엔트리(entry)를 활용한 중학교 2학년 국악 창작 교수·학습 지도방안 연구 : 경기민요 《한강수타령》을 중심으로

이유빈 연세대학교 교육대학원 2024 국내석사

본 연구는 국악 창작 교육의 활성화를 위해 경기민요 《한강수타령》을 중심으로 블록형 형태의 교육용 프로그래밍 언어인 엔트리를 활용한 국악 창작 교수·학습 지도방안을 개발하여 학교 내 국악 창작 교육의 한계 극복 및 학생들의 음악적 자기주도성과 창의성 향상에 목적이 있다. 이를 통해 미래 사회에 필요한 역량을 갖춘 인재를 양성하고, 국악 창작 영역의 현대적인 접근 방법을 마련하여 국악 창작 교육의 새로운 가능성을 모색하고자 한다. 이에 따라 본 연구는 매 차시 학생들이 자연스럽게 음악적 창의성을 발휘할 수 있도록 경기민요 《한강수타령》을 제재곡으로 선정하고, 실음 중심의 국악 창작 활동으로 구성하여 총 4차시의 지도방안을 개발하였다. 1차시와 2차시는 3소박 4박의 굿거리장단을 통해 국악의 장단에 대한 이해와 다양한 장단꼴을 활용하여 국악 창작의 기초를 다진다. 3차시는 토리 중 반경토리(라 –도´-레´-미´-솔´)와 《한강수타령》의 연주를 위한 국악기 음역을 이해하여 국악의 토리에 대한 개념을 명확히 하고, 악보상 기보되는 《한강수타령》의 구성음과 국악기 음역 간 관계를 감각적으로 익힌다. 이를 바탕으로 엔트리를 활용한 가락 창작 활동으로 연계하여 국악 창작의 심화 단계를 거친다. 4차시는 메기고 받는 형식을 통해 《한강수타령》의 악곡 구조를 파악하고, 이에 어울리는 새로운 가락을 엔트리로 창작하여 지금까지 배운 내용을 바탕으로 본격적인 국악 창작 완성의 단계로 진행한다. 이로써 학습자는 음의 높이가 다른 소리의 앙상블로 연주되는 국악의 시나위식 합주에 대해 이해하고, 스스로 음악적 아이디어를 발휘하며 자기주도적인 음악 활동을 경험한다. 본 연구를 통해 기대하는 교육적 효과는 다음과 같다. 첫째, 기존 학교 내 국악 창작 교육의 한계를 극복하고, 국악 창작 교육을 활성화할 수 있다. 둘째, 실음 중심의 국악 창작 활동을 통해 수업의 몰입감을 높이며 풍부한 예술적 경험을 제공할 수 있다. 셋째, 국악과 디지털 기술의 결합을 통한 단계적 학습을 경험함으로써 자연스럽게 음악적 창의성을 발휘하고, 국악의 가치를 현대적으로 재해석할 수 있다. 이와 함께 본 연구가 국악 창작 교육의 새로운 방향을 탐색하는 기회를 제시하며 이를 지속적인 교육으로 가능케 할 수 있음을 기대한다. 또, 국악 창작 교육의 중요성을 강조하며 국악기를 활용한 실음 중심의 국악 교육이 연주·감상·창작의 모든 영역에서 활성화되기를 바란다. The purpose of this study is to develop teaching and learning guidelines for Korean traditional music composition education using the block-based programming language "entry," focusing on the Gyeonggi folk song Hangangsu Taryeong, to overcome the limitations of Korean traditional music composition education in schools and enhance students' musical autonomy and creativity. Through this, the study seeks to nurture talents equipped with the competencies required for future society and establish a contemporary approach to Korean traditional music composition education, exploring new possibilities in this field. Accordingly, the study selected the Gyeonggi folk song Hangangsu Taryeong as the designated piece and structured a total of four sessions of instructional activities centered around practical activities in Korean traditional music composition. Sessions one and two lay the foundation for Korean traditional music composition by utilizing various musical structures through the understanding of the rhythms and melodies of Korean traditonal music. Session three clarifies the concept of Korean traditional music's tonality through the understanding of the major scale (la-do'-re'-mi'-sol') and the instrumental range for performing Hangangsu Taryeong, fostering a deeper understanding of Korean traditional music composition. This session also integrates practical melody composition activities using entry, building upon the previous sessions' knowledge. Session four progresses to the final stage of music composition by understanding the structure of Hangangsu Taryeong through question-and-answer formats and engaging in activities of creating new melodies using entry software, based on the acquired knowledge. Through these activities, learners are expected to gain an understanding of the ensemble performance of Korean traditional music, where sounds of different pitches are played simultaneously and experience autonomous musical activities by expressing their own musical ideas. The anticipated educational effects of this study include overcoming the limitations of existing Korean traditional music composition education in schools, enhancing the immersive experience of classes through practical activities, and interpreting the value of Korean traditional music in a contemporary context through the integration of Korean traditional music and digital technology. Furthermore, this study presents an opportunity to explore new directions in Korean traditional music composition education and aims to enable continuous education in this field. It emphasizes the importance of Korean traditional music composition education and hopes for the activation of practical-based Korean traditional music education utilizing Korean traditional instruments in performance, appreciation, and composition in all areas.

