• 한국소음진동공학회:학술대회논문집
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• 한국소음진동공학회 1992년도 추계학술대회논문집; 반도아카데미, 20 Nov. 1992
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• pp.7-25
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• 1992

A definition of timbre was proposed which suggested its application to two attributes of sound: "a characteristic which gives a clue to the identify of the sound source, and the quality of sounds which corresponds to the emotive impression timbre are multidimensional. Using semantic differential, the factorial invariance of timbre was investigated and it was found that three factors were dominant: "pleasant", "powerful" and "metallic". The generality of these three factors has been confirmed in Japan. The relation between timbre and physical values was examined. Finally, the usefulness of verbal expression concerning timbre has also been discussed.ing timbre has also been discussed.

• 한국컴퓨터정보학회논문지
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• 제22권1호
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• pp.77-87
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• 2017

In this paper, we propose an analysis of the sound source of virtual orchestral music in detail by using the production technology of sampling and playback, and technical experiments and verification for the most advanced Hollywood Library series of timbre and the timbre production and control technology of Vienna instrument Pro and other softwares, to find their solutions and come up with the best timbre production method for orchestral music from the perspective of the specific design ideas of the productions of virtual orchestral instruments. The so-called virtual orchestral instruments are non-real orchestral instruments, which are based on the imitation of timbre of real orchestral instruments, processed and synthesized through the scientific and technological means, and produced by the use of electronic equipments or computers. The study of virtual timbre production technology is very important, and it is like the study of composers' creative techniques. Not only scientific and advanced timbre production methods can be obtained from the study, but also new ways of future timbre production are expected to be explored.

• 한국멀티미디어학회논문지
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• 제14권11호
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• pp.1507-1515
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• 2011

편종의 소리합성을 위한 연구의 첫 단계로 FFT 분석을 통하여 그 음색을 분석하였다. 현대 편종 음계의 음고는 서양의 12평균율의 음고와 큰 차이가 없었다. 편종의 음색은 시간의 흐름에 따라 변화한다. 타격시 모든 주파수 대역에 걸쳐 생성된 노이즈들은 단시간에 사라지고, 고유 배음만이 남는다. 그 후 높은 주파수 성분의 배음부터 차례로 소멸되고 여음부에는 두개의 배음만이 남는데, 이 때 남은 배음의 주파수에 의하여 맥놀이 현상인 발견된다. 본 연구에서 사용된 편종은 비교적 최근에 제작된 편종으로 추후 고대 편종의 음색에 관한 연구가 병행된다면 편종 원형의 소리 합성이 가능할 것이다.

• 한국음향학회지
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• 제15권5호
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• pp.113-117
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• 1996

기본 주파수 뿐만 아니라 스펙트럼의 형태를 여러 가지 변화시킨 복합음을 이용하여 음색의 유사도에 관한 청취실험을 하였다. 그 결과에서 다차원 척도구성법에 의해 3차원 음색 지각공간을 얻었다. 기본 주파수의 차이는 복합음의 음색을 변화시키는 요인의 하나라는 것을 알 수 있었다.또한 청각계 스펙트럼을 이용하여 음색의 대략적인 지각을 어느 정도 표현할 수 있는가에 대하여 검토하였다. 청각계 스펙트럼 행렬의 작은 특이치를 제외하여 구한 주파수 가중치행렬을 이용하여 재합성한 결과는 실험결과와 거의 일치하였다.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2001년도 Bulletin of The 5th Asian Design Conference International Symposium on Design Science
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• pp.70.2-70
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• 2001

• The Journal of the Acoustical Society of Korea
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• 제25권2E호
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• pp.74-78
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• 2006

This paper proposes an effective method for classifying emotions of the music from its acoustical signals. Two feature sets, timbre and tempo, are directly extracted from the modified discrete cosine transform coefficients (MDCT), which are the output of partial MP3 (MPEG 1 Layer 3) decoder. Our tempo feature extraction method is based on the long-term modulation spectrum analysis. In order to effectively combine these two feature sets with different time resolution in an integrated system, a classifier with two layers based on AdaBoost algorithm is used. In the first layer the MDCT-driven timbre features are employed. By adding the MDCT-driven tempo feature in the second layer, the classification precision is improved dramatically.

