본 연구 는 뮤지컬 관객의 SNS 사용에 있어 자기 결정성 이론의 중요한 세 가지 변수인 자 율성, 유능성, 관계성이 관객 만족과 SNS 재이용에 미치는 영향에 대한 인과관계를 설 명하기 위한 것이다. 이를 위해 SNS를 이용하는 뮤지컬 관객을 대상으로 설문조사를 진행하 였으며, 정보 검색 및 공유 역량(자율성)과 정보 전달 역량 및 타인에 대한 영향력(유능성), 커 뮤니티 보유와 지속적 관계(관계성)를 물어 이러한 요인들이 관객 만족과 SNS 재이용에 영향 을 미치는지를 살펴보았다. 연구 결과 자기결정성의 세 가지 요인인 자율성과 유능성, 관계성 은 모두 관객 만족에 유의한 영향을 미치는 것으로 나타났으며, 그 가운데 관계성이 더 큰 영 향력을 보이고 있음을 밝혀냈다. 또한 관객 만족은 SNS 재이용에 매우 유의한 영향을 미치는 것으로 나타났다. 결과적으로 본 연구는 뮤지컬 관객의 지속적인 동기 부여를 위한 SNS 활용 마케팅 전략을 모색하는 데 근거자료로 활용될 수 있으리라 본다.

Data mining and game sounds classification prerequisite to find a compact but effective set of features in the overall problem-solving process. As a preprocessing step of data mining, feature selection has tuned to be very efficient in reducing its dimensionality and removing irrelevant data at hand. In this paper we cast a feature selection problem on rough set theory and a conditional entropy in information theory and present an empirical study on feature analysis for classical instrument classification. An new definition of a significance of each feature using rough set theory based on rough entropy is proposed. Our results suggest that further feature analysis research is necessary in order to optimize feature selection and achieve better results for the musical instrument sound classification problem through Weka’s classifiers. The results show that the performance of the best 17 selected features among 37 features has 3.601 compared to 2.332 in standard deviation and 94.667 compared to 96.935 in average with four classifiers.

이 글은 슈베르트 《악흥의 순간》(Moment Musical) Op. 94/6의 통섭적 고찰을 목적으로 필자와 기존 논문-콘(1981)과비치(1998)-의 논점을 인용, 비교 분석하였다. 그 결과 분석자의 견해 와분석 방법, 적용 이론에 따라 가치를 두는 동기와 음악적 사건, 이에 따라 추론되는 결론이 다를 수 있음을 인지할 수 있었다. 해석학적 접근을 시도한 콘이 토픽으로 규정한 약속음은-진의와 상관없이-작품 속에서 간과 하기 쉬운 세부 요소를 인식하면서 작품을 다른 시각에서 듣고 이해할 수 있는 새로운 가능성을 제시한다. 콘은 약속음 이행을 좌절 시킨, F♭-E♭에 해석학적 의미를 부여했으며 비치는 이를 주요 2도 하행 동기의 변형으로 처리하였다. 반면에 필자의 경우 F♭-E♭는 A-B부분을 결속시키는 동기적 유사성의 예로 해석하였다. 이와같이 동일한 음악적 구성요소라도 분석자에 따라 부여된 의미는 다르며 광범위하게 표현되고 해석된다. 그 표현적 의미를 객관화, 구체화 시키는 것이 음악해석학이 직면한 당면과제이지만 역설적으로 이것이 분석의 다양성과 효용성을 제안하는 음악 표현의 강점이기도 하다.

It can be said that in the 18th century changes were seen in the history of music. During this period of time, there was a social enlightenment where the public musical culture began to rise within the established aristocratic society, which has been regarded as the accepted cultural means both socially and politically. Consequently, the old and new social culture met their confrontation in the area of musical genre, structure, and culture. This led to a number of different changes, where heightened interest and development in the instrumental music in addition to opera began to evolve. This study focuses on the characteristics of the town band compared to those of the court orchestra. I have also looked at the socio-musical background and the development of the system of performance as well as the musical background of the performers. The first part of this paper explains the musicians’ guild system and the musical training of Quantz. The second part of this paper explains the court music, specifically on the Dresden and Berlin court orchestra where Quantz mostly held his performance. In summary, the leading group in the area of ensemble music in the early 18th century consisted of town musicians and court performers. Until the establishment of general performance, the local or town band was part of an important musical culture for the civic society, where most of the musicians were Kunstpfeifer(‘town piper’). This evolving trend has an important implication since it was the focal point when brass musicians began to play an important role. Both the court opera and the court orchestra have contributed to the development of the court music in this time period, which later took a decisive role in the development and standardization of the modern orchestra. Therefore, the two systems, the town musical performances and the court music both can be considered as the forerunners in the modern culture of the public musical culture and the modern culture of the orchestra.

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.