• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.85-95
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• 2020

An Instruments are not only for musical usage, but also for historical, social and cultural contexts. The yanggeum instrument began to be played in Persia before the 10th century and is played in various parts of the world in the 21st century. It has been handed over for many years and played creatively beyond the boundaries of the region. In this paper, we will learn about the meaning of Korean traditional yanggeum, which preserves its original shape without any change in form or technique, through a method of musical iconography. As a method of musical Iconography for the musical instruments, we examined the data on the drawings and compared it with the literature, focusing on the origin, form and performance of the instruments. I hope that this study will not only provide a new perspective on instrument research, but also help understand the historical, social and cultural implications of the instrument. It is hoped that research on musical instruments will be done in many different ways and that the realm of musical science will be approached widely.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.217-226
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• 2020

Ajaeng is the bowed string instrument among zither instruments in East Asia, which has a circular form to date, and it has established itself as an important instrument in today's creative Gugak along with traditional music. Looking at previous prior studies, musical instrument studies have not been actively conducted due to insufficient data from musical history studies, and this study looked at the origin, form of musical instrument, and performance methods of zither bowed string instrument through historical records of Chinese Yazheng and music drawings. The analysis of various documents showed that Ajaeng originated from an ancient Chinese traditional musical instrument called Chuk. In terms of the performance style, the Chinese Yazheng had different musical forms depending on the purpose and location of the performance, and there was a method of standing up and fixing the musical instrument horizontally to the ground. Ajaeng in Korea has been handed down without much change in the form of musical instruments introduced in China during the Goryeo Dynasty and the way they sit on the floor and play on a pedestal. Through this study, we hope that it will help to preserve and develop traditional music and Korean traditional musical instruments by enhancing understanding of musical.

• The Journal of the Acoustical Society of Korea
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• v.12 no.1
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• pp.27-36
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• 1993

FM방식의 악기음원합성은 해당 악기의 음색과 음정에 맞는 FM의 기본 주파수와 변조 계수를 정하여 신호 파형을 생성하는 것으로, 다른 가, 감산방식 또는 PCM방식 등에 비해 비교적 간단한 구조로 다양한 악기음원합성이 가능하다. 따라서 현재 사용되고 있는 개인용 컴퓨터에 부착되는 사운드합성 카드에는 FM방식 음원합성기술이 적용되고 있다. 본 논문에서는 FM방식 음원합성기술을 이용하여 실시간 악기음원합성이 가능한 논리회로를 설계하는데 관한 연구를 기술한다. 본 연구에서는 소프트웨어 프로그래밍에 의해 FM방식 음원합성기의 구조를 설계하고 주요 블록의 최적 변수 값을 실험하였다. 논리회로 설계 및 회로검증은 향후 주문형반도체(ASIC:Application Specific Integrated Circuit)제작을 위해 기존의 표준셀 라이브러리와 주문형반도체 전용 설계시스템을 사용하였다. 회로검증 결과는 간이 평가보드를 제작하고 PC와 접속시켜 생성된 악기음을 직접듣는 주관적 평가방법으로 최종 확인하였다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.219-227
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• 2019

In this paper, we proactively looked at the structure and characteristics of each instrument in order to compare and analyze the sound colors of the western violin, chinese erhu and korean haegeum, which are representative bow string instruments. Also, many performers have simply been unable to fully explain how the violin is rich in pitch and the haegeum has a unique tone. Also, many performers thinks that violin sounds rich just because it has many overtones and have been unable to fully explain how haegeum makes unique tone. While previous research data show that most instruments are studied and published by analyzing their own frequencies or related cases of acoustic studies, this study provides a visual look how the harmonics composition, which determines musical instruments' timbres, consists of and suggests data specifically by analyzing each sound pressure of integer multiple overtones so that the structure of instruments' unique timbre can be understood. Based on this, we hope that it will be of considerable help to the development of virtual musical instruments of korean traditional instruments, which are relatively small compared to western virtual instruments, by reproducing instrument sounds through the synthesizers in the future.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.299-307
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• 2020

Since 1964, research and improvement projects on Gugak instruments have been carried out to modernize, standardize, and scientificize them, but their inherent problems of Gugak instruments have failed to produce significant results. It seems that one of the main reasons for this is that the study of instrumental acoustics on Korean traditional instruments was not preceded. In Gugak orchestra, Sogeum used in concertos and solo music is a musical instrument that plays the similar role in Western orchestras due to its clear tone and high sound range. In this paper, the sound colors of Sogeum and flute, which sound similar, were analyzed through the their harmonics distribution and sound structures of the instruments. This showed that the overall tone was richer and softer than Sogeum, and that the tones of the two instruments sounded similar due to the similar composition of harmonics. In the future, it is hoped that musical instrument acoustical researches on various Gugak instruments will continue to help popularize and globalize Gugak instruments.