Resonant Simulacra: Building Artificially Intelligent Instruments, a Portfolio of Musical Compositions, and a Self-Analysis of a Cybernetic Workstream

Lock, Christopher Harvard University ProQuest Dissertations & Theses 2024 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

This dissertation curates eleven different musical projects, including three pieces of musical software and eight compositions. Each work was created between 2018 - 2024, during my time in the Music Composition PhD program at Harvard University. Much of the work presented in this portfolio is concerned with electroacoustic composition and the cybernetic relationships between performer and software instruments. More specifically, I attempt to analyze the digital instruments I have created in the past 5 years, the sound compositions I have realized using those instruments and the inherently circular feedback system of influence between software and sound.Stylistically, many of the compositions in this portfolio are densely textural and frequently imbued with dark imagery, phantasmagoria and a sense of visceral physicality. Threadline, finished in 2018/2019, initially introduces the concepts of textural density and organic growth and withdrawal of material. The compositional language originally touched upon in Threadline (2019), Cauterize (2018), and No Plume as a Trace (2019) is continually developed until the onset of the Covid-19 pandemic in January of 2020. This dramatic, global shift in lifestyle had profound effects on my compositional voice which are reflected by the works Collision Domains (2020) and To Till or Cultivate (2021).These works are markedly less organic and are shaped by my shift towards being a more interventionist composer. Once returning back to in-person academic life at Harvard in the Fall of 2021, I felt I had rejoined society as a changed artist. I was no longer interested in composing in my prior mode of setting up a kind of musical science experiment and letting it run its course over the duration of the composition, simply observing its movements and growth. Instead, the development of material became more controlled and intentional, as reflected in my post-pandemic works red, going through pinks, to white (2022) and Grey Velvet (2024). These works, also, saw for the first time an influence of musical styles outside of Noise, New-Classical Music, and Electroacoustic Art Music. My work as a DJ at the time, fascinated by Techno, Industrial, EBM, Acid House, began to filter into my compositional work and has since remained a point of artistic influence. My ever-shifting relationships to composition, production, and performance is explored in my forthcoming album for electroacoustic viola, Ephemerist (2024), to be released on Spanish label Protomaterial Records. This dissertation then concludes by looking toward my future as a composer, musician, instrument designer and developer, and details my efforts in starting an independent record label; Idolatrous Sound Research.

개러지 밴드(Garage Band)를 활용한 고등학교 창작 랩(Rap)뮤지컬 동아리 프로그램 개발 : 뮤지컬 《해밀턴(Hamilton)》을 중심으로

