본 연구는 컬러영상에서 특정소리를 연상시킬 수 있는 공감각 인지현상에 기반하여 컬러이미지에서 음악요소로 변환하는 시스템의 구현을 최종 목표로 한다. 이는 빛과 소리의 물리적 주파수정보사이의 유사도를 기반으로 이루어진다. 입력 컬러영상은 우선 컬러모델변환이론에 기초하여 색상(Hue), 채도(Saturation) 및 명도(Intensity)영역으로 변환된다. 음계, 옥타브, 크기 및 시간길이 등의 음악적 성분들이 HSI 컬러모델의 각 영역으로부터 추출된다. 기본주파수(F0, Fundamental Frequency)는 색상 및 명도 히스토그램에서 추출되고, 크기 및 시간길이성분은 명도와 채도 히스토그램에서 추출된다. 실험에서, 제안된 시스템은 표준 C 및 VC++ 기반에서 실현되었고, 최종적으로 WAV 포맷의 사운드파일이 생성되었다. 시뮬레이션 결과를 통해서 입력 컬러영상에서 추출된 음악적 요소들이 출력 사운드신호에 반영됨을 알 수 있었다.

This study examined the effect of active and passive listening condition on young children's musical understanding of familiar and unfamiliar melody through researcher-invented notation. All subjects in this study were Korean children from 3 to 5 years of ages in a private prekindergarten in Seoul Korea. A pre-and posttest experimental design guided this study, which was conducted for five consecutive weeks, including three treatment sessions between pre-and posttest sessions in summer of 2009. The following research questions for the study were posed: 1) Is there a significant difference in young children's apparent understanding of tempo when comparing active and passive listening condition? and 2) Is there a significant difference in young children's apparent understanding of tempo according to familiarity of the melody? Listening conditions (independent variable) in this study were the presence or absence of body movement while children listened to short musical examples. The children's apparent musical understanding of tempo (independent variable) was captured through children's guided drawings that indicated where they understood tempo changes to occur in the music. The drawings were evaluated by three independent judges who scored four drawings for each child: for familiar and unfamiliar melodies in both the pre-and posttest. A two-way ANOVA was used to analyze the scores. The results revealed that there is no statistically significant difference between treatment and control groups, between familiar and unfamiliar melody, and no difference with the interaction of group and melody familiarity. Therefore, the null hypotheses for this study were accepted.

Accepting the musician as a genius means the concern for outstanding ability of human beings reflects the viewpoint of the emphasis on the artist's individuality, subjectivity, and especially the creativity. In this context, the aesthetics of genius provided the opportunity of establishing the autonomy of arts and the chance of reestablishing the social position of musicians. That is, on the one hand the formation of the concept of genius has a close relation with individual and artistic subjects and on the other hand, is closely related to the development of the Western music. However, does the word "genius" contain just positive meanings? In this thesis, I began with this question and researched the aesthetic meanings of "genius" in the aspect of the artist's subjective identity(subjektive Identität). And I've examined the process and characteristics of the 'identity' in the concept of artist a 'genius' and the relationship between 'genius' and the establishment of the artist's identity in the field of music. In this thesis, I've objectively examined whether the musician could have attained authentic identity as a subject of art as the musician got the recognition of being a genius or not. Then I have thought the internal meanings of representation or the rhetoric of 'artist as a genius'. And I looked on the problems of 'aesthetics of genius' which is so-called 'genius-ideology'. Throughout this process I've critically examined the hidden meanings of 'musical genius' and moreover groped the 'images of genius' which is contemporarily meaningful in the view of these times.

