• The Journal of the Acoustical Society of Korea
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• v.40 no.3
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• pp.234-240
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• 2021

In this paper, the mask-based speech enhancement is improved for effective speech recognition in noise environments. In the mask-based speech enhancement, enhanced spectrum is obtained by multiplying the noisy speech spectrum by the mask. The VoiceFilter (VF) model is used as the mask estimation, and the Spectrogram Inpainting (SI) technique is used to remove residual noise of enhanced spectrum. In this paper, we propose a combined loss to further improve speech enhancement. In order to effectively remove the residual noise in the speech, the positive part of the Triplet loss is used with the component loss. For the experiment TIMIT database is re-constructed using NOISEX92 noise and background music samples with various Signal to Noise Ratio (SNR) conditions. Source to Distortion Ratio (SDR), Perceptual Evaluation of Speech Quality (PESQ), and Short-Time Objective Intelligibility (STOI) are used as the metrics of performance evaluation. When the VF was trained with the mean squared error and the SI model was trained with the combined loss, SDR, PESQ, and STOI were improved by 0.5, 0.06, and 0.002 respectively compared to the system trained only with the mean squared error.

• Cross-Cultural Studies
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• v.44
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• pp.7-28
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• 2016

This study examines the sociocultural background of negritude by delving into Caseríos, Reggaeton, and $Trigue{\tilde{n}}os$, which are interrelated with the racism deeply embedded in Puerto Rican society. These terms have also been discussed in relation to the ideological discourse of racial democracy, which has caused Puerto Rican people to be blind to silenced inequality and hegemonic racial policies. Caseríos, housing projects for the poor urban class, are targeted by the state - sponsored project 'Mano Dura'. Due to the policing, control and surveillance of this anticrime project, Caseríos became perceived even more as residential communities of violence, poverty, and insecurity generally connected to the stigmatization of blackness. Reggaeton emerged as a mega hit genre of transnational Puerto Rican music in the 2000s, which in turn, drew attention to both the afrodiaspora in New York and the urban musical power in the Island. This musical genre serves to highlight the meaningfulness of black heritage in the national cultural identity of Puerto Rico. $Trigue{\tilde{n}}idad$ has recently become a common racial cultural term that embraces a broader racial paradigm of mestizaje. This term can function as an alternative concept of blackness, but it has not yet been transformed into enough cultural politics to resist ongoing racial democracy. The three terms intrinsically address both the uprooted racism and potential methods of challenging it. This paper argues the necessity of stronger and more responsive cultural politics to defy the pervasiveness and invisibility of racial discrimination in Puerto Rico.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.71-86
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• 2021

The purpose of this study is to reveal the significance of musicals and find a way to utilize them in Korean language culture classes for foreigners. Korean language education aims to improve communication skills, and cultural education is necessary to help students understand not only the language but also the social background and context of the language. Accordingly, the author of this study has put together a lesson plan for Korean culture incorporating musicals, a topic that has been heretofore disregarded in Korean language education. Musicals are an appealing art medium for Korean language learners, as they provide striking visuals centered around distinct narrative structures and music. The musical "Swag Age: Shout out Joseon!," which this study focuses on, provides particularly suitable content, as it deals with social issues that are relevant even in contemporary Korean society and includes sijo (poetry), which can be used to teach traditional Korean literature. Based on the above characteristics, the author of this study outlines a Korean culture lesson plan teaching sijo through the musical "Swag Age: Shout out Joseon!" The class will be for learners of intermediate level and above, and consists of 4 sessions: 1) Understanding the overall plot of the musical, 2) Learning about Korean sijo, 3) Writing sijo based on your own life, and 4) Presenting your own sijo. This culture class is significant in that it goes beyond simply learning about sijo and enables students to internalize the meaning of and actively enjoy sijo by writing their own versions. In addition, it is expected to be a compelling class that, on top of its educational value, introduces and allows students to experience a wider range of Korean popular culture by adding the musical genre to the common repertoire of movies, dramas, plays, and pop songs often covered in Korean culture classes.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• Journal of Digital Convergence
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• v.20 no.1
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• pp.213-220
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• 2022

The purpose of this study is to investigate the relationship between the characteristics of using new words, ability to use new words, and peer popularity among students with mild intellectual disabilities and general students of the age-matched group. A total of 8 students, 4 students with mild intellectual disabilities aged 14 to 16 years of age and 4 normal students in the age-matched group, were compared between groups using a nonparametric test. In the case of new words, 60 new words were selected through expert content validity among 301 new words, and then recognition and background information on the 60 new words were collected. As a result of the study, first, there was a significant difference in understanding of new words between the student group with mild intellectual disability and the general student group of the same age. Second, the correlation between the use of new words and the popularity of peers was compared for each group of students with mild intellectual disabilities and a group of general students of the same age as possible. Therefore, when providing vocabulary instruction for students with mild intellectual disabilities, it suggests that it is necessary to teach new vocabulary in order to increase their relationship with their peers and their popularity.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.