서은지 연세대학교 교육대학원 2022 국내석사

The purpose of this study was to empower high school students’ ‘musically creative and convergent thinking skills’ by developing a rap musical school club program, where students write musical theater numbers using Garage Band and rap. Musical theater numbers function as dramatic language; the musical theater composition experience of expressing dramatic components as musical concept is effective in stimulating musical imagination and developing creativity. Rap, which can be written with just the knowledge of rhythm, and Garage Band, which enables real time feedback, are effective means to motivate students who find musical composition difficult. To achieve this purpose, the expected effect of rap musical writing was contemplated by examining the main concepts and characteristic of musical and rap musical, the usability of the application and the manual of Garage Band. Based on this, a school club program of creative field experience was developed in 16 steps, consisting of 100 minutes per step, by applying the block time system in a one fixed day a week system method. The program was divided into three parts for step-by-step learning: Pre-training, Project (I) and Project (II). The Pre-training stage prepare students with basic skills: they learn the characteristic of rap musical and hip hop culture in two steps, and explore how to use Garage Band. Project (I) consists of three steps: students create a short rap before going into musical composition. They learn the components of rap, write their own raps, then form groups to determine their common music notation. Also, they are to create a hook that connect individual raps into one complete song that they will be presenting. The goal of Project (II) is to make and present a 10-minute musical. The process of each group selecting a subject of the musical, writing synopsis, analyzing musical numbers, creating and presenting is suggested in 11 steps. Six key steps of the developed program was selected to create a specific lesson plan. After the development, three active music teachers verified the content validity and the field practicality of the lesson plan. The result of the conformance test showed that this program can help students understand the essence of musical theater music, cultivate creativity through musical imagination, and contribute to increasing students’ efficacy of composition learning. The study also proposed that a musical composition class lesson plan that can be applied in regular school music classes and an integrated musical program connecting with other school subjects or school clubs be developed based on this program. This study can be used as an effective musical composition program resource at schools. 본 연구의 목적은 고등학생의 ‘음악적 창의·융합 사고’ 역량 강화를 위해 개러지 밴드와 랩을 활용하여 뮤지컬 넘버를 창작하는 랩뮤지컬 동아리 프로그램을 개발하는 것에 있다. 뮤지컬 넘버는 극적 언어로 기능한다. 이에 극적인 요소를 음악 개념으로 표현하는 뮤지컬 작곡 경험은 음악적 상상력을 자극하여 창의성을 신장시킨다. 리듬만으로 창작이 가능한 랩과 실시간 피드백이 가능한 개러지 밴드는 작곡에 어려움을 느끼는 학생의 동기를 높이는데 좋은 수단이 된다. 위와 같은 목적에 따라 뮤지컬과 랩뮤지컬의 주요 개념 및 음악적 특징을 살펴 랩뮤지컬 창작의 기대 효과를 고찰하고 애플리케이션의 활용성과 개러지 밴드 사용법을 살펴보았다. 이를 바탕으로 창의적 체험활동의 동아리 프로그램을 정일제 방식으로 블록타임제를 적용하여 차시 당 100분씩 총 16차시로 개발하였다. 프로그램은 단계적인 학습을 위해 사전 학습, 프로젝트 (I), 프로젝트 (II)로 나누어 구성하였다. 사전 학습에서는 학습 기초를 마련하기 위해 2차시에 걸쳐 랩뮤지컬의 특징과 힙합 문화를 학습하고 개러지 밴드 사용법을 탐색해본다. 총 3차시로 진행되는 프로젝트 (I)에서는 뮤지컬 작곡에 앞선 경험으로 짧은 랩을 창작해본다. 랩의 구성 요소를 학습하여 자신만의 랩을 만들어본 후 모둠을 구성하여 공통의 기보법을 정한다. 또한 개개인의 랩을 연결하는 훅을 창작하여 하나의 완성된 곡으로 만들어 발표해본다. 프로젝트 (II)는 10분 뮤지컬을 만들어 발표하는 것을 목표로 설정하였다. 모둠 별로 뮤지컬의 소재를 선정하고 줄거리를 작성하며 뮤지컬 넘버를 분석하여 창작하고 발표하는 일련의 과정을 총 11차시로 제시하였다. 이렇게 개발한 프로그램의 요점을 담은 6개 차시를 선정하여 구체적인 수업 지도안으로 작성하였다. 개발 후에는 현직 음악 교사 3인으로부터 지도안의 내용 타당성 및 프로그램의 현장 실현 가능성을 검증받았다. 적합성 검사 결과를 통해 본 프로그램이 뮤지컬 음악의 본질을 이해하고 음악적 상상력을 통해 창의성을 함양하며 작곡 학습에 대한 효능감을 증진하는데 기여할 것이라는 결론을 도출하였다. 더불어 본 연구를 바탕으로 정규 음악 수업 시간에 활용할 수 있는 뮤지컬 작곡 수업 지도안과, 타 교과 및 타 동아리와 연계한 통합 뮤지컬 프로그램을 연구할 것을 제언하였다. 본 연구가 학교 현장에서 실효성 있는 뮤지컬 작곡 프로그램 자료로 활용되기를 바란다.

