• MALSORI
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• no.31_32
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• pp.173-193
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• 1996

불어의 "묵음 e(e muet)"에 대한 정의를 내리기는 매우 까다롭다. 불어에서 "e"가 "묵음 e(e muet)"로 불리우는 이유는 "e"가 흔히 탈락되기 때문이다. 현재 "e muet"는 다음 발화체에서 볼 수 있듯이 열린음절에서만 나타난다. "Je/le/re/de/man/de/ce/re/por/ta/ge/." [omitted](나는 그 리포트를 다시 요구한다. : 이 경우 실제 발화시 schwa 삭제 규칙이 적용된다.) 둘째, 접두사에 나타나는 "e muet"는 s의 중자음 앞에서 s가 유성음, [z]로 발음되는 것을 막기 위해 쓰인다. "ressembler[omitted](닮다); ressentir[omitted](느끼다)" 같은 경우, 셋째, 몇몇 낱말의 경우 고어의 철자가 약화되어 "e muet"로 발음이 되고 있다. "monsieur[$m{\partial}sj{\emptyset}$](미스터), faisan[$f{\partial}z{\tilde{a}}$](꿩), faisait[$f{\partial}z{\varepsilon}$]("하다"동사의 3인칭 단수 반과거형)"등. 또 과거 문법학자들은 이를 "여성형의 E"로 불렀는데, 이는 형태론적으로 낱말의 여성형을 남성형과 구분짓기 위해 사용되고 있기 때문이기도 하다. 예를 들어, "$aim{\acute{e}}-aim{\acute{e}}e$"(발음은 둘 다 [${\varepsilon}me$]로 동일하다 : 사랑받다)의 경우. 현대불어의 구어체어서 "e muet"는 어말자음을 발음하기 위해 쓰이고 있다. 예를 들어, "pote[pot](단짝)-pot[po](항아리)". 이러한 "e muet"는 발음상으로 지역적, 개인적 및 문맥적 상황에 따라 그 음색 자체가 매우 불안정하며 여러 가지 음가(열린 ${\ae}$ 또는 닫힌 ${\O}$)로 나타난다. 예를 들어 "seul[$s{\ae}l$](홀로), ceux[$s{\O}$](이것들)"에서와 같이 발음되며, 또한 원칙적으로 schwa, [${\partial}$]로 발음이 되는 "Je[$\Im\partial$]"와 "le[$l{\partial}$]"의 경우, Paris 지역에서는 "Je sais[${\Im}{\ae}{\;}s{\Im}$](나는 안다); Prends-le[$pr{\tilde{a}}{\;}l{\ae}$](그것을 집어라)"로 발음을 하는 한편, 프랑스 북부 지방세서는 동일한 발화체를 [${\ae}$]대신에 [${\o}$]로 발음한다. 실제로 언어학적 측면에서 고려되는 "e muet"는 schwa로 나타나는 "Je[$\Im\partial$]"와 "le[$l{\partial}$]"의 경우인데, 불어 음운론에서는 schwa에 의해 대립되는 낱말짝이 없기 때문에 schwa를 음소로 인정할 것인가에 대해 논란이 있다. 그러나 불어에서 schwark 음운론적 역할을 한다는 사실은 다음과 같은 예에서 찾아 볼 수 있다. 첫째, 발음상으로 동사의 변화형에서 "porte[$p{\jmath}rte$](들다: 현재형), porte[$p{\jmath}rte$](과거분사형), porta[$p{\jmath}rte$](단순과거형)"등이 대립되며, 이휘 "Porto[$p{\jmath}rte$](포르토)"와도 대립된다. 둘째, 어휘적 대립 "le haut[$l{\partial}o$](위)/l'eau[lo](물)"와 형태론적 대립 "le[$l{\partial}$](정관사, 남성단수)/les[le](정관사, 복수)"등에서 "묵음 e"는 분명히 음운론적 역할을 하고 있다. 본 논문에서는 이와 같이 음색이 복잡하게 나타나는 "e muet"의 문제를 리듬단위, 문맥적 분포 및 음절모형 측면, 즉 음성학 및 음운론적 측면에서 다양하게 분석하여 그 본질을 규명해 보고 "e muet"탈락현상을 TCG(Theorie de Charme et de Gouvernement) 측면에서 새롭게 해석해 보았다.