• 대한전자공학회:학술대회논문집
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• 대한전자공학회 2003년도 하계종합학술대회 논문집 Ⅳ
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• pp.2415-2418
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• 2003

In this paper, we present a new filter to adjust formant information. Spectral envelope in speech analysis shows information about characteristics of speech and formant information determines speech timbre. So, if formant position is adjusted, we can verify adjusted speech timbre. A presented filter is to adjust this formant. This filter is composed of triangular filters. Using this filter we could locate the formant frequency at target position.

• The Journal of the Acoustical Society of Korea
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• 제16권2E호
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• pp.3-13
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• 1997

The Jing is a traditional Korean percussion instrument which plays a major role in Korean folk music. The distingishing feature of this instrument is its unique, long lasting low tone timbre. In this paper, we investigated the vibro-acoustic characteristics of the Jing. Our attention was focused mainly on findings out the physical variables that determine its unique sound. By understanding the way in which the Jing is manufactured, we were able to realize that the unique manufacturing and especially the tuning process by expert craftsman is responsible for the peculiar timbre the Jing produces. The experimental methods implemented to analyzer the Jing were planar acoustic holography and direct measurements by accelerometers. The results from the holographic method and the direct measurements were in good agreement. It turned out that unlike most percussion instruments which have inharmonic partials, the Jing has harmonic partials which are responsible for its unique low-tone timbre. From the holographic representations of the modes, it is clear that the antinodes are located in the center of the Jing which is coincident with the typical striking location. In addition, intensity maps were constructed so that the specific acoustic energy flow can be visualized. It was also interesting to see the the circulation of energy intensity which corresponds to the rotating mode of the Jing.

• 한국산학기술학회논문지
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• 제14권10호
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• pp.4753-4761
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• 2013

본 연구는 국악기 방사특성을 고려하여 다양한 마이크로폰의 설치 각도와 거리를 설정하여 국악기소리를 녹음한 후 녹음된 데이터를 주파수 스펙트럼과 반복청취를 통하여 음색특징을 분석, 가장 적합한 마이크로폰의 위치 및 녹음위치를 도출하였다. 본 연구의 실험은 대중음악에 사용되어지는 근접 마이크로폰 테크닉을 위한 실험이며 대중음악 녹음 스튜디오에서 이루어 졌다. 이 연구는 녹음 시 가장 적합한 마이크로폰의 위치 제시와 함께 다양한 위치에서 나타나는 음색의 차이를 설명하였다. 연구의 결과는 아름다운 우리 국악기 소리를 정확하게 표현하고 다양한 음색을 표현하기 위한 국악기 근접 마이크로폰 테크닉스로 사용될 수 있을 것이다.

• 대한후두음성언어의학회지
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• 제18권1호
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• pp.56-61
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• 2007

Introduction: Actually classification of classic singers' voice depends on habitual judgment by voice teachers or voice trainer referring to vocal timbre, vocal range and vocal quality. Such judgments, however, may turn out to be incorrect because they are based on subjective opinions. Therefore, more objective methodology is required. Method: Foreign dissertations searched through Pub Med, along with foreign and domestic journals, were reviewed regard ing how singers' voice has been categorized. Results: Vocal range, vocal timbre, voice quality, fundamental frequency of habitual speaking, length of vocal tract, the length from cricoid cartilage to thyroid cartilage's thyroid notch and length of vocal fold, tone of passaggio as well as traditional approaches such as perceptual judgment used by professional singers have been used for categorize the voice classification. Conclusion: To optimize categorizing singers' voice, vocal range, vocal timbre, voice quality, fundamental frequency of habitual speaking, length of vocal tract, the length from cricoid cartilage to thyroid cartilage's thyroid notch and length of vocal fold, tone of passaggio may be totally recommended.