아직까지 음악저작물의 저작권을 침해하는 표절을 판단하는 명확한 기준은 없으며, 음악저작물에 대한 저작권 침해를 인정하기 위하여 요구되는 악곡의 실질적 유사성에 대하여 법원의 판단을 받은 것도 채 5건이 되지 않아 축적된 판례도 거의 없는 실정이다. 먼저, 원고의 유사성 주장이 있고 일반적인 청취를 통하여 유사성이 발견되는가를 판단하여야 한다. 법원은 특별한 사전지식이나 전문가의 도움없이 두 음악작품의 음원을 청취하여 ① 두 음악작품이 확실히 유사하게 들리거나 ② 그 유사여부의 판단이 어려운 경우에는 다음의 복제여부 판단으로 넘어가고 ③ 전혀 유사성을 느낄 수 없다면 더 이상 판단을 하지 않아도 될 것이다. 여기서의 청취는 일반적으로 말해지는 통상의 청중이나 의도된 청중일 필요가 없으며, 음악전문가 수준의 귀나 완전한 문외한의 귀에 의한 청취여도 문제가 되지 않는다. 조금의 유사성이라도 있거나 유사성의 존재여부가 불확실한 경우에는 다음의 복제여부 판단으로 넘어갈 것이기 때문이다. 다음으로는 ① 접근의 직접적 증거, ② 접근의 간접적 증거 및 현저한 유사성 또는 ③ 현저한 유사성의 존재 만에 의하여 복제가 추정되는가를 판단하여야 한다. 접근의 직접적 증거가 있는 경우에는 복제가 추정될 수 있을 것이다. 직접적 증거에 의한 접근의 입증은 사실상 어려울 것이나, 원고의 공연에 피고가 왔었던 기록이 있거나 원고와의 직접 대면에서 해당 음악저작물 또는 그 악보를 함께 접한 바 있다면, 원고가 피고의 접근을 주장하였고 법원이 최소한 그 부존재를 확신할 수 없다고 판단한 경우에는 그 유사성이 복제에 의한 것이라고 추정할 수 있을 것이다. 접근의 간접적 증거와 두 음악작품 사이에 현저한 유사성이 있는 경우에도 복제가 추정될 수 있다. 그러나 접근이 인정된다 하여도 원고의 저작물과 피고의 작품 사이에 현저한 유사성이 존재하지 않는다면 복제를 추정하기는 어려울 것이다. 피고가 원고의 저작물을 복제하였음이 추정되면, 원고의 저작물의 표현을 피고가 복제하여 불법적으로 도용하였기 때문에 원고의 저작물과 피고의 작품 사이에 실질적 유사성이 존재하는가를 판단하여야 한다. 피고가 원고의 저작물을 복제하였다는 것이 추정된다고 하여 바로 저작권 침해가 인정되는 것은 아니다. ① 접근과 현저한 유사성이 인정되어 복제가 추정된다 하여도 실질적 유사성이 존재하지 않으면 저작권 침해가 아니다. 복제를 하였어도 실질적 유사성이 인정되지 않는다면, 그것은 피고의 창작성이 부가된 새로운 표현으로 볼 수 있기 때문이다. 또 ② 접근이 인정되지만 현저한 유사성이 인정되지 않아서 복제가 추정되지 않으나 실질적 유사성이 인정되는 경우에는 무의식적인 복제가 있었는가를 검토하여 독립적인 창작이 긍정되지 않는다면 저작권 침해를 인정할 수 있다. 그리고 ③ 접근이 직접적 증거에 의하여 인정되거나 접근과 현저한 유사성이 모두 인정되어 복제가 추정되며 실질적 유사성도 긍정된다면 당연히 저작권 침해를 인정할 수 있다.

This study examined that the black dress is the one of having aesthetic value as well as symbolism while delivering specific image, from the perspective of color, which is essential element in forming design of the Stage Costume. This study carried out the theoretical research of centering on the literature consideration and the empirical research of centering on a case side by side. It analyzed the works and design based on the clothing, which had been performed in Korea with a revival version of Musical 'Chicago'. Aesthetic characteristics in more than two are being shown in one dress. If so, the following are the results that considered on aesthetics characteristics in black, which were shown in Stage Costume of Musical 'Chicago', which is increasing the theme consciousness through Stage Costume, which is simple and sexy black. First, as emotion of coming to stay in agony and sadness on the basic fact called death, the Stage Costume in black led to being shown sorrow of implying death, fear and murder. Second, the dignity, which corresponds to noble beauty in the aesthetic category, expresses dignity and elegance with flat material in black, and is revealed the aspect of expressing fashion, which emphasized spirit rather than body. Third, as the aesthetic characteristic of causing sexual desire, the sensuality was shown, which has the aspect of being expressed through exposure, concealment and emphasis. Fourth, it was expressed with androgyny, which evokes androgynous image. Fifth, black in Musical ‘Chicago’ formed the whole mood with a sense of weight by arranging the whole feeling with color in similar tone, thereby having been indicated the harmony of being formed with theme, which is aimed to be indicated in drama.

