• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.2
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• pp.64-75
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• 2022

The purpose of this study is to illuminate the meaning of the soundscapes of two bells, Daeheung-dong Cathedral and Sungsimdang in Eunghang-dong, which are landmarks and attractions in the historic downtown of Daejeon. The study was conducted through field research and recordings, as well as literature studies of related documents and soundscape theory. Daejeon city was developed along with Daejeon Railway Station during the Japanese colonial period in the early 20th century. As the Chungnam Provincial Office moved to Daejeon, Daeheung-dong and Eunhang-dong in Jung-gu, located near Daejeon Station, developed significantly and formed the city centre. As major administrative agencies moved to Seo-gu in the 1990s, the downtown area of Daejeon was on a path of decline, and the decline accelerated with the development of Sejong city. Meanwhile, Daeheung-dong Cathedral and Sungsimdang, founded by refugees during the Korean War, firmly protected the historic downtown area of Daejeon, where the natives left. Daeheung-dong Cathedral, established during the Japanese colonial period, is a local landmark with a history of 100 years in 2019. Sungsimdang, which was created with the backdrop of the Korean War, is also a historical and cultural asset with a history of 60 years and a local landmark selected as the No. 1 tourist attraction in Daejeon. This research, which started from the sound of the bells of Daeheung-dong Cathedral, heard even in the neighboring residential areas, led to the discovery of the bells of Sungsimdang in Eunhang-dong, located across the street. In this paper, the bells of Daeheung-dong Cathedral and Eunhang-dong Sungsimdang have characteristics of soundmarks according to R. Murray Schafer's soundscape sound category. Furthermore, this paper attempted to analyze the meaning of the two bells according to the relatively recent EU soundscape definition. These two bells are signal sounds at the surface level, but are the sound marks of the historic downtown area of Daejeon at the deep level. Although there are outward differences in size, scale, frequency, and famousness, these two bells share a meaning in terms of locality and good influence with the historicity and spatiality of a special relationship. The implication of this study is that the two places should be preserved as local historical and cultural assets not only as visual landmarks but also as sound marks in the urban regeneration or urban development of Jung-gu, Daejeon.

• Korean Journal of Environment and Ecology
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• v.28 no.4
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• pp.404-410
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• 2014

In this study, we conducted an analysis of the drumming bioacoustics of three woodpeckers typical to South Korea. The targeted species were, from largest to smallest in size, the Black Woodpecker(Dryocopus martius), the Great Spotted Woodpecker(Dendrocopos major) and the Japanese Pygmy Woodpecker(Dendrocopos Kizuki). The drumming sounds of these three species of woodpeckers were recorded and analyzed. Sound recordings were taken in the Guryongsa Valley, Chiaksan National Park and on the campus of Sangji University, Wonju City, South Korea. Drumming recordings were obtained in the following manner. As researchers walked along trails in the investigation areas, when woodpecker drumming sounds were indicated, positive identification of the species was made using binoculars then the recording of the drumming sound was started. The average time per drumming, in seconds, was Black Woodpecker(D. martius) 1.614 seconds, Great Spotted Woodpecker(D. major) 0.683 seconds and Japanese Pygmy woodpecker(D. Kizuki) 0.200 seconds. The average number of strikes for each drumming was Black Woodpecker(D. martius) 31.2 times, Great Spotted Woodpecker(D. major) 14.9 times and Japanese Pygmy Woodpecker(D. Kizuki) 6.7 times. The strike speed, in strikes/sec, for each species was the Black Woodpecker(D. martius)19.3strikes/sec, the Great Spotted Woodpecker(D. major) 21.8strikes/sec and Japanese Pygmy Woodpecker(D. Kizuki)33.3strikes/sec. The frequency of drumming, in Hertz, was Black Woodpecker(D. martius) 776.9Hz, Great Spotted Woodpecker (D. major) 1,213.8Hz and Japanese Pygmy Woodpecker(D. Kizuki) 826.0Hz. In interpreting this data, Analysis of Variance (ANOVA) was used and it was determined that there was a significant statistical difference between species in drumming duration, time and interval of striking. The findings support that the bigger the biomass of the woodpecker, the longer the drumming duration and striking time. However, the smaller the size of the woodpecker, the faster the strike speed. A correlation between body type size and drumming characteristics was clearly identified. As for strike frequency, measured in Hertz, the medium sized Great Spotted Woodpecker's (D. major) frequency was high whereas the Black Woodpecker(D. martius) and Japanese Pygmy Woodpecker's(D. Kizuki) frequency was similar. A clear trend in reference to body size on this measure does not exist.