• Journal of IKEEE
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• v.13 no.4
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• pp.43-46
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• 2009

This paper deals with feeling recognition from people's voice to fine feature vectors. Voice signals include the people's own information and but also people's feelings and fatigues. So, many researches are being progressed to fine the feelings from people's voice. In this paper, We analysis Selectable Mode Vocoder(SMV) that is one of the standard 3GPP2 codecs of ETSI. From the analyzed result, we propose voices features for recognizing feelings. And then, feeling recognition algorithm based on gaussian mixture model(GMM) is proposed. It uses feature vectors is suggested. We verify the performance of this algorithm from changing the mixture component.

• The Journal of the Acoustical Society of Korea
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• v.23 no.1
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• pp.82-89
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• 2004

This paper describes how to reduce the effect of an occupation threshold by that the transform of mixture components of HMM parameters is controlled in hierarchical tree structure to prevent from over-adaptation. To reduce correlations between data elements and to remove elements with less variance, we employ PCA (principal component analysis) and ICA (independent component analysis) that would give as good a representation as possible, and decline the effect of over-adaptation. When we set lower occupation threshold and increase the number of transformation function, ordinary WLLR adaptation algorithm represents lower recognition rate than SI models, whereas the proposed MLLR adaptation algorithm represents the improvement of over 2% for the word recognition rate as compared to performance of SI models.

• The Journal of the Acoustical Society of Korea
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• v.30 no.3
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• pp.136-141
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• 2011

In this paper, a method for measuring rhythmic similarity between two sound signals for auditory memory game is proposed. The proposed method analyzes energy fluctuation, the temporal duration of energy peak, the timbre of two signals, and detects beat positions for each signal. Then, it determines the rhythm vector after compensating a difference in tempo and the number of beats between two signals. Finally, a method for rhythmic similarity measurement is defined as a function of the dissimilarity between two rhythm vectors and a difference in the number of beats. The rhythmic similarity measured by the proposed method and that by the subjective listening test are compared, and the correlation of 0.86 between two results is achieved.

• The Journal of the Acoustical Society of Korea
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• v.29 no.8
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• pp.509-515
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• 2010

This paper presents a new method for upmixing mono signal to stereo signal with guaranteeing high stereophonic image quality (SIQ) and large apparent source width (ASW). The proposed method consists of analysis phase and synthesis phase. In analysis phase, a mono signal is first decomposed into multiple sound sources by the use of high-rank nonnegative matrix factorization. Then the multiple sources are clustered into two groups based on tonality criterion. In synthesis phase, one group is directly fed into left and right channels while the other group is decorrelated before being fed into each channel. Subjective tests reveals that the proposed method gives listener high SIQ and large ASW with minimizing timbral distortions.

• Science of Emotion and Sensibility
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• v.9 no.1
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• pp.9-17
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• 2006

As is commonly said, music is 'language of emotions.' It is because sound is a plentiful modality to communicate the human sensibility information. However, most researches of auditory displays were focused on improving efficiency on user's performance data such as performance time and accuracy. Recently, many of researchers in auditory displays acknowledge that individual preference and sensible satisfaction may be a more important factor than the performance data. On this ground, in the present study we constructed the sound sensibility dimensions ('Pleasure', 'Complexity', and 'Activity') and systematically examined the attributes of sound on the sensibility dimensions and analyzed the meanings. As a result, sound sensibility dimensions depended on each sound attributes , and some sound attributes interact with one another. Consequently, the results of the present study will provide the useful possibilities of applying the affective influence in the field of auditory displays needing the applications of the sensibility information according to the sound attributes.