This study aims to know the trace of Korean musical, consider musical depending on its type, arrange characteristic of musical costume and find out the developmental direction of Korean musical costume with potentials as a culture industry. For study method, the data were collected from thesis, academic journal, book and internet web-site concerning musical costume, literatures were considered and performance costume photos, which were captured via musical performance site, were analyzed. The history of Korean modern-day musical is regarded as starting with 〈Saljjagi Opseoye〉(1966) in the full scale. Although foreign musical was imitated in 1970s～1980s, it may be called the growth period of Korean musical because the period showed the commercial possibility. Since 1990s, large-scaled musical securing good work and popularity was popular. In 2000s, musical industry was abundant quantitatively and qualitatively as investment or popularity was significantly expanded. The type of Korean musical are divided to opera musical of European, Broadway musical of American and creative musical of Korean. The costumes used in opera musical of European and Broadway musical of American are borrowed from original works through license or were manufactured in Korea by referring to the costumes of original works and using similar materials or fabrics. The costumes used in creative musical of Korea are designed by either domestic or foreign designers and produced in Korea.

The purpose of this study is to explore historical and cultural backgrounds of early twentieth century in Paris, France and examine musical characteristics of selected songs of Les Six through analysis. This study investigates songs of Les Six, which possess valuable learning aspects technically and musically and present artistic aesthetics of early twentieth century France, but have not been studied suffciently as an appropriate twentieth century French repertoire for singers, teachers, and music researchers. Les Six was a group of talented and young composers gatering under Erik Satie (1866-1925) and Jean Cocteau (1889-1963) pursuing true French music that was independent from German Romantic and Debussy's impressionism. Also, Les Six has been recognized as representing composers of contemporary French music in the early of twentieth century. The study briefly examine the cultural and historical background of early twentieth century France and the formation and aesthetics of the group of six composers, Georges Auric(1899-1983), Loise Durey(1888-1979), Arthur Honegger(1892-1955), Darius Milhaud(1892-1974), Francis Poulenc(1899-1963) and Germaine Tailleferre(1892-1983). The selected songs of "Les Six" present a unique style such as neo-classical simplicity, embracement of tradition and modern qualities, and integration of characteristics of popular music, refined and controlled expression, and suble relationships between text and music.

최근 음악을 기반으로 한 게임이 각광받기 시작하면서, 음악이 게임의 중요한 콘텐츠로 자리를 잡게 되었다. 이러한 게임 중 ‘노트’를 게임 플레이에 적극적으로 활용하여 음악을 시각화한 게임들이 많은 인기를 끌고 있다. 그러나 이러한 게임에서 어떻게 음악이 시각화 되어 게임이 디자인 되는지에 대해 음악 이론 관점에서 접근한 연구는 찾아보기 어렵다. 본 논문에서는 노트가 활용된 게임에서 음악이 어떻게 시각화 되었는지에 대한 시각화 요소를 음악 이론, 미디 이론을 기반으로 도출한다. 또한, 도출된 요소들을 분석함으로서 노트가 활용된 게임이 악보나 미디에서 음악의 시각화 방식과 비교하여 어떤 특징이 있는지 정리한다. 이 논문은 노트가 활용된 게임에서 음악의 시각화 요소를 음악이론에 근거하여 처음으로 분류하였고, 이러한 연구는 앞으로 음악을 기반을 한 게임 디자인에 가이드라인이 될 것으로 예상된다.

本題以崔述的《考信錄》諸書爲文獻資料來考察有關音樂考證部分, 主 要觀點在其中有無文化談論的要素和特色. 崔述的有關樂論的考證, 多有文 化談論的色彩, 可分爲本體論的談論和功用論的談論兩部分. 崔述的考證指 向點就根據儒家的音樂觀, 但是他太注重禮樂的政治社會文化的機能, 甚至 於連神話領域的樂論也連接到儒家思想, 一面看起來, 理論上本無問題, 而 筆者個人認爲難面有臆測之欠. 雖然如此, 在音樂的本質性性格和形成過程 上的段階的進展等問題上, 崔述非常努力解釋歷代學者們不能解決的問題以 及曲解的地方. 功用論的談論上亦是寓有創見, 但一方强調音樂的社會功用 性, 有點疏忽音樂自體的純粹性, 爲人感情的自然發露等原形質的槪念, 反 而表面上强調儀式化的音樂到底支配士大夫和一般人的意識, 崔述就鼓吹見 禮知政、聞樂知德, 審樂知政、觀風審音的功用性由此成爲中國傳統音樂文 化思想的主要思想基礎. 總而言之, 崔述不陷於疑古史學的朔漠無味的考證方法, 自己堅持着純 粹的科學的思維和苦心實踐, 平素强烈希望能闡明孔子所達道的正經美學, 終於他的《考信錄》可以說是其精神所歸, 代表的他的寶貴的知的所産. 雖 然崔述自己缺乏傳統音樂上的專門知識和經驗, 但是他一直不離傳統禮樂思 想和孔子所說的｢游於藝｣的文藝精神, ｢聞樂知德｣的社會功用性, 明其理, 達其致, 大膽糾正俗世學人的曲經誤謬, 欲振作儒家學風. 筆者發見在《考信錄》當中有很多文化談論的考證事例, 崔述能夠應用 字句解釋, 文獻比較, 論理辨證, 文化批評等多樣多彩的硏究方法來創造出 一面科學的, 一面人文的文化考證. 崔述的文化談論的考證事例, 關鍵就在 它可以說是具體表明他的疑古釋古參古的學術思想, 成其客觀和主觀的和諧, 實踐尙古信古復古的學問理想. 傳統中國文化上音樂就是最有代表性的文化遺産, 中國的色彩和民族性 的反映度已達其頂點, 在21世紀西歐音樂澎湃的文化環境下依然維持着對抗 的氣象. 換句話說, 誰也不能否認中國的傳統音樂是中國文化的審美基礎, 思想的核心. 活在18世紀的崔述已經認識度中國傳統音樂的存在價値, 努力 成章, 幸虧到今天中國傳統音樂決不息其氣運, 在中國人的意識形態和生活 空間上繼續發揚其順其自然的美德使命.

