conducted in two stages. In the first stage, the overall structure of the piece was inductively derived by constructing a Self-Similarity Matrix (SSM) based on Mel-Frequency Cepstral Coefficients (MFCCs), along with a Novelty Curve, resulting in the segmentation of the work into eight macro sections. In the second stage, four selected sections (S4–S7) were subjected to high-resolution micro-level analysis using spectral centroid, RMS energy, spectral flux, and spectral flatness. The results reveal a structured progression within the sonic data of Kyema, moving from the extreme stability of S4 to the accumulation of energy in S5, a textural transition in S6, and a marked increase in micro-level fluctuations in S7. The mean spectral flux in S7 was approximately 3.2 times higher than in S4, while the mean spectral flatness in S6 was about 2.7 times greater than that of S4. This provides room to reconsider the prevailing view that defines drone music as “music that sounds as if there is little to no change,” by offering empirical evidence, and suggests that MIR-based quantitative analysis can serve as a valid analytical approach for exploring the internal structure of drone music.

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.

대중음악에서의 음원 샘플링 기법의 분석 방법과 그 적용

박재록(Park, Jae rock) 한국대중음악학회 2017 대중음악 Vol.- No.19

1970년대 뉴욕 브롱크스의 DJ들이 음반을 발굴해서 새로운 음악을 조합한 이후로 40년이 흘렀다. 브롱크스 선구자들의 영향을 받았든 아니든 샘플링은 현재 대중음악의 주요 음악 제작 기법인 동시에 아직도 논란의 대상이다. 여기서는 논란의 대상이 될 수 있는 미학적·윤리적·법적 논의를 배제하고 음악 적, 기술적으로 샘플링 기법을 논하고 분석 방법을 찾아 실제 음악의 분석에 적용해보도록 한다. 우선, 다양한 용도로 사용되는 영어 단어인 샘플링에 대한 용어적인 혼란을 정리하고, 샘플링의 역사를 간략하게 짚어보면서 음원 샘플링 기법으로 논의의 폭을 좁혀보았다. 기존의 음원 샘플링에 대한 연구에서 샘플링 기법과 샘플의 분류법에 대한 실마리를 찾았으며 이를 통해 음원 샘플링을 통해 제작된 쿨리오(Coolio)의 곡과 다프트 펑크(Daft Punk)의 곡의 샘플링 기법 분석에 적용하였다. 샘플링은 그 기법을 사용하는 음악가마다 다른 방식으로 구현되기 때문에 다른 두 양상의 곡을 분석한 것으로는 샘플링 기법의 일부분의 것만을 정리할 수 있었다. 하지만 향후 이 연구가 샘플링에 대한 음악적·기술적 연구의 발판이 될 것으로 본다. It has been 40 years since the DJs of the Bronx, New York, in the 1970s, digged records to combine new music. Sampling, influenced by the Bronx pioneers or not, is currently a major music production technique for pop music, and is still controversial. Here, I exclude the aesthetic, ethical, and legal debate that may be controversial, discuss the sampling technique musically and technically, and try to find analysis methods and apply it to analysis of music made with sampling technique. I first summarize the terminological confusion of the word ‘sampling’, which is used for various purposes, narrowed down the discussion with the sound source sampling technique, and briefly reviewed the history of the sampling. In previous studies on the sampling, hints about the sampling technique and the classification of samples were found. This was applied to the analysis of sampling technique of Coolio’s music and Daft Punk’s music. Sampling is implemented differently for different musicians using the technique, so that only a portion of the sampling technique can be summarized by analyzing two different aspects of the songs here. This study will be a stepping stone for musical and technical research on sampling.

The Salient Aesthetics of Hyperpop

가브리엘 게코스키 한국전자음악협회 2025 에밀레 Vol.23 No.-

Hyperpop functions as a late-capitalist aesthetic formation in which maximalism and deviance operate as strategies of desubjectification, parody, and resistance within digitally mediated popular music. Maximalism is articulated as a compositional and artistic process that decentralizes authorship through excess and oversaturation, while deviance is understood as a deliberate departure from heteronormative, genre-bound, and capitalist norms. Rather than constituting a stable musical genre, hyperpop emerges as an ethos (Shorey 2020) shaped by postmodern selfreference, platform circulation, and the absorption of critique into market structures. Analyses of works by SOPHIE, 100 gecs (Laura Les and Dylan Brady), and brakence (Randy Findell) demonstrate how these artists mobilize exaggerated production techniques, vocal modification, and formal parody to both inhabit and destabilize pop music conventions. These practices situate hyperpop at the intersection of digital identity formation, queerness, and contemporary electronic music aesthetics, and provide a framework for further musicological and cultural analysis.

PROCESSING “REPRESENTATIVE CHARGE”: EMBODIED LISTENING AND LUCIANO BERIO’S VISAGE

Jasmine Thomasian(재스민 토마시안) 한국전자음악협회 2023 에밀레 Vol.21 No.-

Literature on electroacoustic music has tended to focus primarily on the mental processes of creating and listening to the genre, reinforcing an Enlightenment-era mind/body dualism. This study offers insights into the embodied aspects of producing and experiencing electroacoustic music. Through an analysis of the sonic material and reception history of Luciano Berio’s Visage, the author illuminates the connections retained between mental and physical processes and sensations in the production and reception of the piece. These mental-physical connections attach to both vocal and electronic sounds, complicating and extending experiences of embodiment beyond sounds produced by human bodies. The analysis offers frameworks and avenues for future research into the embodied experience of electroacoustic music.

Experimental and theoretical analysis of electronic musical structures with smart nanoparticles

Jing Han,Maryam Shokravi,F. Ming 국제구조공학회 2024 Structural Engineering and Mechanics, An Int'l Jou Vol.91 No.4

Nanotechnology has emerged as a promising avenue for enhancing musical structures. In this study, we analyze the static behavior of laser harp (i.e., electronic musical instrument) reinforced with Zinc Oxide (ZnO) nanoparticles. Leveraging the piezoelectric properties of ZnO nanoparticles, the structure is subjected to an electric field for intelligent control. The electronic musical structure is situated in a foundation with vertical springs and shear modulus constants. We employ the exponential Shear Deformation Beam Theory (ESDBT) to mathematically model the structure. A micro-electro-mechanical model is employed to determine the equivalent properties of the system. By utilizing nonlinear stress-strain relations, energy methods, and Hamilton’s principle, we derive the motion equations. The buckling load of the electronic musical beam is calculated using the Difference Quadrature Method (DQM). The primary objective of this study is to present a mathematical model for electronic musical beams and determining the buckling load of the structure and to investigate the influence of nanotechnology and electric fields on its buckling behavior. The buckling is the case when the structure becomes deforms and unstable. Our findings reveal that the application of negative external voltage to the electronic musical structure increases both the stiffness and the buckling load of the musical system. Furthermore, reinforcing the electronic musical structure with ZnO nanoparticles results in an increased buckling load. Notably, the maximum enhancement in the 28-day compressive and tensile strengths of samples containing zinc oxide nanoparticles compared to the control sample resulting in increases of 18.70% and 3.77%, respectively.