(A) study on deep network-based multi-objective optimization and automatic evolutionary music composition

Jeong, Jaehun Sungkyunkwan university 2018 국내박사

In recent decades, artificial intelligence has achieved remarkable growth with rising of deep learning. It has been applied in various fields of engineering, and significantly contributed to industrial development. Nowadays, many artificial intelligence researchers have been a lot of attention to implementing creative ability of human such as music composition. Evolutionary Computing has shown excellent performance in producing music since 1990. It has been established as a research field called “Evolutionary music composition”, and it plays a central role in automatic music composition. Music composition process can be divided into various sub-tasks, such as creating melody, harmony, and rhythm composition. Although all the composition elements are important, melody composition is the most creative part, and it is the most difficult part to automate. In the field of evolutionary music composition, research has been carried out to program the computer to automatically generate melodies. However, existing evolutionary approaches could have generated only a few melodies in a certain style that is specified by pre-defined fitness functions. They are not able to deal with the multi-dimensional nature of music. There are many perspectives in music assessment. Some measurements are conflicting with each other because of a human listener’s preference. An existing method does not consider the trade-off in composing music. Thus, the composition results could not satisfy the various musical preferences. This paper presents a novel multi-objective evolutionary approach to automatic melody composition to produce a variety of melodies at once. Two conflicting fitness measures are investigated to evaluate the melody’s fitness; stability and tension. The fitness functions are elaborately designed based on music harmony theory. The proposed method can provide all well-composed set of melodies between the two conflicting perspectives to the user at a single run. Moreover, the music composition process is a high-dimensional problem; the number of combinations can be infinitely high, depending on composition length and the number of available tones. As the size of the problem grows, the optimization process of conventional evolutionary algorithms can become very inefficient. Therefore, we propose a new Multi-Objective Generative Deep network-based Estimation of Distribution Algorithm (MODEDA) to solve the problem with a high-dimensional solution by modeling and utilization of linkage information of music.