음악과 사용자 인터페이스, 인간-컴퓨터 상호작용(HCI) 관련 연구에서는 기본적으로 실제 음악보다는 음악적인 속성을 반영한 음악적 소리를 사용한 경우가 많았다. 본 연구에서는 실제음악이 가전제룸의 객관적, 주관적 사용성에 정보적, 정서적 효과를 줄 수 있는지 살펴보았다. 무음조건, 소리 조건, 음악 조건에 대하여 실험 1, 2에서 각각 김치냉장고, 에어컨 리모컨을 프로트타임으로 제작으로 실험 참가자들은 준비된 과제를 시행하였고, 과제수행 결과 및 주관적인 만족도를 통해 기술하도록 하였다. 결과 실험1, 2 모두 객관적인 과제 수행에 있어서 유의미한 향상이 나오지는 않았으나 지각된 사용서에 있어서는 무음 조건보다는 소리 조건이, 소리 조건보다는 음악조건이 더 높았다. 즉 음악의 사용자 인터페이스 적용은 과제 수행에 최소한 방해를 주지 않으면서 주관적인 만족을 향상시킬 수 있는 방안으로 결론지을 수 있다. 본 연구는 가전 제품 설계에 있어 정서적, 미적인 효과에 대한 기반을 제공하고 시각장애인을 위한 연구에 적응할 수 있을 것이다. 가전 제품의 수행 과제, 사용 맥락 및 환경, 제품에 맞는 음악의 속성 및 종류에 대한 체계적인 추후 연구가 이루어진다면 음악을 이용한 사용자 인터페이스에 대한 구체적인 가이드라인을 제공할 수 있을 것이다.

Korean music educators have wondered when they face with many non-music major university students. The fields of music deal with many areas: performance, music apprehension, music history, music therapy, and music theory, etc. Lecturers have no time to teach such vast areas of musical fields in one semester. Thus a questionnaire regarding non music major students` musical experiences has been provided to 315 students in two universities. The X2 shows us the differences between female and male students` preferences for music. Many students had little experienced in systematic learning for music in their previous schools. Beside regular music courses provided by the previous schools, most of Korean students` music related experiences are limited to play the piano in their childhood. This tendency occurs more frequent to female students than male, since female students had more an experience to play instruments than male students in their childhood. Piano is the most favorite instrument to girls, violins and flutes are the next favoured. Some of their musical activities were largely related to church activities. Other results show that most of male students had little experience to read music score and tend to buy more music CDs than female students. The reason why male students tend to buy some more CDs than female students is maybe caused by their lack of musical backgrounds in high school years through the specific Korean educational circumstances. Most of students prefer listening more instrumental music than vocal music. While female students played the piano, male students had more experience to play the guitar, etc.

