Pub Date : 2022-06-23DOI: 10.12975/rastmd.20221024
Johee Lee, In-Su Lee
This study aims to present the image and thoughts about K-POP among the public through objective data as we realized that it is necessary to conduct a systematic analysis of the public mentality and attitude toward K-POP to sustain the movement of Hallyu or Korean Wave. To this end, we used the big data in 2014 and 2021 to compare and analyze the K-POP-related images, figures, and public attitude between the two time points. The result can be summarized as follows: First, between 2014 and 2021, the changes over time in the media, where K-POP can be accessed by the audience, are more pronounced than common images about K-POP; Second, the figures that appeared consistently and commonly in 2014 and 2021 were found to be EXO and BTS, popular South Korean boy-bands. In the case of EXO, there was no commonly related figure at both points of time, but as for BTS, it was found that their fan club, A.R.M.Y, appeared as a common related figure; Third, compared to 2014, the rate of positive response toward K-POP decreased while negative response increased in 2021; in other words, the attitude toward K-POP turned negative. Unlike the previous studies that collect data with questionnaires or materials and analyze them, we used the already stored data and Sometrend, Korea’s big data analysis software, provided by VAIV Company, to find out what people think about K-POP. This study is significant as it extracts information from the existing data, analyzes the contents, and reinterprets the results from various angles to derive meaningful results. It is expected that the findings of this study, presented through precise data—the K-POP-related images, figures, and public attitude—will be used as basic material to contribute to the sustaining of the K-POP wave.
{"title":"A Big Data Analysis of K-POP on Social Media: focused on Images, Figures, and Public Attitude","authors":"Johee Lee, In-Su Lee","doi":"10.12975/rastmd.20221024","DOIUrl":"https://doi.org/10.12975/rastmd.20221024","url":null,"abstract":"This study aims to present the image and thoughts about K-POP among the public through objective data as we realized that it is necessary to conduct a systematic analysis of the public mentality and attitude toward K-POP to sustain the movement of Hallyu or Korean Wave. To this end, we used the big data in 2014 and 2021 to compare and analyze the K-POP-related images, figures, and public attitude between the two time points. The result can be summarized as follows: First, between 2014 and 2021, the changes over time in the media, where K-POP can be accessed by the audience, are more pronounced than common images about K-POP; Second, the figures that appeared consistently and commonly in 2014 and 2021 were found to be EXO and BTS, popular South Korean boy-bands. In the case of EXO, there was no commonly related figure at both points of time, but as for BTS, it was found that their fan club, A.R.M.Y, appeared as a common related figure; Third, compared to 2014, the rate of positive response toward K-POP decreased while negative response increased in 2021; in other words, the attitude toward K-POP turned negative. Unlike the previous studies that collect data with questionnaires or materials and analyze them, we used the already stored data and Sometrend, Korea’s big data analysis software, provided by VAIV Company, to find out what people think about K-POP. This study is significant as it extracts information from the existing data, analyzes the contents, and reinterprets the results from various angles to derive meaningful results. It is expected that the findings of this study, presented through precise data—the K-POP-related images, figures, and public attitude—will be used as basic material to contribute to the sustaining of the K-POP wave.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49522112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-15DOI: 10.12975/rastmd.20221023
Suat Vergili
In acoustics, the rooms in which the music is created, recorded, mixed and mastered are classified under critical listening rooms. In professional recording studios, these rooms are meticulously built, based on detailed architectural and acoustical design processes and one of the main principles of the room’s acoustic design is to carry the direct signal from the speakers to the listener with as minimal acoustic coloration as possible. Nowadays, home studios also function as important critical listening spaces. Nevertheless, home studios show acoustical inconsistencies, difficulties, and even impossibilities in providing the acoustical criteria related to critical listening room acoustics. Early reflections are the cause of important aural deteriorations in small critical listening environments such as home studios. The “fidelity” of the direct sound emanating from the speakers is affected by the early reflections - bouncing off the lateral surfaces, ceilings, floors, work desks and the objects on the desks – which cause unwanted comb filtering in the frequency response. In this article, the acoustical deteriorations based on early reflections will be discussed, the adverse effects of early reflections reflecting from the desks in home studios will be evaluated through acoustical simulations. In the light of the measurement results and evaluations, it has been observed that the early reflections originating from the work tables have significant negative effects in the aural perception of lower and middle frequencies.
