• Journal of rehabilitation welfare engineering & assistive technology
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• v.10 no.4
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• pp.273-278
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• 2016

Responded threshold level in hearing screening depends on the noise level of test surroundings, physiological characteristics of hearing organs, excessive sound source exposures, and so on. The purpose of this study is to obtain the basic information of hearing threshold level at each frequencies in children with passed hearing screening. Subjects were 110 children, aged were from 3.3 to 16.3 ($9.01{\pm}2.52$), who were at private speech language pathological clinics and daycare centers. Methods of Hearing screening were tympanometry, acoustic reflex threshold, automated otoacoustic emission, and pure tone screening. The subjects were in normal criteria of hearing screening. The differences of hearing threshold among ages and frequencies were measured by means of repeated measures ANOVA. The mean of hearing thresholds level was observed $16{\pm}6.49$, $11.5{\pm}4.79$, $6.86{\pm}4.99$, $5.95{\pm}6.65$ dB HL in the right ear and $15.68{\pm}6.01$, $9.95{\pm}5.24$, $5.72{\pm}5.21$, $5.63{\pm}7.04$ dB HL in the left ear, in frequency of 500, 1,000, 2,000, 4,000 Hz respectively. There was a significant difference between 500 and 1,000, 2,000, 4,000 Hz (p=.000), between 1,000 and 2,000, 4,000 Hz (p=.000).

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.203-210
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• 2021

Yuri Vasilyev - actor, director and drama teacher. Russian meritorious artist, winner of the stage "Medal of Friendship" awarded by Russian President Vladimir Putin; academician of the Petrovsky Academy of Sciences and Arts in Russia, professor of the Russian National Academy of Performing Arts, and professor of the Bavarian Academy of Drama in Munich, Germany. The physiological sense stimulation method based on the improvement of voice, language and motor function of drama actors. On the basis of a systematic understanding of performing arts, Yuri Vasiliev created a unique training method of speech expression and skills. From the complicated art training, we find out the most critical skills for focused training, which we call basic skills training. Throughout the whole training process, Professor Yuri made a clear request for the actor's lines: "action! This is the basis of actors' creation. So action is the key! Action and voice are closely linked. Actor's voice is human voice, human life, human feeling, human experience and disaster. It is also the foundation of creation that actors acquire their own voice. What we are engaged in is pronunciation, breathing, tone and intonation, speed and rhythm, expressiveness, sincerity, stage voice and movement, gesture, all of which are used to train the voice of actors according to the standard of drama. In short, Professor Yuri's training course is not only the training of stage performance and skills, but also contains a rich view of drama and performance. I think, in addition to learning from the means and methods of training, it is more important for us to understand the starting point and training objectives of Professor Yuri's use of these exercises.

• Speech Sciences
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• v.9 no.3
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• pp.185-200
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• 2002

The current study confirmed the existence of an ip prosodic level in French intonation structure, as previously proposed by Sun-Ah Jun & $C\acute{e}cile$cile Fougeron (2000). However, in contrast to the previous suggestion of the plateau realized in an ip in several syntactic structures, the current study supposed that the plateau doesn't come from the different type of syntactic structures but arise from the unspecified syllables without any PA in an ip. Because if we limited ip phrasal tone to the syntactic structure, it would be difficult to find the more general reasons of ip level. Besides /Hi/ and /$H^*$/ we also used /$Hi^*$/ for the focused syllable in the current study. In emphasized sentences, in general, /$Hi^*$/ appeared in the first or second syllable of a leftward AP in an ip and /$H^*$/ in the final syllable of a rightmost AP of an ip, In contrast to these PAs, /$Hi^*$/ might appear in any syllable in an ip, but not to far from /$H^*$/ because the duration time and length t of plateau realized between /$Hi^*$/ and /$H^*$/ or /Hi/ and /$H^*$/ would make an essential harmonious rhythmic unit, Therefore, the current study determined the duration time and the number of syllables realized in each plateau in an ip level composed of more than one AP. As a phrase constituent structure, there is a practical need for intermediate prosodic units to allow for generalization over the many possible combinations of prosodic patterns that can occur. Further evidence is still needed to analyze and relate the different pitch ranges of the plateau of an ip according to the syntactic structure, to identify the considerable character in the French prosodic hierarchy.

