• Electronics and Telecommunications Trends
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• v.30 no.4
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• pp.71-81
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• 2015

스마트 기기와 네트워크 인프라의 발전을 바탕으로 음원시장의 디지털화가 빠르게 진행되고 있으며, 온라인 음원유통 방식이 다양화됨에 따라 온라인 음원에 대한 체계적인 관리와 효율적인 유통체계 구축의 필요성이 증대되고 있다. 본고에서는 온라인 음원유통에 사용되는 국내외 식별체계에 대해 설명하고, 온라인 음원유통을 위한 플랫폼과 표준화 동향에 대해 설명하고, 향후 온라인 음원유통의 발전방향에 대해 기술하고자 한다.

• Information Systems Review
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• v.16 no.3
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• pp.49-68
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• 2014

These days, consumers have increasingly preferred to digital real-time streamlining and downloading to listen to music because this is convenient and affordable for the consumers. Accordingly, sales of music in compact disk formats have steadily declined. In this regards, online digital music has become a new communication channel to listen musics, where digital files can be delivered over various online networks to people's computing devices. The majority of online digital music distributors has Music Recommender Systems for sales of digital music on their websites. Music Recommender Systems are parts of information filtering systems that provide the ratings or preferences that users give to music. Korean online digital music distributors have Music Recommender Systems. But those online music distributors didn't provide any rules or clear procedures that recommend music. Therefore, we raise important questions as follows: "Is Music Recommender Systems Fair?", "What is the impact of Music Recommender Systems on online music rankings and sales?" While previous studies have focused on usefulness of Music Recommender Systems, this study investigates not only fairness of Current Music Recommender Systems but also Relationship between Music Recommender Systems and online Music Charts. This study examines these issues based on Bandwagon effect, ranking effect, Slot effect theories. For our empirical analysis, we selected the most famous five online digital music distributors in terms of market shares. We found that all recommended music is exposed to the top of 'daily music charts' in online digital music distributors' websites. We collected music ranking data and recommended music data from 'daily music chart' during a one month. The result shows that online music recommender systems are not fair, since they mainly recommend particular music that supported by a specific music production company. In addition, the recommended music are always exposed to the top of music ranking charts. We also find that recommended music usually appear at the top 20 ranking charts within one or two days. Also, the most music in the top 50 or 100 ranks are the recommended music. Moreover, recommended music usually remain the ranking charts more than one month while non-recommended music often disappear at the ranking charts within two week. Our study provides an important implication to online music industry. Because music recommender systems and music ranking charts are closely related, music distributors may improperly use their recommender systems to boost the sales of music that related to their own companies. Therefore, online digital music distributor must clearly announce the rules and procedures about music recommender systems for the better music industry.

• Journal of the Korea Society of Computer and Information
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• v.15 no.11
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• pp.91-99
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• 2010

Recently, recognizing user resource for personalized service has been needed in digital content service fields. Especially, to analyze user taste, recommend music and service music related information need recognition of user music file in case of online music service. Music related information service is offered through recognizing user music based on tag information. Recognition error has grown by weak points like changing and removing of tag information. Techniques of content based user music recognition with music signal itself are researched for solving upper problems. In this paper, we propose user music recognition on the internet by extracted feature from music signal. Features are extracted after suitable preprocessing for structure of content based user music recognition. Recognizing on music server consist of feature form are progressed with extracted feature. Through this, user music can be recognized independently of tag data. 600 music was collected and converted to each 5 music qualities for proving of proposed recognition. Converted 3000 experiment music on this method is used for recognition experiment on music server including 300,000 music. Average of recognition ratio was 85%. Weak points of tag based music recognition were overcome through proposed content based music recognition. Recognition performance of proposed method show a possibility that can be adapt to online music service in practice.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2008.10a
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• pp.197-217
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• 2008

본 논문에서는 현재 국내의 디지털 음악 콘텐츠 산업에서 이슈가 되고 있는 정액제와 수익배분 비율 문제를 중심으로 수리적 모형을 사용하여 분석하였다. 특히 국내의 현황을 반영하여 음원권리자와 이동통신사의 문제에 더욱 초점을 맞추었다. 본 논문의 연구결과는 다음과 같다. 첫째, 이동통신사와 음원권리자 사이에서는 정액제를 선택하든 종량제를 선택하든 중요하지 않을 수 있다는 것이다. 중요한 것은 음원권리자가 수익배분비율을 그리고 이동통신사가 음원판매소매가격을 자율적으로 결정할 수 있어야 한다는 것이고 두 게임참여자가 서로 이익을 얻을 수 있는 수익배분방법과 비율이 존재한다는 점이다. 둘째, 정액제는 오히려 소비자와 이동통신사간의 관계에 영향을 미치게 되는데 이동통신사에게는 유리하고 소비자에게는 불리하게 된다는 것이다. 특히, 이동통신사와 음원권리자가 수직적으로 통합되어 경쟁하는 시장구조하에서는 소비자에게 불리한 경향이 더욱 심화되므로 정액제 보다는 종량제 가격의 하락을 통해서 온라인 음악 시장의 성장을 유도하는 것이 소비자에게 유리하게 된다. 이와 같은 온라인 음악시장의 성장은 중장기적으로 사업자들에게도 도움이 될 것이다.

