• The Journal of the Acoustical Society of Korea
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• v.19 no.5
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• pp.60-64
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• 2000

This paper studies the relation between the Fundamental Frequency (F0) and the formants of simple vowels in the Korean language sung by sopranos. It is hewn that, in soprano singing, the F0 of a vowel affects its formants. For this reason the formants of simple vowels sung by sopranos must be considered in all over the soprano singing range. We recorded the five simple vowel sounds /a/, /e/, /i/, /o/, and /u/ sung by five professional sopranos from A3 (220.0Hz) to A5 (880.0Hz) in the major scale and compared the formants of the sung vowels with those of spoken vowels. We observed that F1 and F2 of sung vowels were stable in low F0 (lower than B4) but in high F0 (higher than B4), F1 and F2 lost their stabilities. In the case of /a/, /o/, and /u/, the slope of the F1-F2 graph was about 2.6, and those of the F0-F2 and F0-Fl graphs were 2.2-2.5 and 0.7-1.0, respectively. And as the F0 increases, the F1 and F2 of sung vowels /a/, /e/, /i/, /o/, and /u/ were almost the same. At A5, the Fl and F2 of five sung vowels had the same values. This results suggest that the relation between the F0 and the formants be used to synthesize soprano's singing vowels.

• Sijohaknonchong
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• v.20
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• pp.197-215
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• 2004

In this paper, I reexamined the word 'Sijo-samjang(시조삼강)' and gave a new meaning of it. In addition, I proposed the new concept of 'Sijo-samjang' which meant the characteristic of a Pyon'ga(편가) in Sijo-chang(시조창). For a long time, 'Sijo-samjang' was regarded as a word which indicated the three sections of a Sijo. It was because of the fixed idea that a Sijo was always composed of a form separated by three parts. Unlike the fixed idea, I found the fact that 'Sijo-samjang' meant singing successively three different Sijos which adapted three different music by reexamining the actual uses of the word in the texts of the days. Thus, I could come to a conclusion that 'Sijo-samjang' was the word indicating a specific music system of a Sijo-chang(singing a Sijo) corresponding to a Pyon'ga of a Gagok(가곡). 'Sijo-samjang' seemed to be molded up while the music of Sijo-chang developed. Usually, a successive singing of the three different Sijos, such as Pyong-sijo(평시조), Chirum-sijo(지름시조), and Sasol-sijo(사설시조), was called 'Sijo-samjang'. However, some of the three could be omitted, and some of it could be substituted by a derived song. This kind of a usual and a derived form seemed to be settled as an important custom of singing a Silo after the 19 century. The main point of the development of music in Sijo-chang was having the characteristic of compilation which meant singing Pyong-sijo, Chirum-sijo, and Sasol-sijo successively. 'Sijo-samjang' was the concept which explained this kind of characteristic and was one of the key words to understand the development of Sijo-chang.

• 재활복지
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• v.22 no.3
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• pp.189-208
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• 2018

This case study investigated the changes in speech intelligibility of patients with head and neck cancers who participated in a therapeutic singing-based intervention. Three patients received a total of twelve 30-minute individual sessions. The intervention consisted of three steps: movements for relaxing breathing muscles, vocalization for increasing the range of articulatory movements, and therapeutic singing. In order to examine the changes in speech intelligibility, the voice quality parameters, diadochokinesis (DDK) and the quadrangle vowel space area (VSA) were measured at pre- and posttest. The recording of what each patient read a written paragraph, which were transcribed by blinded assessors, were also analyzed. The results demonstrated that all of the patients showed positive changes in the voice quality, the rate of repetitive syllable production measured by DDK, and the articulatory working space measured by VSA. Along with these measured changes, increases in positive mood and rehabilitation motivation reported by the patients support that the therapeutic singing-based intervention could induce meaningful changes in terms of speech intelligibility from patients with head and neck cancers. Given that this study was conducted with a small sample size, suggestions for further investigation on the effects of the intervention were also presented.

• Journal of the East Asian Society of Dietary Life
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• v.1 no.2
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• pp.151-173
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• 1991

A review of the royal banquet rituals which were excuted twice a day for consecutive three days for master were found to be progressed; 1st day for Queen Mother, 2nd day for King, 3rd day for Crown Prince very orderly. And performing dozens of dances and musics at each intervals of this procedure. The Sequence of rituals were summarized as follows. 1. Entering by order of low in rance. 2. Opening a ceremony. 3. Setting napkins, spoons and chopsticks and sumptuous table for master. 4. Offering flowers to master and then granting that flowers to subjects 5. Singing a open song. 6. Setting wine/side dishes for master and complimenting master's achievement/wellness. 7. Bowing politely three times and giving cheers. 8. Distributing wine/dishes to high ranked subjects. 9. Offering special dishes for master. 10. Distributing wine to low ranked subjects. 11. Singing a closing song. 12. Taking away tables. 13. Closing a banquet and leaving the hall.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2011.07a
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• pp.261-263
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• 2011