• Journal of the Korea Computer Industry Society
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• v.3 no.12
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• pp.1679-1690
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• 2002

This paper, describe about a generation of a syllable restoration regulation for a post processing of a speech recognition and a decrease of a restoration candidate. It created a syllable restoration regulation to create a restoration candidate pronounced with phonetic value recognized through a post processing of the formula system that was a tone to recognize syllable unit phonetic value for a performance enhancement of a dialogue serial speech recognition. Also, I presented a plan to remove a regulation to create unused notation from a real life in a restoration regulation with a plan to reduce number candidate of a restoration meeting. A design implemented a restoration candidate set generator in order a syllable restoration regulation display that it created a proper restoration candidate set. The proper notation meeting that as a result of having proved about a standard pronunciation example and a word extracted from a pronunciation dictionary at random, the notation that an utterance was former was included in proved with what a generation became.

• Phonetics and Speech Sciences
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• v.7 no.4
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• pp.139-145
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• 2015

The present study investigates the effects of syllable structure and prosodic prominence on the patterns of tonal alignment and scaling of the phrase-initial rise in Seoul Korean. Two syllable structures (Onset (/#CVC.../ as in minsa) vs. No-onset (/#VC.../ as in insa)) and two prominence conditions (Focus vs. Neutral) were considered. Results showed that the alignment of the L and the H tones in the phrase-initial rise was affected by syllable structure but not by prominence. The time of L was before the vowel onset of the first syllable in the Onset condition (i.e., within the onset consonant) and it was after the vowel onset in the No-onset condition. The difference was attributable to the fact that the initial L was anchored at a fixed distance from the phrase boundary, which was about 30ms after the onset of the syllable in both cases. The time of H was also consistently observed about 20ms after the second vowel onset (i.e., /a/ in minsa/insa). Moreover, the rise time (the duration from the L to the H tones) was longer as the local syllable duration became longer due to different syllable structure and prominence conditions. Taken together, the results provide a support for the segmental anchoring hypothesis, which claims that both the beginning and the end of F0 movement are consistently aligned with segmental 'anchor' points with relatively high stability (Ladd et al., 1999). Results also showed that the scaling of the early rise was slightly influenced by syllable structure but not by prominence. The differences between the results of the current study and a previous study (Cho, 2011) are further discussed.

• Phonetics and Speech Sciences
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• v.6 no.4
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• pp.53-65
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• 2014

The current research examines whether pitch contour shapes in North Kyungsang pitch accent contrasts provide a phonetic dimension for phonological discreteness in a mimicry task. Two pitch accent continua resynthesized were created for HH vs. HL and HH vs. LH. To confirm a phonetic dimension for accounting for pitch accent categories in North Kyungsang Korean, the mimicries of speakers of two dialects (i.e., North Kyungsang & South Cholla) were compared. One of the findings showed that, for North Kyungsang speakers, the range of mean f0 peak times was a phonetic dimension undergoing a continuous shift within a stimulus continuum for both HH vs. HL and HH vs. LH. On the other hand, for South Cholla speakers, there were no apparent shifts around categorical boundaries for either HH vs. HL or HH vs. LH. Regarding individual mimicries on f0 peak timing, there are many variations. For HH vs. LH, three North Kyungsang speakers showed a discrete pattern reflecting a shift in phonological categories, but for HH vs. HL, there was no such distinction showing a categorical shift, though there were statistically significant differences for two speakers. Interestingly, one of the North Kyungsang speakers showed a continuous phonetic dimension for both HH vs. HL and HH vs. LH. Lastly, the f0 valley timing did not exhibit a discrete or gradient phonetic dimension for speakers of either dialect. On the basis of these results, what is interesting is that the tonal target such as high tone in North Kyungsang pitch accent categories within the autosegmental-metrical (AM) theory may be realized within individual cognitive systems for representing the interaction of perception and production.

• Phonetics and Speech Sciences
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• v.10 no.4
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• pp.91-99
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• 2018

Korean stops are currently undergoing a tonogenetic sound change, as found in the Seoul dialect in which a merged VOT of aspirated and lax stops induces F0 to be the primary cue for distinguishing the two stops and the lax stops have lower F0 than the aspirated stops. In tonal languages, low tone is produced with a breathy voice. This study investigated whether there are changes in voice quality with respect to the tonogenetic sound change of Korean stops. Two age groups speaking the Seoul dialect participated in this study: five females and six males born in the 1940s and 1950s and nine females and eight males born in the 1980s and 1990s. This study replicated previous findings of VOT and F0 and further examined H1-H2, H1-A1, and H1-A2 to see how they correlate with the sound change. In the older and younger generations, H1-H2, H1-A1, and H1-A2 were significantly lower after the tense stops than after the aspirated and lax stops, but they were not significantly different after the aspirated and lax stops. However, the younger females exhibited some different results for H1-H2 and H1-A2 than the older generation. In the younger females, the H1-H2 mean was higher after the aspirated stops than it was after the lax stops at the vowel onset, and the H1-H2 difference increased at the vowel midpoint. Although there was an inter-speaker variation in the results of H1-H2 and H1-A1, analyses of individual speakers showed that the H1-H2 and H1-A1 were higher after the lax stops than after the aspirated stops in the younger female speakers. These results indicate that lax stops tend to be breathier than aspirated stops in the younger female speakers. They also indicate that changes in voice quality are on Korean stops with tonal sound change, but are still developing.