• Journal of Intelligence and Information Systems
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• v.24 no.2
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• pp.21-35
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• 2018

Since the introduction of MP3 players, CD recordings have gradually been vanishing, and the music consuming environment of music users is shifting to mobile devices. The introduction of smart devices has increased the utilization of music through music playback, mass storage, and search functions that are integrated into smartphones and tablets. At the time of initial MP3 player supply, the bitrate of the compressed music contents generally was 128 Kbps. However, as increasing of the demand for high quality music, sound quality of 384 Kbps appeared. Recently, music content of FLAC (Free License Audio Codec) format using lossless compression method is becoming popular. The download service of many music sites in Korea has classified by unlimited download with technical protection and limited download without technical protection. Digital Rights Management (DRM) technology is used as a technical protection measure for unlimited download, but it can only be used with authenticated devices that have DRM installed. Even if music purchased by the user, it cannot be used by other devices. On the contrary, in the case of music that is limited in quantity but not technically protected, there is no way to enforce anyone who distributes it, and in the case of high quality music such as FLAC, the loss is greater. In this paper, the author proposes an audio watermarking technology for copyright protection of high quality stereo music. Two kinds of information, "Copyright" and "Copy_free", are generated by using the turbo code. The two watermarks are composed of 9 bytes (72 bits). If turbo code is applied for error correction, the amount of information to be inserted as 222 bits increases. The 222-bit watermark was expanded to 1024 bits to be robust against additional errors and finally used as a watermark to insert into stereo music. Turbo code is a way to recover raw data if the damaged amount is less than 15% even if part of the code is damaged due to attack of watermarked content. It can be extended to 1024 bits or it can find 222 bits from some damaged contents by increasing the probability, the watermark itself has made it more resistant to attack. The proposed algorithm uses quantization in DCT so that watermark can be detected efficiently and SNR can be improved when stereo music is converted into mono. As a result, on average SNR exceeded 40dB, resulting in sound quality improvements of over 10dB over traditional quantization methods. This is a very significant result because it means relatively 10 times improvement in sound quality. In addition, the sample length required for extracting the watermark can be extracted sufficiently if the length is shorter than 1 second, and the watermark can be completely extracted from music samples of less than one second in all of the MP3 compression having a bit rate of 128 Kbps. The conventional quantization method can extract the watermark with a length of only 1/10 compared to the case where the sampling of the 10-second length largely fails to extract the watermark. In this study, since the length of the watermark embedded into music is 72 bits, it provides sufficient capacity to embed necessary information for music. It is enough bits to identify the music distributed all over the world. 272 can identify $4*10^{21}$, so it can be used as an identifier and it can be used for copyright protection of high quality music service. The proposed algorithm can be used not only for high quality audio but also for development of watermarking algorithm in multimedia such as UHD (Ultra High Definition) TV and high-resolution image. In addition, with the development of digital devices, users are demanding high quality music in the music industry, and artificial intelligence assistant is coming along with high quality music and streaming service. The results of this study can be used to protect the rights of copyright holders in these industries.

• Journal of Korean Society of Archives and Records Management
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• v.17 no.1
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• pp.193-216
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• 2017

The purpose of this study is to understand issues related to the Personal Information Act recently emerging in the field of oral history, and to prepare countermeasures for oral history academics and archives. The Personal Information Act is intended to protect the confidentiality and freedom of the constitutional privacy, and to assure the right to self-determination of information, thereby realizing the dignity and value of the individual. Oral history is intended for living persons; therefore, strict ethical standards are needed to protect the morality of the person behind the sound recordings and appears as the subject of oral history. However, if the uniform application of the Personal Information Act is made, it is a requirement to make the process of consenting and notifying excessively complex and almost impossible to realize, making collection and service of oral history resource improbable. The mechanical and strict application of the Personal Information Act does not come into being because it has the aspect of undermining the inherent intrinsic value of oral history resources and making it difficult to maintain the authenticity of the records. To solve these problems, it is necessary to revise Article 58 (4) of the Personal Information Act of Korea. In addition, it is necessary to establish a guideline for the establishment of independent ethical standards of oral history itself, especially for the protection of the moral rights of third parties.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.28 no.1
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• pp.25-44
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• 2017