• The Journal of the Acoustical Society of Korea
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• v.40 no.5
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• pp.503-514
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• 2021

Reverberation in speech signals tends to significantly degrade the performance of the Blind Source Separation (BSS) system. Especially in online systems, the performance degradation becomes severe. Methods based on joint diagonalizability constraints have been recently developed to tackle the problem. To improve the quality of separated speech, in this paper, we add the proposed de-reverberation method to the online BSS algorithm based on the constraints in reverberant environments. Through experiments on the WSJCAM0 corpus, the proposed method was compared with the existing online BSS algorithm. The performance evaluation by the Signal-to-Distortion Ratio and the Perceptual Evaluation of Speech Quality demonstrated that SDR improved from 1.23 dB to 3.76 dB and PESQ improved from 1.15 to 2.12 on average.

• Proceedings of the Korea Information Processing Society Conference
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• 2022.05a
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• pp.388-391
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• 2022

온라인 음원 스트리밍 서비스가 확대되면서 음원 사재기가 빈번해지고 있다. 본 논문에서는 사재기로 의심할 수 있는 음원의 특징을 분석하고, 사재기가 이루어지지 않았을 경우의 음원 순위를 예측한다. 그 결과, 랜덤 포레스트를 통해 앨범 평점이 낮은 음원, 장르가 인디나 발라드인 음원, 특정 발매사의 음원일 때 사재기로 의심할 수 있었다. 또한, 딥러닝을 통한 순위 예측 실험 결과, 사재기의 영향으로 실제 순위와 예측 순위에 큰 차이가 있는 것으로 나타났다.

• Journal of Digital Convergence
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• v.13 no.1
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• pp.429-438
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• 2015

The copyrights of music in Korea have been placed under the supervision of the associations which the government approved as a trusteeship. Since the industry of music in Korea has been changed from phonographic industry to on-line music service, it is required increasingly that the rights and interests of music should been protected. Korea government has been announced the amendment for levy of music royalties through on-line service according to the changes in the music industry and industries' demand. In this paper, the corporate structures in music industry has been investigated from the point of owner of copyright, recently at the heart of the debate, flat rate system and usage-based pricing in on-line music market has been compared. Consequently, the reasonable prices of music service through on-line market are not earmarked in reality for both consumers and copyright proprietors. Therefore, it is still necessary to improve the institutional.

• Digital Contents
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• no.9 s.136
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• pp.21-25
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• 2004

온라인 음악서비스가 유료화를 단행한 지 1년이 지났다. 지난해 7월 8개 온라인 음악사이트가 유료화를 단행한데 이어 지난 7월에는 국내 최대 온라인 음악사이트‘벅스뮤직’까지 유료화를 선언, 온라인 음악서비스의 유료화는 급물살을 타고 있다. 최근에는 한국음원제작자협회와 벅스뮤직간의 힘겨루기가 일단락되면서 온라인 음악유통 확대에 대한 기대감도 조성됐다. 국내외 온라인 음악 시장의 현황을 살펴봤다.

• Journal of Korean Society of Archives and Records Management
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• v.23 no.2
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• pp.49-67
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• 2023

In recent years, the film industry in South Korea has experienced a period of prosperity, evidenced by the numerous awards won at major international film festivals. Furthermore, growing global interest in K-content and the expansion of the OTT industry following the COVID-19 pandemic are providing favorable conditions for the development of the domestic film industry. Sound effects play a crucial role in conveying the atmosphere and emotions of a film, making them an essential element of film production. In response, the Jeonju IT & CT Industry Promotion Agency has been promoting the development of Korean-style sound effects since 2013. Furthermore, the agency launched an online service called the "K-Sound Library," a sound effect archive, in 2021. However, the service has not been widely utilized because of issues with the database's construction and the system's problems. Therefore, this study aims to identify the K-Sound Library's problems through interviews with sound effects specialists about the online service of the first sound effect archive in South Korea. Based on the interviews and analyses of foreign cases, the study suggests ways to improve the search services' usability and the sound effects classification system.

• Digital Contents
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• no.5 s.156
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• pp.58-63
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• 2006

모바일음원콘텐츠는 모바일서비스와 함께 시작된 콘텐츠로 서비스 초기에 많은 CP들이 참여하여 급격한 시장 확대를 이루어 냈으나 2004년부터 성장이 멈추고 경쟁이 극심해져 많은 CP가 도태되는 부익부 빈익빈 단계로 접어들었다. 모바일음원콘텐츠의 경우, 최근 MP3폰의 보급이 확대되면서 온라인음악이라는 새로운 시장 개척이 활발해져 시장 확대에 기여를 하고 있으나 이동통신사의 매출증대에만 기여할 뿐 CP들의 매출에는 영향이 거의 없는 것으로 분석되고 있다.