• Journal of Intelligence and Information Systems
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• v.23 no.2
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• pp.19-38
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• 2017

Collaborative filtering (CF) algorithm has been popularly used for implementing recommender systems. Until now, there have been many prior studies to improve the accuracy of CF. Among them, some recent studies adopt 'hybrid recommendation approach', which enhances the performance of conventional CF by using additional information. In this research, we propose a new hybrid recommender system which fuses CF and the results from the social network analysis on trust and distrust relationship networks among users to enhance prediction accuracy. The proposed algorithm of our study is based on memory-based CF. But, when calculating the similarity between users in CF, our proposed algorithm considers not only the correlation of the users' numeric rating patterns, but also the users' in-degree centrality values derived from trust and distrust relationship networks. In specific, it is designed to amplify the similarity between a target user and his or her neighbor when the neighbor has higher in-degree centrality in the trust relationship network. Also, it attenuates the similarity between a target user and his or her neighbor when the neighbor has higher in-degree centrality in the distrust relationship network. Our proposed algorithm considers four (4) types of user relationships - direct trust, indirect trust, direct distrust, and indirect distrust - in total. And, it uses four adjusting coefficients, which adjusts the level of amplification / attenuation for in-degree centrality values derived from direct / indirect trust and distrust relationship networks. To determine optimal adjusting coefficients, genetic algorithms (GA) has been adopted. Under this background, we named our proposed algorithm as SNACF-GA (Social Network Analysis - based CF using GA). To validate the performance of the SNACF-GA, we used a real-world data set which is called 'Extended Epinions dataset' provided by 'trustlet.org'. It is the data set contains user responses (rating scores and reviews) after purchasing specific items (e.g. car, movie, music, book) as well as trust / distrust relationship information indicating whom to trust or distrust between users. The experimental system was basically developed using Microsoft Visual Basic for Applications (VBA), but we also used UCINET 6 for calculating the in-degree centrality of trust / distrust relationship networks. In addition, we used Palisade Software's Evolver, which is a commercial software implements genetic algorithm. To examine the effectiveness of our proposed system more precisely, we adopted two comparison models. The first comparison model is conventional CF. It only uses users' explicit numeric ratings when calculating the similarities between users. That is, it does not consider trust / distrust relationship between users at all. The second comparison model is SNACF (Social Network Analysis - based CF). SNACF differs from the proposed algorithm SNACF-GA in that it considers only direct trust / distrust relationships. It also does not use GA optimization. The performances of the proposed algorithm and comparison models were evaluated by using average MAE (mean absolute error). Experimental result showed that the optimal adjusting coefficients for direct trust, indirect trust, direct distrust, indirect distrust were 0, 1.4287, 1.5, 0.4615 each. This implies that distrust relationships between users are more important than trust ones in recommender systems. From the perspective of recommendation accuracy, SNACF-GA (Avg. MAE = 0.111943), the proposed algorithm which reflects both direct and indirect trust / distrust relationships information, was found to greatly outperform a conventional CF (Avg. MAE = 0.112638). Also, the algorithm showed better recommendation accuracy than the SNACF (Avg. MAE = 0.112209). To confirm whether these differences are statistically significant or not, we applied paired samples t-test. The results from the paired samples t-test presented that the difference between SNACF-GA and conventional CF was statistical significant at the 1% significance level, and the difference between SNACF-GA and SNACF was statistical significant at the 5%. Our study found that the trust/distrust relationship can be important information for improving performance of recommendation algorithms. Especially, distrust relationship information was found to have a greater impact on the performance improvement of CF. This implies that we need to have more attention on distrust (negative) relationships rather than trust (positive) ones when tracking and managing social relationships between users.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Journal of Global Scholars of Marketing Science
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• v.20 no.2
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• pp.123-134
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• 2010

Considering the benefits for both consumers and suppliers, firms are taking advantage of the Internet as a medium to communicate with and sell products to their consumers. This trend makes the online shopping environment a growing field for both researchers and practitioners. This paper contributes by testing a model of online consumer behavior with websites varying in levels of hedonism. Unlike past studies, we included all three types of emotions (arousal, pleasure, and dominance) and flow into the model. In this study, we assumed that website interfaces, such as background colors, music, and fonts impact the three types of emotions at the initial exposure to the site (Mazaheri, Richard, and Laroche, 2011). In turn, these emotions influence flow and consumers' perceptions of the site atmospherics-perception of site informativeness, effectiveness, and entertainment. This assumption is consistent with Zajonc (1980) who argued that affective reactions are independent of perceptual and cognitive operations and can influence responses. We, then, propose that the perceptions of site atmospherics along with flow, influence customers' attitudes toward the website and toward the product, site involvement, and purchase intentions. In addition, we studied the moderating impact of the level of hedonism of websites on all the relationship in the model. Thus, the path coefficients were compared between "high" and "low" hedonic websites. We used 39 real websites from 12 product categories (8 services and 4 physical goods) to test the model. Among them, 20 were perceived as high hedonic and 19 as low hedonic by the respondents. The result of EQS 6.1 support the overall model: $\chi^2$=1787 (df=504), CFI=.994; RMSEA=.031. All the hypotheses were significant. In addition, the results of multi-groups analyses reveal several non-invariant structural paths between high and low hedonic website groups. The findings supported the model regarding the influence of the three types of emotions on customers' perceptions of site atmospherics, flow, and other customer behavior variables. It was found that pleasure strongly influenced site attitudes and perceptions of site entertainment. Arousal positively impacted the other two types of emotions, perceptions of site informativeness, and site involvement. Additionally, the influence of arousal on flow was found to be highly significant. The results suggested a strong association between dominance and customers' perceptions of site effectiveness. Dominance was also found to be associated with site attitudes and flow. Moreover, the findings suggested that site involvement and attitudes toward the product are the most important antecedents of purchase intentions. Site informativeness and flow also significantly influenced purchase intentions. The results of multi-group analysis supported the moderating impacts of hedonism of the websites. Compared to low (high) hedonic sites, the impacts of utilitarian (hedonic) attributes on other variables were stronger in high (low) hedonic websites. Among the three types of emotions, dominance (controlling feelings) effects were stronger in high hedonic sites and pleasure effects were stronger in low hedonic sites. Moreover, the impact of site informativeness was stronger for high hedonic websites compared to their low-hedonic counterparts. On the other hand, the influence of effectiveness of information on perceptions of site informativeness and the impact of site involvement on product attitudes were stronger for low hedonic websites than for high hedonic ones.