말러(G.Mahler)의 오페라에 대한 AI의 상상력 : AI 작곡 모델 에미(Emmy)와 코프(D. Cope)의 오페라 〈말러〉 연구

윤예원 서울대학교 대학원 2025 국내석사

The 21st century can truly be called the era of artificial intelligence. AI is actively utilized not only in various specialized fields but also across all aspects of human daily life, and the field of music is also included in this trend. In particular, it is noteworthy that AI is now actively applied not only in the appreciation and performance of music, but also in the creative process. Today, with the emergence of various AI composition models such as Suno, Udio, and AIVA, AI music composition is rapidly evolving, and interest in algorithmic development and technological achievements is growing accordingly. However, compared to these technology-centered discussions, academic discourse that analyzes and examines AI-generated music from a musicological perspective still remains limited. This situation further emphasizes the necessity of attempts to regard AI music not merely as a technological product, but as a work of art and to explore its meaning and value. From this perspective, David Cope’s ‘Emmy’(Experiments in Musical Intelligence), developed in 1981, deserves attention. Emmy is an AI composition model that generates new works based on data analyzing the musical style of a specific composer. While most AI composition models focus on short instrumental music or pattern-based music, Emmy has distinct significance in that it challenged the operatic genre, which requires large-scale orchestration and narrative structure. Among Emmy’s works, this study focuses on the opera Mahler, which was composed based on the life and music of Gustav Mahler(1860–1911). This work was completed by having Emmy generate music based on Mahler’s songs and symphonies, while Cope wrote the libretto reconstructing Mahler’s life. To analyze this work, the study first organized the composition algorithm and musical features of Emmy, particularly the concepts of musical style and signature, and then analyzed the structure and development of each scene. Furthermore, the study comprehensively examined the quoting techniques and the interaction between music and narrative throughout the work, and from this, derived the aesthetic implications, limitations, and possibilities of AI composition. As a result, the musical features of the work can be summarized in two aspects. First, Mahlerreproduces Mahler’s musical world through various quotations and similar references centered on his music, showing that AI can engage in creative activity beyond simple imitation. Emmy reinterprets traditional compositional styles actively by recombining existing musical data in new ways and actively quoting Mahler’s musical language. Second, through close interaction between libretto and music, emotion and narrative are organically constructed, demonstrating that collaboration between humans and AI can be realized even in narrative-centered art forms. These musical quotations and interactions between humans and AI were unprecedented in existing AI composition models, and can be seen as a key point demonstrating Emmy’s imaginative capacity. In this context, one might ask the question: “Can this opera be considered Mahler’s opera?” In Mahler, Mahler does not merely serve as a subject of quotation or a source of data; rather, he functions as a central axis mediating the creative process of Emmy and Cope. That is, a new creative identity that cannot be reduced to a specific creator becomes clearly visible, which Eleanor Selfridge-Field(1940–) has described as a “synthetic identity.” Moreover, Emmy’s compositional approach reveals a dimension of “data unconscious,” as it does not simply follow explicit rules or algorithmic outcomes, but constructs potential associations based on Mahler’s vast musical data. From this perspective, Mahlercan be seen as a work that proposes a new type of creative identity in which not only Emmy and Cope but also Mahler are included as co-creators. However, criticisms also exist. Mahler’s emotions, experiences, and historical context are unique human traits that AI cannot replicate, and AI creation is criticized for being unable to capture this existential depth. In other words, although Mahlertechnically imitates Mahler’s style with precision, it ultimately remains music that merely resembles Mahler. This connects to the argument that Emmy’s accurate analysis and reproduction of Mahler’s style, due to its excessive similarity, makes it difficult to be recognized as an independent creative work. In response, Cope emphasizes that imitation has historically been