Arnold Scho¨nberg used three twelve-tone series in the first movement of his 「String Quartet no.3」. These twelve-tone series are used in both melodies and accompaniment. But sometimes he did not follow this fundamental rule to pursue musical thought even though he made use of the twelve-tone system in this piece. This thesis is focused on not only theme melodies, but also first ostinato motive of accompaniment and the relationship of balance between Scho¨nberg's primary and secondary musical thought can be considered in the theme melodies and the first motive of accompaniment. That is to say, Scho¨nberg shows how the main melodies and the supported ostinato motives match well together from the examples of his own musical main thought, environs thought, and relative thought. This is an specific example that Scho¨berg can develop his musical logic in his piece perfectly only when all of musical elements are in harmony. This is different with tonal music which is depends on the development of just main melody. Scho¨nberg says that the meaning of composition skill of the twelve-tone system is a reproduction of the traditional tonal harmony and is for systematization of the process of entire musical elements. So, he unites between the traditional composition techniques with and his twelve-tone system. 「String Quartet no. 3」 is also composed using both old and new. Unusually, there was no sensation in the first performance of the 「String Quartet no. 3」. But his critics said Scho¨nberg could not overcome his fantastic musical theory deeply and this piece was an expression of the Dadaism.1」 However, When it was performed at Frankfurt in 1928, Adomo was fascinated with this 「String Quartet no. 3」 and he evaluated this piece as a 'very influential music'. The article 「Why is it difficult to understand Scho¨nberg's music」 of Alban Berg says several common characteristics of atonal music. these characteristics include similar variety of harmonies, various methods of cadences, equal use for each tone in twelve-tone system, well-matched harmonies with melodies, unsymmetrical and unlimited composition in musical theme, abundant variation skills, inclusive polyphony, and various and subdivisible rhythms. Scho¨nberg's 「String Quartet no. 3」 uses abundant various rhythms, variation skills with motive, counterpoint skills, and musical theme development based on traditional harmonic function. This piece includes various characteristics of atonal music which Alban berg notes in his article. Scho¨nberg's 「String Quartet no.3」, composed with abundant musical skills, shows the serious musical thought of the composer and his musical beauties. This breaks general opinions that Scho¨nberg's piece is difficult to understand.

This study examines <the gender discrimination against the female musician in the music history>. Many people had believed that women does not have musical talent pointing out the fact that all great musicians were men. The reason might not be what many people think. Musical history tells us that women musician having musical talent hardly had chance to develop and show it. Patriarchism prevailing the society had worked also in musical fields, sometimes more intensively. Patriarchal ideology and social system based on it demand that active, productive, resonable, creative, scientistic, technical characters be reserved to man. In that system, women take only passive, reproductive role. The long music history shows that female musicians had been permitted musical activities on the condition that their musical activities encourage the femininity. For example, women were totally excluded in the field of composition, which is considered as creative domain, and the situation was not different in the instrumental performance requiring high technical expertise. Women musicians were free, or encouraged to play key-board music or harps for that they had to take a female posture during the performance. Even in that case, they were allowed to play in the home, not in public. Exceptionally women vocalists were allowed to sing in public from the beginning of music history. This can be explained by the fact that they were needed for their role restricted often to a prostitute image using body to seduce men. This gender discrimination in the musical production and performance had given strong impact on musical education. In a sense, it is reproduced in a exactly similar way in the field of music education. Women had been prohibited from taking musical lesson to become a music professionals. They were only allowed to be trained by means of cultivating their general culture. Under this context, musical education was considered as symbol of wealth. The critical examination of the musical history shows clearly that the gender discrimination in music filed is not separated from the paternalistic ideology and many sex-based prohibitions on the societal level. It demonstrates also that the sexual discrimination was reproduced and strengthened in music field. The reason why there were no great female musicians, therefore, have to be searched not in the lack of musical talent of women but in the socially constructed constraints, the patriarchal system.

To use as a guideline for the development of a music aptitude test for 4-6th grade elementary school students in Korea, we evaluated the test items of music aptitude tests widely used in USA, in particular, the Intermediate Measures of Music Audiation (IMMA) and the Musical Aptitude Profile (MAP). IMMA was administered to 570 4th grade students and MAP to 1335 5-6th grade students in Seoul and Taegu, Korea. The reliability of IMMA was .85 for the 4th grade. The reliability of MAP was .82 for the 5th grade and .89 for the 6th grade. The mean of item difficulties of IMMA was .83 and that of MAP was .72. More than 75% of IMMA test items have discriminations below .2, and more than 43% of MAP test items have discriminations below .2. These results are significantly different from those of American students. The evaluations of test items of IMMA and MAP that are of particular interest are as follows. Test items with ascending melodies are more difficult than those with descending melodies. Test items with tied notes, rests, dotted notes, and tripples are more difficult. When two adjacent test items use the same melodies as in MAP, they influence each other. In summary, the reliabilities of both tests are high, but they are too easy for the Korean students and too many items have low discriminations. So it is not appropriate to use both tests for Korean students. More difficult test items such as those discovered in this study should be used for Korean students. The different results between Korean and American students indicate that music aptitude is sensitive to cultural difference, for example, Korean students' exposure to Korean traditional music. Therefore cultural difference should be seriously considered in designing a music aptitude test for Korean students.