{"title":"A simulation study on the auditory effects of early reflections from work desks in home studio acoustics","authors":"Suat Vergili","doi":"10.12975/rastmd.20221023","DOIUrl":"https://doi.org/10.12975/rastmd.20221023","url":null,"abstract":"In acoustics, the rooms in which the music is created, recorded, mixed and mastered are classified under critical listening rooms. In professional recording studios, these rooms are meticulously built, based on detailed architectural and acoustical design processes and one of the main principles of the room’s acoustic design is to carry the direct signal from the speakers to the listener with as minimal acoustic coloration as possible. Nowadays, home studios also function as important critical listening spaces. Nevertheless, home studios show acoustical inconsistencies, difficulties, and even impossibilities in providing the acoustical criteria related to critical listening room acoustics. Early reflections are the cause of important aural deteriorations in small critical listening environments such as home studios. The “fidelity” of the direct sound emanating from the speakers is affected by the early reflections - bouncing off the lateral surfaces, ceilings, floors, work desks and the objects on the desks – which cause unwanted comb filtering in the frequency response. In this article, the acoustical deteriorations based on early reflections will be discussed, the adverse effects of early reflections reflecting from the desks in home studios will be evaluated through acoustical simulations. In the light of the measurement results and evaluations, it has been observed that the early reflections originating from the work tables have significant negative effects in the aural perception of lower and middle frequencies.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41711401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-08DOI: 10.12975/rastmd.20221022
Kim Jinho
A poetics of music is a consciously created theory about how music can be composed. An ideally strong deterministic composition generates multiple musical elements rigidly and automatically under the premises set by a strong poetic determinist. A weakly deterministic composition, as created by the weak poetic determinist, generates small elements somewhat automatically and logically. In contrast, poetic libertarians compose music without planning and as their fancy dictates. We use these definitions to classify certain French spectral and concrete composers and their pieces as either strongly deterministic, weakly deterministic, or free. We surveyed Koreans to establish whether they heard these genres and composers as such. We also asked about their psycho-social backgrounds. We identified ① a positive correlation between perceiving musical determinism/libertarianism and understanding determinism/libertarianism; ② associative/implicit perception of determinism/libertarianism by many respondents; ③ generally low musical theory of mind (MTOM); ④ women’s relatively high MTOM; ⑤ few associations among the participants between virtual causality and concrete pieces; in addition, ⑥ libertarians outnumbered determinists; ⑦ determinists were a minority who had cognitive ability and musicality; ⑧ determinists could evaluate the deterministic spectral pieces and libertarians the free concrete pieces; and ⑨ there was a positive correlation between the respondents’ perceptual/cognitive abilities and their social achievements.
{"title":"1970'ten bu yana Fransız spektral müziğinin ve somut müziğin determinizmini algılamanın Kore yolu","authors":"Kim Jinho","doi":"10.12975/rastmd.20221022","DOIUrl":"https://doi.org/10.12975/rastmd.20221022","url":null,"abstract":"A poetics of music is a consciously created theory about how music can be composed. An ideally strong deterministic composition generates multiple musical elements rigidly and automatically under the premises set by a strong poetic determinist. A weakly deterministic composition, as created by the weak poetic determinist, generates small elements somewhat automatically and logically. In contrast, poetic libertarians compose music without planning and as their fancy dictates. We use these definitions to classify certain French spectral and concrete composers and their pieces as either strongly deterministic, weakly deterministic, or free. We surveyed Koreans to establish whether they heard these genres and composers as such. We also asked about their psycho-social backgrounds. We identified ① a positive correlation between perceiving musical determinism/libertarianism and understanding determinism/libertarianism; ② associative/implicit perception of determinism/libertarianism by many respondents; ③ generally low musical theory of mind (MTOM); ④ women’s relatively high MTOM; ⑤ few associations among the participants between virtual causality and concrete pieces; in addition, ⑥ libertarians outnumbered determinists; ⑦ determinists were a minority who had cognitive ability and musicality; ⑧ determinists could evaluate the deterministic spectral pieces and libertarians the free concrete pieces; and ⑨ there was a positive correlation between the respondents’ perceptual/cognitive abilities and their social achievements.","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41964749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-08DOI: 10.12975/rastmd.20221021
Haluk Bükülmez
Due to its structure, the violin is an instrument that is used in the performance of many musical genres and has an important place today. The violin, which has also found a place in Turkish music culture, has become one of the most important string instruments in Turkish music performance over time. Another factor that makes the violin popular in Turkish music performance is the training of important performers in the field of Turkish music with violin performance. The main reason for the need for technical mastery and the attitude characteristics One of the performance techniques used to strengthen the musical expression in Turkish music violin performance is the Çifte Kiriş performance technique.used by the performers is to create personal expression and strengthen the musical expression. The fact that instrument performance was mostly used as an accompaniment to oral music until the 20th century and the Çifte Kiriş performance technique was almost never used in accompaniment performances, and the fact that there are very few existing sound recordings performed with the aforementioned performance technique causes the Çifte Kiriş performance technique to be forgotten by violin players today. The most important source we have for the Çifte Kiriş performance technique is the example of the taksim in the Rast makam, performed by the violinist blind Recep with the Çifte Kiriş technique. In