This study was to suggest display of RDA resource type in OPAC efficiently. Literature reviews and users test and preference survey were used as research methods. The 4 ways for the display of RDA resource type were suggested. First, GMD and the resource type code(bcode2) invented by library itself as well as leader/06, 007, and 008 field should be used for converting AACR2 resource type to RDA resource type in the bibliographic records. Second, RDA resource type vocabularies applicable to Korean cataloging environment should be designed and described in 33X subfield ${\blacktriangledown}9$ and detailed resource terms described in 34X should be also expressed in OPAC. Third, two option is suggested as content type and carrier type display separately and as content type and carrier type combination. Fourth, 336, 338 filed, leader/07 bibliographic level, 008/30-31 Literary text for sound recordings, 34X field were useful to develop user centered resource type icon. This study would be able to increase the utilization of RDA resource types and help the users to understand the RDA resource type in OPAC.

• Korean Journal of Environment and Ecology
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• v.32 no.1
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• pp.39-46
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• 2018

Breeding bird surveys provide the reference information for understanding bird community structure and function in the ecosystem and conserving biodiversity. Recent rapid change of biodiversity due to climate change and other factors has made it necessary to utilize acoustic sensors for accuracy and spatial expansion of forest bird survey data and for time-series monitoring of forest birds. The objective of this study is to investigate the possibility of using acoustic recording sensor to evaluate the diversity of forest birds at breeding season by comparing and analyzing the recorded data of bird songs and field bird survey data. We conducted the site survey and recording in 186 points in 48 areas of 4 regions of Gombaeryeong and Jochimryeong around Jeombongsan Mountain and Jugryeong and Gochiryeong around Sobaeksan Mountain from May 2nd to 16th in 2013. The analysis of the correlation between the recording result and Bird Community Index based on the field survey showed that the number of bird species, population, and the number of bird songs by recording was significantly correlated to the number of species and population by field survey. Moreover, the number of bird species and the number of bird songs by recording showed a significant correlation to species diversity and species richness but no or low significant correlation to species evenness by the field study (observation and listing in parallel). As a result, it was possible to check species composition and species diversity of bird communities by analyzing acoustic recording data on the field. The acoustic recordings of bird songs in the breeding period were more reliable than the non-breeding period in the correlation of recording result and species diversity and for utilization.

• (The) Research of the performance art and culture
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• no.33
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• pp.223-242
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• 2016

The Korean $taeg{\breve{u}}m$, a horizontal bamboo flute, is considered a representative wind instrument of Korean traditional music. Symbolized by its unique timbre and diverse techniques, this instrument transmits the beauty of Korea, and has become acknowledged even in international music scenes. Being a $taeg{\breve{u}}m$ player, composer, and ethnomusicology researcher, I have developed creative collaborations with musicians from Asian, electro-acoustic, jazz, and Western art music traditions developed outside my country of origin and tried to overcome musical boundaries through the 'intercultural performances' (after Turner 1988). Zooming in one collaboration, I detail the process of music creation and performance, collaborating with prominent Korean composer Kim $Taes{\breve{o}}ng$ (b.1967), who was commissioned by myself to write two compositions for the $taeg{\breve{u}}m$ and Western art music. The purpose is twofold: firstly, the modernization and appropriation of the Korean flute is briefly tracked down within the context of Western Art music. Secondly, a performance project is illustrated with the support of technical apparatuses such as DVD and CD recordings and delves further into the question of the 'cultural relativism' (Michael Tenzer, 2006: 7) through the interactive process. The performance-as-research, as a tool 'actualizing' (Richard Schechner 2003: 32) the hybridity, touches on critical domains in Ethnomusicology. The corresponding two parts discover, as Alan Merriam's(1964) 'tripartite model' suggests, the 'context' of Korean and Western cultures, the 'behaviour' of collaborating and performing and the 'sound' of improvised and composed productions in the course of music making.