이 논문에서는 쿼리-바이-싱잉/허밍 (Query-by-singing/humming, QbSH) 시스템에서의 거리 함수를 다양화하면서 그 성능 변화를 살펴본다. QbSH는 디지털 음악의 사용이 보편화되면서 음악 검색의 방법으로 많은 연구가 진행되어 왔으며, 많은 경우, dynamic time warping (DTW) 방법으로 사용해서 정합하고 있다. 그러나, DTW에서 사용하는 거리에 대해서는 특별한 관심을 가지지 않았으며, 일반적으로 절대적 차이값이나 그것의 제곱값을 많이 사용해 왔다. 이 논문에서는 여러 가지 거리에 대해서 성능을 측정하였다. 성능측정은 특정한 시스템에서 이루어진 것이기 때문에 일반성을 가지지 않을 수 있으나, DTW에서 사용하는 거리를 기존의 것과 다른 것으로 변화시켜서 성능을 향상시킬 가능성이 있음을 이 논문에서는 밝힌다. 본 논문에서는 10-12초 길이의 1000번의 쿼리 (Query)에 대해서 28시간 정도의 데이터베이스에서 실험한 결과, 논문에서 제안하는 거리가 기존의 절대적 차이값을 사용한 것보다 제1후보 검출 정확도가 10% 가량 상승함을 확인할 수 있었다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2013.06a
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• pp.381-384
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• 2013

본 논문에서는 허밍기반 음원 검색 시스템을 위한 오디오 특징 시퀀스 데이터 색인 기법을 제안한다. 우선 Query-by-Singing/Humming (QbSH) 시스템의 특징 데이터베이스를 생성하기 위하여 MP3 와 같은 다성음원에서 주요 멜로디를 추출하여 시퀀스데이터를 생성하고, 고속 검색을 지원하기 위한 시퀀스데이터를 색인화한다. 본 논문에서는 최소 Dynamic Time Warping (DTW) 거리 기법, 시퀀스 추상화 기법, 상한 값 기반 DTW 기법과 같이 세 가지의 시퀀스 데이터의 색인화 기술을 제시하고 각각에 대한 문제점을 파악하고, 성능을 평가한다. 이를 통하여 향상된 검색 시간과 검색 정확도를 얻을 수 있다.

• Journal of information and communication convergence engineering
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• v.9 no.2
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• pp.161-165
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• 2011

Recently, According to increasing interest to original sound Karaoke instrument, MIDI type karaoke manufacturer attempt to make more cheap method instead of original recoding method. Separating technique for singing voice from music accompaniment is very useful in such equipment. We propose a system to separate singing voice from music accompaniment for stereo recordings. Our system consists of three stages. The first stage is a spectral change detector. The second stage classifies an input into vocal and non vocal portions by using GMM classifier. The last stage is a selective frequency separation stage. The results of removed by listening test from the results for computer based extraction simulation, spectrogram results show separation task successfully. Listening test with extracted MR from proposed system show vocal separating and removal task successfully.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2012.07a
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• pp.257-259
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• 2012

이 논문에서는 실험을 통해서, 기존에 제안하였던 쿼리-바이-싱잉/허밍 (Query-by-singing/humming, QbSH) 시스템의 매칭 엔진의 강인성을 검증하고 그 결과를 제시한다. QbSH 시스템은 디지털 음악의 사용이 보편화되면서 음악 검색의 방법으로 많은 연구가 진행되어 오고 있다. QbSH 시스템은 입력으로부터 멜로디의 특징을 추출하는 부분과 추출된 특징을 매칭하는 부분으로 나눌 수 있는데, 매칭 단계에서 특징이 추출된 두 개의 멜로디 사이의 유사도 또는 거리를 계산하여 가장 유사한 멜로디를 데이터베이스에서 찾게 된다. 이 논문에서는 이 중, 기존에 제안하였던 매칭 엔진 부분의 강인성을 알아보기 위해서 입력으로부터 멜로디의 피치 시퀀스를 추출하는 과정을 간략히 하여 그 결과를 살펴보았다. 즉, 기존에 제안한 매칭 엔진이 특정한 피치 시퀀스 추출 과정에서만 좋은 성능을 보이는 게 아님을 실험을 통해서 살펴보았다. 실험 결과, 피치 시퀀스를 추출하는 과정이 극도로 간략해지더라도, 매칭 엔진을 좋은 성능을 보여주었다.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.28 no.1
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• pp.5-10
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• 2017

The anatomy of the voice is not limited to the region of the larynx. Practically all body systems affect the voice. The larynx receives the greatest attention because it is the most sensitive and expressive component of the vocal mechanism, but anatomic interactions throughout the singer's body must be considered in making the singing voice. The physiology of voice production is exceedingly complex. The voice requires interactions among the power source, the oscillator, and the resonator. The review of functional anatomy and physiology in vocal technique would provide information on the terminology, components, and workings of the voice to permit an understanding of practical, every clinical problems and their solutions. The otolaryngologist, speech language pathologist, singing or acting teacher, singer, and actor would have benefit greatly from more extensive study of voice science.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.28 no.1
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• pp.14-16
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• 2017

Pop singers frequently use breathy voice to express diverse emotion. Such method is the major factor that divides vocalization in pop and classical music. Using breathy voice too much for a long time could make singer short-winded, which might cause the voice injured. In order to prevent the problem, singers need to find resonance balance between high notes and low notes and among vowels. Moreover, they should take more attention when producing resonance in consonants with much air flow. Along with finding resonance balance, if skilled at controlling the volume of voice, singers can use the breathy voice selectively at the desired part, adjusting close quotient freely. Through this kind of approach, pop singers can develope their unique style of vocalization and avoid the vocal damage.