this study, it is aimed to determine how the Çifte Kiriş performance technique was created in Turkish music violin performance, and why it is being forgotten today when we look at the Turkish music violin performance history and qualitative research method was used to determine the other technical features required in the Çifte Kiriş performance technique by analyzing the violinist blind Recep's Çifte Kiriş performance technique and the taksim performance in Rast maqam. Looking at the archives of audio recordings performed with the Çifte Kiriş performance technique, it is seen that the mentioned performance technique is used only in the performance of two (2) forms. One of them is Taksim performances and the other is Oyun Havası performances. Although the Çifte Kiriş performance technique used in Turkish music violin performance is similar to the Western music violin performance techniques, Double stops (Fr. Double cordes), there are differences in the way it is formed and the Çifte Kiriş performance technique will be created for the Turkish music style. found to be suitable for execution. It has been revealed that the string arrangement created for the Çifte Kiriş performance technique is formed by lifting the second string from the lower bridge and bringing it closer to the first string, and then tuning the second string at half the frequency of the first string. It has been revealed that there is no existing symbol for the Çifte Kiriş performance technique and the transcripts transferred to the notes for the relevant sound recordings will create difficulties f
{"title":"Çifte Kiriş performance technique in Turkish music violin performance: The example of Rast taksim of violinist blind Recep","authors":"Haluk Bükülmez","doi":"10.12975/rastmd.20221021","DOIUrl":"https://doi.org/10.12975/rastmd.20221021","url":null,"abstract":"Due to its structure, the violin is an instrument that is used in the performance of many musical genres and has an important place today. The violin, which has also found a place in Turkish music culture, has become one of the most important string instruments in Turkish music performance over time. Another factor that makes the violin popular in Turkish music performance is the training of important performers in the field of Turkish music with violin performance. The main reason for the need for technical mastery and the attitude characteristics One of the performance techniques used to strengthen the musical expression in Turkish music violin performance is the Çifte Kiriş performance technique.used by the performers is to create personal expression and strengthen the musical expression. The fact that instrument performance was mostly used as an accompaniment to oral music until the 20th century and the Çifte Kiriş performance technique was almost never used in accompaniment performances, and the fact that there are very few existing sound recordings performed with the aforementioned performance technique causes the Çifte Kiriş performance technique to be forgotten by violin players today. The most important source we have for the Çifte Kiriş performance technique is the example of the taksim in the Rast makam, performed by the violinist blind Recep with the Çifte Kiriş technique. In this study, it is aimed to determine how the Çifte Kiriş performance technique was created in Turkish music violin performance, and why it is being forgotten today when we look at the Turkish music violin performance history and qualitative research method was used to determine the other technical features required in the Çifte Kiriş performance technique by analyzing the violinist blind Recep's Çifte Kiriş performance technique and the taksim performance in Rast maqam. Looking at the archives of audio recordings performed with the Çifte Kiriş performance technique, it is seen that the mentioned performance technique is used only in the performance of two (2) forms. One of them is Taksim performances and the other is Oyun Havası performances. Although the Çifte Kiriş performance technique used in Turkish music violin performance is similar to the Western music violin performance techniques, Double stops (Fr. Double cordes), there are differences in the way it is formed and the Çifte Kiriş performance technique will be created for the Turkish music style. found to be suitable for execution. It has been revealed that the string arrangement created for the Çifte Kiriş performance technique is formed by lifting the second string from the lower bridge and bringing it closer to the first string, and then tuning the second string at half the frequency of the first string. It has been revealed that there is no existing symbol for the Çifte Kiriş performance technique and the transcripts transferred to the notes for the relevant sound recordings will create difficulties f","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42628785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-04DOI: 10.12975/rastmd.20221018
L. Borodovskaya, Z. Yavgildina, E. Dyganova, L. Maykovskaya, Irina Medvedeva
{"title":"The possibilities of artificial intelligence in automatic musical transcription of the Tatar folk song","authors":"L. Borodovskaya, Z. Yavgildina, E. Dyganova, L. Maykovskaya, Irina Medvedeva","doi":"10.12975/rastmd.20221018","DOIUrl":"https://doi.org/10.12975/rastmd.20221018","url":null,"abstract":"","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44498366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.12975/rastmd.20221017
Zeynep Hatipoğlu
{"title":"A Playful Toll For Collaborative Improvised Music: Time-Makam Analysis Model As A Graphic Notation","authors":"Zeynep Hatipoğlu","doi":"10.12975/rastmd.20221017","DOIUrl":"https://doi.org/10.12975/rastmd.20221017","url":null,"abstract":"","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45778914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-31DOI: 10.12975/rastmd.20221019
Nuri Güçtekin
{"title":"Muallim İsmail Hakkı Bey hakkında düzeltme","authors":"Nuri Güçtekin","doi":"10.12975/rastmd.20221019","DOIUrl":"https://doi.org/10.12975/rastmd.20221019","url":null,"abstract":"","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45171126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-10DOI: 10.12975/rastmd.20221015
Vladimir Valjarevi̇c
{"title":"Capturing the Magic of Pianistic Sound and Touch: Toward a Synergy of Ear and Fingers in the Creation of the Artistic Image","authors":"Vladimir Valjarevi̇c","doi":"10.12975/rastmd.20221015","DOIUrl":"https://doi.org/10.12975/rastmd.20221015","url":null,"abstract":"","PeriodicalId":36229,"journal":{"name":"Rast Muzikoloji Dergisi","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46531279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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