an important method of musical creation, interpreting Emmy’s composition as “Recombinant Creativity.” This is evaluated as an active creative act that arranges and constructs existing musical elements in new ways. Mark Coeckelbergh(1975–) also argues that AI can be a subject of art creation by positively viewing the artistic potential of AI through the concept of “mimesis.” In this way, Mahlerpresents a new creative identity that intertwines AI, humans, and data from past composers, and holds significance as a case that reconsiders the boundaries of traditional music creation.In conclusion, this study highlights that AI composition, through the opera Mahler, can move beyond mere reproduction, transform and reconstruct the styles of existing composers, and create new aesthetic meanings, leading to multifaceted aesthetic discussions. This suggests that instead of applying existing aesthetic standards directly to AI-generated music, it is necessary to seek new aesthetic frameworks suitable to its particularity and creative context. AI music possesses unique modes of creation and context distinct from traditional aesthetics, and its evaluation requires new theoretical approaches. AI prompts reflection on the subjectivity and boundaries of musical creation, bearing important aesthetic and historical implications. In an era where art and technology intersect, it is hoped that discussions that continuously track the development of AI music and explore its meanings from diverse perspectives will become more active. 21세기는 바야흐로 인공지능의 시대라 할 수 있다. 인공지능은 인간의 일상 전반은 물론 다양한 전문 분야에서도 활발히 활용되고 있으며, 음악 분야 또한 이러한 흐름에 포함된다. 특히 최근에는 감상이나 연주의 차원을 넘어, 인공지능이 창작 과정에까지 본격적으로 활용되고 있다는 점에서 주목할 만하다. 오늘날 수노(Suno), 유디오(Udio), 아이바(AIVA) 등 다양한 작곡 모델들이 등장하며 인공지능의 음악 창작은 빠르게 진화하고 있으며, 이에 따라 알고리즘의 발전과 기술적 성과에 대한 관심도 활발한 이어지고 있다. 그러나 이러한 기술 중심의 논의에 비해, 인공지능이 생성한 음악을 음악학적인 관점에서 분석하고 고찰하려는 논의는 여전히 미미한 수준에 머물러 있다. 이러한 상황은 인공지능 음악을 단순한 기술적 산물로만 간주하기보다, 하나의 예술 작품으로 인식하고 그 의미와 가치를 고찰하려는 시도의 필요성을 더욱 부각시킨다. 이와 같은 관점에서 볼 때, 데이비드 코프(David Cope, 1941–2025)가 1981년에 개발한 ‘에미’(Emmy, Experiments in Musical Intelligence)에 주목해볼 수 있다. 에미는 특정 작곡가의 음악 스타일을 분석한 데이터를 바탕으로 새로운 작품을 생성하는 인공지능 작곡 모델이다. 특히 다수의 AI 작곡 모델이 주로 단편적인 기악곡이나 패턴 기반의 음악에 집중하는 반면, 에미는 대규모 편성과 서사적 구성이 요구되는 오페라 장르에 도전하였다는 점에서 독자적인 의의를 지닌다. 그중에서도 본 연구는 에미가 구스타프 말러(Gustav Mahler, 1860-1911)의 생애와 음악을 바탕으로 작곡한 오페라 〈말러〉에 주목한다. 이 작품은 말러의 가곡과 교향곡 데이터를 기반으로 에미가 음악을 생성하고, 그의 삶을 재구성한 리브레토를 코프가 집필하여 완성한 것이다. 이 작품을 분석하기 위해 먼저 에미의 작곡 알고리즘과 음악적 특징에 해당하는 음악적 스타일(Musical style)과 시그니처(Signature) 개념을 정리하였고, 이어 각 장면별로 작품의 구조와 전개를 분석하였다. 나아가 작품 전반에 나타나는 인용 기법과 음악과서사 간 상호작용 양상을 종합적으로 고찰하였으며, 이를 바탕으로 인공지능 작곡이 드러내는 미학적 함의와 함께 그 한계 및 가능성을 도출하였다. 그 결과, 작품에서 나타난 음악적 양상은 두 가지로 정리할 수 있었다. 첫째, 〈말러〉는 말러의 음악을 중심으로 한 다양한 인용과 유사한 참조를 통해 그의 음악 세계를 재현하며, 이는 인공지능이 단순한 모방을 넘어선 창작을 수행할 수 있음을 보여준다. 에미는 기존 음악 데이터를 새로운 방식으로 재조합함으로써 기존 작곡 양식을 능동적으로 재해석하고, 말러의 음악 언어를 적극적으로 인용한다. 둘째, 리브레토와 음악 간의 긴밀한 상호작용을 통해 감정과 서사가 유기적으로 구성되며, 이는 인간과 인공지능 간의 협업이 서사 중심의 예술 형식에서도 실현될 수 있음을 보여준다. 이러한 음악적 인용과 인간과 인공지능의 상호작용은 모두 기존의 인공지능 작곡 모델에서는 시도되지 않았던 것으로 에미의 상상력을 보여주는 중요한 지점이라 할 수 있다. 이와 같은 맥락에서, 이 오페라를 과연 “말러의 오페라로 볼 수 있을까?”라는 질문을 던져볼 수 있다. 〈말러〉에서 말러는 단순한 인용 대상이나 자료의 출처가 아니라, 에미와 코프의 창작을 매개하고 중심을 구성하는 핵심 축으로 기능한다. 즉, 셀프리쥐-필드(Eleanor-Selfridge Field, 1940-)가 언급한 ‘종합적 정체성’(synthetic identity), 즉 특정한 창작 주체로 환원될 수 없는 새로운 창작 정체성이 뚜렷하게 드러나는 것이다. 또한 에미의 작곡 방식은 단순히 명시적 규칙이나 알고리즘의 결과물이라기보다는 말러의 방대한 음악 데이터를 기반으로 잠재적 연관성을 구성해내는 ‘데이터 무의식’(data unconscious)의 양상을 드러낸다. 이러한 점에서 〈말러〉는 에미와 코프뿐만 아니라 말러 역시 공동 창작 주체로 포함된 새로운 형태의 창작 정체성을 제시하는 작품이라 할 수 있다. 그러나 이에 대한 비판도 존재한다. 말러의 감정, 경험, 시대적 맥락은 인공지능이 재현할 수 없는 고유한 인간적 특성이며, 인공지능 창작은 이러한 실존적 깊이를 담아내기 어렵다는 지적이다. 즉, 〈말러〉는 말러의 양식을 기술적으로 정교하게 모방했지만, 궁극적으로는 말러를 닮은 음악에 머무를 뿐이다. 이는 에미가 말러의 스타일을 정교하게 분석하고 재현하였음에도 불구하고, 과도한 유사성으로 인해 독자적 창작물로 인정받기 어렵다는 논의와도 연결된다. 이에 대해 코프는 역사적으로 모방이 음악 창작의 중요한 방식 중 하나였음을 강조하며, 에미의 작곡을 ‘재조합의 창의성’((Recombinant Creativity)으로 해석한다. 이는 기존 음악 요소들을 새로운 방식으로 배열하고 구성하는 능동적 창작 행위로 평가된다. 코켈버그(Mark Coeckelbergh, 1975-) 역시 ‘미메시스’(mimesis) 개념을 통해 인공지능의 예술 창작 가능성을 긍정적으로 바라보며, 인공지능 또한 예술의 주체가 될 수 있음을 주장한다. 이처럼 〈말러〉는 인공지능, 인간, 그리고 과거 작곡가의 데이터가 서로 교차되며 예술 창작의 새로운 정체성을 제시하고, 전통적인 음악 창작의 경계를 재고하게 하는 사례로서 의의를 지닌다. 결론적으로 본 연구는 오페라 〈말러〉를 통해 인공지능 작곡이 단순한 재현의 차원을 넘어 기존 작곡가의 양식을 변형하고 재구성함으로써 새로운 미적 의미를 창출할 수 있음을 보여주며, 이와 관련한 미학적 논의가 다각적으로 이루어질 수 있다는 점에 주목한다. 이는 인공지능이 창작한 음악 작품에 대해서는 기존의 미학적 기준을 그대로 적용하기 보다,그 특수성과 창작 맥락에 부합하는 새로운 미학의 틀을 모색할 필요가 있음을 시사한다. 인공지능 음악은 전통적인 미학과는 구별되는 고유한 창작 방식과 맥락을 지니며, 이에 대한 평가는 새로운 이론적 접근을 요구한다. 인공지능은 음악 창작에서의 주체성과 그 범주를 재고하게 만들며, 이는 미학적·역사적으로도 중요한 함의를 지닌다. 예술과 기술이 교차하는 오늘날, 인공지능 음악의 전개를 지속적으로 추적하고 그 의미를 다각도로 탐색하려는 논의가 보다 활발히 이어지기를 기대한다.