• The Journal of the Acoustical Society of Korea
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• v.41 no.1
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• pp.45-51
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• 2022

Sound quality evaluation is one of the psychoacoustic methods to measure subjective judgements for sound color. The purpose of this study is to investigate sound quality benefits of bimodal users by comparing sound quality scores between bimodal hearing condition and unilateral cochlear implant(CI) condition as a preliminary study. Thirteen bimodal users and seven unilateral CI users were participated in this study. Audiologists performed pure tone and speech audiometry and measured functional gain and real-ear insertion gain. Subjective assessment of sound quality was followed with four sounds including violin sound, male and female voices, and refrigerator noise. Participants judged the sound quality with six sound quality index. Bimodal users showed mean 0.8 points more sound quality improvements in bimodal condition than unilateral CI condition. Group comparison between bimodal and unilateral CI users showed no differences. A follow-up study of sound quality tools and methods should be considered to evaluate subjective bimodal benefits of cochlear implant users.

• Proceedings of the KSPS conference
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• 1997.07a
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• pp.228-229
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• 1997

1 Intonation is important. It cannot be ignored. To convince students of the importance of intonation, we can use sentences with two very different interpretations according to intonation. Example: "I thought it would rain" with a fallon "rain" means it did not rain, but with a fall on "thought" and a rise on "rain" it means that it did rain. 2 Although complex, intonation is structured. For both teacher and student, the big job of tackling intonation is made simpler by remembering that intonation can be analysed into systems and units. There are three main systems in English intonation: Tonality (division into phrases) Tonicity (selection of accented syllables) Tone (the choice of pitch movements) Examples: Tonality: My brother who lives in London is a doctor. Tonicity: Hello. How ARE you. Hello. How are YOU. Tone: Ways to say "Thank you" 3 In deciding what to teach, we must distinguish what is universal from what is specifically English. This is where contrastive studies of intonation are very valuable. Usually, for instance, division into phrases (tonality) works in broadly similar ways across languages. Some uses of pitch are also similar across languages - for example, very high pitch may signal excitement or urgency. 4 Although most people think that intonation is mainly about pitch (the tone system), actually accent placement (tonicity) is probably the single most important aspect of English intonation. This is because it is connected with information focus, and the effects on interpretation are very clear-cut. Example: They asked for coffee, so I made them coffee. (The second occurrence of "coffee" must not be accented). 5 Ear-training is the beginning of intonation training in the VeL approach. First, students learn to identify fall vs rise vs fall-rise. To begin with, single words are used, then phrases and sentences. When learning tones, the fIrst words used should have unstressed syllables after the stressed syllable (Saturday) to make the pitch movement clearer. 6 In production drills, the fIrst thing is to establish simple neutral patterns. There should be no drama or really special meanings. Simple drills can be used to teach important patterns: Example: A: Peter likes football B: Yes JOHN likes football TOO A: Mary rides a bike B: Yes JENny rides a bike TOO 7 The teacher must be systematic and let learners KNOW what they are learning. It is no good using new patterns and hoping that students will "pick them up" without noticing. 8 Visual feedback of fundamental frequency with a computer display can help students learn correct patterns. The teacher can use the display to demonstrate patterns, or students can practise by themselves, imitating recorded models.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.167-180
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• 2019

The purpose of this study is to find out the results of synesthesia speech training using similar language for shaping audiobook text. The audiobook text for training uses Tolstoy's work, and uses similar language of tone, tone, pose, speed, intonation, accent, and expression of emotions. The participants who ten visually impaired trainee in H library were selected for qualitative research. Based on the research questions raised in this study, the results are as follows. First, synesthesia training, in which more than two senses of the five senses work simultaneously in voice training for audio book text shaping, produced the result by visualizing the original purpose, meaning, and background of the text. Second, the use of similar language was helpful in the whole process of expressing the meaning of sentence and dialogue for audiobook text shaping. In addition, although there were some differences among the study subjects, they found commonalities that considered tone, pose, and intonation important. Third, the visually impaired have advanced sensory aspects and memory, which resulted in rapid acquisition of metabolism and acceptance of transmission during training. In addition, the teacher's friendly behavior was a very important key mediator in the training process.