• The Journal of the Acoustical Society of Korea
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• v.22 no.8
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• pp.680-686
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• 2003

Digital waveguide model is a general method that is used in physical modeling of musical instruments. Wave motion is analyzed by time or by space in digital waveguide model. Because sampling is made via time, it is general that musical instrument model is described by wave motion of time. In this paper, we synthesized the musical instrument sound by adding instrument body model to the spatial based string model. In this way, we could improve sound quality and process musical instrument model's tone control variables effectively. We explained about delay error that happens in string and body in space based sampling and showed method to process fractional delay using FD (Fractional Delay)filter. Finally, we explained the relation between tone quality and number of delays. And we also compared the result with time base digital waveguide model.

• The Journal of the Acoustical Society of Korea
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• v.30 no.2
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• pp.107-113
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• 2011

This paper describes a development of a loop filter design in a physical modeling of the plucked string instrument. The conventional method proposed by V$\"{a}$lim$\"{a}$ki cannot estimate right parameters if a sound has either very short sustain or no sustain. In order to overcome this drawback, we propose the use of the decay region and 5 to 20 harmonics of the sound in the estimation of loop filter parameters. The most appropriate filter coefficient is chosen by frequency signal to noise ratio. To verify the performance of the proposed method, the guitar, gayageum and geomungo were selected as the target because they have different shape, structure, and material of strings. Regardless of the duration of harmonics, the proposed method was able to estimate the loop filter parameters representing frequency-dependent damping of harmonics.

• The Journal of the Acoustical Society of Korea
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• v.14 no.5
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• pp.63-73
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• 1995

The conventional acoustic sounds can be synthesized by Frequency Modulation which includes the variation of frequency, amplitude, and modulation index. In this paper the number of variable synthesis parameters are limited to easily implement the existing two carrier FM algorithm by hardware. The DSP(Digital Signal Processor), which is able to carry out the modified algorithm and synthesize 16 sounds at a time, is designed with $0.8{\mu}m$ standard sells. The DSP which can synthesize 2 sounds at a time is implemented by ASIC emulator to examine the sound quality of the designed DSP. Through the objective and subjective estimation, it is confirmed that the sounds of many instruments from the implemented DSP are very closed to their real sound. Finally the designed DSP is layouted and simulated by VLSI desgn tool. According to the simulation, the designed DSP has the sufficiently fast speed for synthesizing 16 sounds at a time.

• Economic and Environmental Geology
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• v.39 no.2 s.177
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• pp.129-149
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• 2006

Previously published stratigraphic, sedimentologic, paleontologic, paleomagnetic and geophysical data are reviewed to make an understanding on the tectonic evolution of the Cretaceous Gyeongsang (Kyongsang) basin, southeast Korea. A stratigraphic framework and a tectonic model on the formation and deformation of the Gyeongsang Basin are newly proposed on the basis of integration these data with magmatism and mineralization ages in the basin. A newly proposed stratigraphic framework indicates that strata in the basin can be subdivided into five distinct stratigraphic units that represent pre-rifting, syn-rifting, inversion I, II, and III stages. The Gyeongsang Basin was formed initially as a pre-rifting stage due to north-south extension in the Late Jurassic prior to a syn-riftins stage that resulted from east-west extension during the Early Cretaceous. In the Late Cretaceous, the basin was deformed by three-staged sequential deformation of north-south, northwest-southeast, and east-west compressions. The tectonic history of the basin has been largely controlled by the change of motion of the Izanagi Plate from north to northwest during the Cretaceous. In the early Cretaceous, the Izanagi Plate began to subduct northward beneath the Eurasian Plate and caused the left-lateral strike-slip fault systems in the southern part of the peninsula. The left-lateral wrenching of these fault systems was causally linked to development of pull-apart basins, such as the Gyeongsang Basin in the southeastern part of the peninsula. However, northwestward movement of the Izanagi Plate during the Late Cretaceous probably led to the extensive volcanism as well as sequential deformations in the basin. The stratigraphic and tectonic model, which is newly proposed as a result of this study, may be expected to enhancing the efficiency for exploration and exploitation of useful mineral resources in the basin as well as establishing geologic history in the Cretaceous Gyeongsang Basin. Together with the spatial and temporal correlation of the Cretaceous basins in adjacent areas, this stratigraphic and tectonic model provides a new geologic paradigm to delineate the sophisticated tectonic history of East Asia turing the Cretaceous.

• The Journal of the Petrological Society of Korea
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• v.3 no.2
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• pp.128-137
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• 1994

The northeastern shore of the Anmyondo consists mainly of tuff, basalt, andesite and dacite. The K-Ar ages of the two mugearites are $89.4{\pm}2.4$ Ma and $91.9{\pm}2.3$ Ma which correspond to the middle Cretaceous age. Petrochemical reviews on the volanic rocks of the Cretaceous, Tertiary and Quaternary ages in the Korean Peninsula show that marked differences exist in chemical compositions according to the age of eruption.