An Examination of Gender Trends and Sexism Among University Composition Faculty: Conversations with Female Composition Professors

Gilbert, Christiane Boston University ProQuest Dissertations & Theses 2021 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

Over the past few decades, there has been an exponential increase of females holding professional positions traditionally assigned to males. While female professors of music have become more commonplace over the past few decades, there continues to be a recognizable absence of women in the field of music composition. Additionally, publication and performance of music composed by women is minimal in comparison to their male counterparts. The purpose of this study was to examine the current employment practices of U.S. universities with leading music programs to ascertain if gender inequity was evident. Further, I sought to determine what social barriers cisgender female professors faced when pursuing a degree in composition and what restrictions they have faced as professional composers. Finally, I ascertained what initiatives are in place to encourage women to pursue careers in music composition. Cisgender music composition professors at leading music programs in the U.S. (N=14) were interviewed, and the conversations were recorded, transcribed, and coded to expose common themes. Although participants indicated the road to professorship was not significantly affected by gender, they reported encountering pro-male prejudice when seeking to publish, produce, program, and distribute their musical works. The interviews also revealed that issues surrounding motherhood and ageism led to restrictions in their advancement in academia. Further research focusing on causes of continued marginalization of musical works by females and university employment practices surrounding the hiring of female composition professors could provide a broader view of the political and social issues that affect women composers’ careers today.

A Thousand Ecologies of Improvisation: Cybernetic Listening, Auto-Cybernetization and the Decentering of Technology

Hein, Nicola Leonard ProQuest Dissertations & Theses Columbia Universit 2025 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

This dissertation investigates the musical performance and co-composition of human and machine agents. Specifically, it examines the concepts of listening, agency, and musical identity that are integral to this practice. To theorise these conceptual frameworks, I engage with discussions of improvisation, cybernetic listening, auto-cybernetization, ecology, and technology.I aim to demonstrate the connections between the concepts of agency, listening, identity, and persona in the context of musical agent systems and explore emerging ecologies in human-machine improvisation. In fact, I will argue for the centrality of exploring ecologies as a central concern of my artistic and research methods. By establishing these connections, I aim to demonstrate the philosophical implications (Hein 2018; Hein 2020) of working with musical agent systems and to develop a framework for understanding these practices in computer music as a kind of philosophical experiment (cf. Hein 2018; Hein 2020) that investigates concepts of the human and technology. Hence, working with musical agent systems develops a strong self-reflexive aspect, which utilizes musical practice as a form of philosophical meditation about these issues.Specifically, I theorize practices in human-machine improvisation that focus on hybridizing human and machine agency by using machine learning to train musical agent systems on the musical vocabulary of human musical performers, and explore the creative and philosophical potentials of situating these systems as an ecological practice.I will theorize this practice by first establishing a cybernetic framework for the involved concept of listening (cybernetic listening) and the emergent forms of musical agency. The conceptual background of cybernetics, as it is relevant to the practice of programming and performing with improvising machines, will be introduced into the discussion of agency, while simultaneously emphasizing the agency of listening and the ecologies of listening within and in interaction with improvising musical agent systems, as well as in my practice of human-machine improvisation.Following this, I develop the concept of auto-cybernetization to conceptualize and historicize this approach within the contexts of jazz and current developments in computer science and music technology. The core of my analytical concerns deals with my own creative practice, in context with the practice of other artists, that engage in the cybernetic interpretation and transduction of established musical "languages," as well as embodied modes of performance by their creators, who assume a dual role as both performers of their musical languages on (electro)acoustic instruments and as programmers. The development and use of these systems in live performances is the relevant field of musical practice that will be analyzed in this dissertation.The final part of this dissertation will focus on concepts in the philosophy of technology, AI, and ecology, and attempt to read these concepts through the lens of human-machine improvisation. Understanding human-machine improvisation as an ecological practice will offer a decentering of the concept of technology, as well as concepts of the social, the human, and music.I will utilize my own artistic practice, as well as the musical practices and projects of other artists, to develop my theory. Specific steps in my argument will focus on different aspects of artistic practice, utilizing various artistic works of mine and others to exemplify and substantiate my ideas within the context of the creative practice.My discussion of the creative practice is informed by a discussion of its philosophical implications for conceptions of technology, cybernetics, self, agency, persona, and music. Ultimately, the goal is to develop an intellectual framework for the artistic practice of human-machine improvisation, one that can theorize its contribution to current discussions in computer music, the philosophy of technology, ecology, cybernetics, and artificial intelligence.

