• Journal of the Korean Institute of Intelligent Systems
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• v.20 no.2
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• pp.251-256
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• 2010

This paper aims for developing the intelligent robot emulating human synesthetic skills which associate a color image with sound, so that we are able to build an application system based on the principle of mutual conversion between color image and sound. As the first step, in this study, we have tried to realize a basic system using the color image to sound conversion. This study describes a new conversion method to convert color image into sound, based on the likelihood in the physical frequency information between light and sound. In addition, we present the method of converting color image into sound using color model conversion as well as histograms in the converted color model. In the basis of the method proposed in this study, we built a basic system using Microsoft Visual C++(ver. 6.0). The simulation results revealed that the hue, saturation and intensity elements of a input color image were converted into F0, harmonic and octave elements of a sound, respectively. The converted sound elements were synthesized to generate a sound source with WAV file format using Csound toolkit.

• The Journal of the Acoustical Society of Korea
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• v.38 no.4
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• pp.396-405
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• 2019

The speech privacy of closed office rooms located in a university campus was measured and assessed in terms of SPC (Speech Privacy Class) values. The measurements of two quantities, the LD (Level Difference) between a source and a receiving room, and the background noise level ($L_b$) at the receiving room were carried out in 5 rooms located in 3 different buildings in the university campus. Each of the 5 rooms was adjacent to both offices and corridors through walls. The TL (Transmission Loss) between the source and the receiver room was also measured to compare the difference of two standard methods, ASTM E2836-10 and KS F 2809. The present results show that the speech privacy of the 5 office rooms is not met the requirement for a minimum SPC values of 70. A minimum LD value of 41 dB between the source and the receiver room should be achieved for having a SPC value of 70 when the mean measured value of $L_b$ at the receiving room is 29.2 dB. That is, the TL(avg) value averaged over the octave bands from 160 Hz to 5000 Hz between the source and the receiver room should be or greater than 40 dB. The most important architectural factor influencing the LD value is the presence of openings, such as doors, and windows, on the adjacent walls between the source and receiving room. Therefore, if the opening of the adjacent wall is replaced by an opening with high sound insulation, the appropriate SPC value of the research and office rooms can be achieved.

• The Journal of the Acoustical Society of Korea
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• v.41 no.1
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• pp.76-86
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• 2022

Personal hearing devices, such as hearing aids, may be fine-tuned by allowing the users to conduct self-adjustment. Two self-adjustment procedures were developed to collect the listener preferred gains in six octave-frequency bands from 0.25 kHz to 8 kHz. These procedures were designed to allow rapid exploration of a multi-dimensional parameter space using a simple, one-dimensional user control interface (i.e., a programmable knob). The two procedures differ in whether the user interface controls the gains in all frequency bands simultaneously (Procedure A) or only the gain in one frequency band (Procedure B) on a given trial. Monte-Carlo simulations suggested that for both procedures the gain preference identified by simulated listeners rapidly converged to the ground-truth preferred gain profile over the first 20 trials. Initial behavioral evaluations of the self-adjustment procedures, in terms of test-retest reliability, were conducted using 20 young, normal-hearing listeners. Each estimate of the preferred gain profile took less than 20 minutes. The deviation between two separate estimates of the preferred gain profile, conducted at least a week apart, was about 10 dB ~ 15 dB.

• The Journal of the Acoustical Society of Korea
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• v.42 no.1
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• pp.75-82
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• 2023

The purpose of this study was to investigate listener's affective responses to different vocal registers and modes in terms of valence (i.e., negative to positive affect) and arousal (i.e., low to high energy level). The data were collected from four different conditions (i.e., higher and lower registers paired with major and minor modes). A total of 188 female college students participated in the survey online and rated their perceived valence and arousal levels on a visual analogue scale after listening to each excerpt. The two-way analysis of variance (ANOVA) was administered for data analysis. The results revealed that there were significant differences in the affective responses to the two vocal registers, showing that the arousal was more affected by the register than the valence. Secondly, mode had statistically significant impact on both valence and arousal while weighing more on valence. Further, there was significant interaction effect of vocal register and mode on valence, but not on arousal. Results also displayed that listeners had the most negative valence when listening to the excerpt of minor mode in higher register, while having the lowest arousal when listening to the excerpt of minor mode in lower register. These findings imply that it is important to consider the vocal range as well as the musical mode when selecting music for appreciation.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.42 no.2
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• pp.103-109
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• 2016

Efficacy of cosmetics has been mainly evaluated by qualitative and quantitative methods based on visual sense, tactile sense and skin structure until now. In this study, we suggested a novel evaluation method for skin status based on sound; measuring and analyzing the rubbing noise generated by applying cosmetics. First, the rubbing noise was measured at a close range by a high-sensitivity microphone in anechoic environment, and the noises were analyzed by 1/3 octave band analysis in frequency-domain. Three conditions, 1) before washing, 2) after washing and 3) after application of cosmetics, were compared. As a result, sound pressure level (SPL) of rubbing noise after washing was larger than that of before washing, and the SPL of rubbing noise after cosmetic application was the smallest. Furthermore, the energy of rubbing noise after application was higher than that of the before and after washing conditions in a low frequency band (lower than 2 kHz region). Conversely, the energy of rubbing noise after application was much lower than the others in a high-frequency band (upper than 2 kHz region). This change of energy distribution was described as a balloon-skin model. High SPL in the low frequency region after the cosmetic applications was due to the increase of "flexibility index", while SPL in the high frequency region significantly decreased because of the attenuation which is related to "softness index". Therefore, we developed two indices based on the spectrum-energy difference for evaluating skin conditions. This proposed method and indices were verified via skin flexibility and roughness measurement using cutometer and primos respectively. These results suggest that acoustic measurement of skin friction noise may be a new skin status evaluation method.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.