• The Journal of the Acoustical Society of Korea
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• v.9 no.3
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• pp.11-23
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• 1990

In order to investigate the acoustical characteristics of the Hae-keum (Korean traditional musical instrument) tone quality, the spectrum and wave form of Hae-keum sounds were analyzed by the FFT Analyzer. The analysis was carried out by the varying of the tension of Hae-keum strings, the positions of bridge and the top plate's thickness of Hae-keum respectively. According to the experiment, the following results are obtained ; the over tone's amplitude nearby the top plate resonance frequency is greater than the fundamental tone's amplitude because the top plate resonance frequency is higher than the fundamental tone's frequency. Tone qualities are better when the bridge is situated in the middle of top plate and the tension of strings is larger. The inharmonicity coefficient of the Hae-keum's second string is 0.049 cents/$n^2$. The brilliance and richness is poor, because we seldom found the over tone over 5kHz and the inharmonicity of the Hae-keum is greater than that of a violin. Also we confirmed that we are able to get the best tone quality in 4.5mm thickness of the Hae-keum's top plate.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.41 no.10
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• pp.1276-1283
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• 2016

The scale of financial damages on voice fishing has not been decreased despite of national and social efforts to reduce the amounts of voice fishing damage. One of these reasons is a sophisticated and vernacular speech style that makes it difficult to recognize the offenders. Furthermore, nowadays, young men have intensively been deceived by not only sophisticated and vernacular speech style which is used the employer of real public offices but also obtained personal information. As a result, this lead directly to the financial damages of younger people who has a stronger judgement than older. For this, we investigated the comparison and analysis between the criminals of voice fishing and the same generation younger people for identifying voice features. The experiment was carried out based on the pitch, bandwidth of pitch, energy, speech speed and voice color for searching the difference of voice characteristics between the criminals of voice fishing and the same generation younger people since 2011. The experimental result shows that there is a significant difference in energy and speech speed between the criminals of voice fishing and the same generation younger people.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.91-102
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• 2020

The purpose of this study is to analyze musical songs from an academic perspective by applying vocal techniques that can express songs in depth in three dimensions. Singing a musical song cannot be completed with just the musical part, rather, it should be accompanied by the analysis of various aspects such as the emotional state of the scenes and the characters. To this end, this study performed a multi-dimensional analysis of fields such as theatrical structure, lyrics, musical structure, and dynamics. In addition, the study explored and applied Estill Voice Training(EVT) that actors can best express songs with the emotions of the theater and music. EVT categorizes voice into six tones: speech, sob/cry, falsetto, twang, opera, and belting. In this study, in addition to these six sounds, the positions of vocal cords and larynx were also applied to seek ways to effectively express songs using "Gar Nichts" from the musical "Elisabeth" as a case study. "Gar Nichts" is a song sung by the protagonist Elisabeth, which expresses the self and the conflict at the peak of pain. Musically, this song requires various sound and voice-changing techniques to cover the range of "G#3-Gb5." As a result, it was confirmed that in order to embody the emotions of the characters and the songs in depth, the analysis of scenes and characters as well as various singing techniques need to be applied in harmony.

• Journal of Broadcast Engineering
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• v.21 no.6
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• pp.889-898
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• 2016

Virtual Bass System (VBS) is widely used to extend the lower frequency limit of small loudspeakers, which generates harmonics of a fundamental frequency. The perceptual quality of the VBS is highly dependent on the harmonic weighting strategy. There have been several weighting methods, including exponential attenuation and timbre matching. However, it is essential to match phases between harmonics in the original signal and generate harmonics to precisely convey the weighting strategy. This paper shows the limitations of the previous harmonic weighting schemes and proposes a new harmonic weighting scheme. The proposed weighting scheme proposes phase matching between the original and generated harmonics and varies the slope of the attenuation weighting dynamically according to the missing fundamental frequency. Objective and subjective tests show that the proposed harmonic weighting scheme provides more natural and effective bass perception in a limited situation than the conventional schemes, which implies that the phase matching is essential for the high quality bass enhancement.