《역경》의 음악미학에 기반한 음악 창작 연구

호관남 전북대학교 대학원 2026 국내박사

This research explores the profound connection and practical application between I-Ching philosophy and music composition. The dissertation first examines the core philosophical concepts of I-Ching and their theoretical foundation in music creation, critically analyzing relevant studies by representative scholars both domestically and internationally. The research focuses on the mapping relationship between the Eight Trigrams and musical structures, analyzes Western composers‘ reception and application of I-Ching, and discusses the practical guiding value of I-Ching aesthetics for music composition. The dissertation innovatively constructs a musical parameter system based on I-Ching hexagrams, organically combining traditional I-Ching thought with modern compositional techniques, and explores the integration possibilities between I-Ching compositional systems and artificial intelligence music generation. Finally, the research builds an I-Ching compositional aesthetic system from an Eastern thinking perspective and verifies its feasibility and artistic value through innovative practice. This research not only enriches the cultural connotation of music composition theory but also provides new ideas and methods for contemporary compositional practice, holding significant importance for promoting the integration of Chinese traditional culture with modern music creation. The research findings have both theoretical depth and practical value, offering a new paradigm for cross-cultural research in the field of music composition.

Audible Architectures: Integrated Spatialization in Electroacoustic Music Composition

Radna, Raphael University of California, Santa Barbara ProQuest D 2025 해외박사(DDOD)

Concealing to Reveal: Musical Masking as a Compositional Strategy

Lu, Yi-Ting Northwestern University ProQuest Dissertations & T 2024 해외박사(DDOD)

소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.

Musical masking, a compositional technique derived from auditory perception principles, involves the deliberate obscuring or alteration of sonic elements to manipulate listener focus and challenge conventional auditory expectations. This dissertation posits that musical masking serves as a powerful tool for composers to deconstruct familiar sound objects, recontextualize acoustic experiences, and expand the boundaries of musical expression. By strategically employing masking techniques, composers can create complex auditory landscapes that invite listeners to engage more deeply with sound, transcending traditional notions of timbre, texture, and form. This approach not only enriches the sonic palette available to contemporary composers but also prompts a reevaluation of the relationship between sound, perception, and meaning in musical contexts. The first half of the dissertation introduces the theoretical foundations of musical masking. It begins by examining Schaeffer's concept of the sound object and reduced listening, as well as Bregman's rhythmic masking release in auditory scene analysis. Building upon these two theories, the dissertation introduces three primary methods of musical masking: defamiliarization, focus shift, and distortion. The latter half of the dissertation presents these techniques comparatively analyzed against various artistic realms, including visual arts and architecture, to demonstrate their potential for disrupting familiar perceptual modes and revealing hidden sonic possibilities. To further illustrate these concepts, I use my compositions as practical examples of how masking techniques can be applied to music by exploring extended techniques, uncommon instrumental objects, and performance practices. The dissertation also invites us to consider masking as a philosophy of perception and interaction, both in the arts and in human experience.By synthesizing insights from interdisciplinary approaches and applying them to my compositions, this paper contributes to the ongoing dialogue about the nature of sound, listening, and artistic expression in contemporary music. Ultimately, my exploration of musical masking attempts to challenge music anticipations and function as an analytical tool to expand the boundaries of musical expression, therefore inviting a deeper appreciation for the multifaceted nature of our sensory awareness.