• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.299-307
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• 2020

Since 1964, research and improvement projects on Gugak instruments have been carried out to modernize, standardize, and scientificize them, but their inherent problems of Gugak instruments have failed to produce significant results. It seems that one of the main reasons for this is that the study of instrumental acoustics on Korean traditional instruments was not preceded. In Gugak orchestra, Sogeum used in concertos and solo music is a musical instrument that plays the similar role in Western orchestras due to its clear tone and high sound range. In this paper, the sound colors of Sogeum and flute, which sound similar, were analyzed through the their harmonics distribution and sound structures of the instruments. This showed that the overall tone was richer and softer than Sogeum, and that the tones of the two instruments sounded similar due to the similar composition of harmonics. In the future, it is hoped that musical instrument acoustical researches on various Gugak instruments will continue to help popularize and globalize Gugak instruments.

• The Journal of the Acoustical Society of Korea
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• v.27 no.3
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• pp.111-118
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• 2008

In this paper, we propose a new automatic taxonomy generation algorithm for the audio genre classification. The proposed algorithm automatically generates hierarchical taxonomy based on the estimated classification accuracy at all possible nodes. The estimation of classification accuracy in the proposed algorithm is conducted by applying the training data to classifier using k-fold cross validation. Subsequent classification accuracy is then to be tested at every node which consists of two clusters by applying one-versus-one support vector machine. In order to assess the performance of the proposed algorithm, we extracted various features which represent characteristics such as timbre, rhythm, pitch and so on. Then, we investigated classification performance using the proposed algorithm and previous flat classifiers. The classification accuracy reaches to 89 percent with proposed scheme, which is 5 to 25 percent higher than the previous flat classification methods. Using low-dimensional feature vectors, in particular, it is 10 to 25 percent higher than previous algorithms for classification experiments.

• The Journal of the Acoustical Society of Korea
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• v.30 no.4
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• pp.197-206
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• 2011

In this paper, we proposes the virtual sound source panning algorithm in the multichannel system. Recently, High-definition (HD) and Ultrahigh-definition (UHD) video formats are accepted for the multimedia applications and they provide the high-quality resolution pixels and the wider view angle. The audio format also needs to generate the wider sound field and more immersive sound effects. However, the conventional stereo system cannot satisfy the desired sound quality in the latest multimedia system. Therefore, the various multichannel systems that can make more improved sound field generation are proposed. In the mutichannel system, the conventional panning algorithms have acoustic problems about directivity and timbre of the virtual sound source. To solve these problems in the arbitrary positioned multichannel loudspeaker system, we proposed the virtual sound source panning algorithm using multiple vectors base nonnegative amplitude panning gains. The proposed algorithm can be easily controlled by the gain control function to generate an accurate localization of the virtual sound source and also it is available for the both symmetric and asymmetric loudspeakers format. Its performance of sound localization is evaluated by subjective tests comparing with conventional amplitude panning algorithms, e.g. VBAP and MDAP, in the symmetric and asymmetric formats.

• Journal of Music and Human Behavior
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• v.9 no.1
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• pp.1-19
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• 2012

The purpose of this research was to investigate the musical activities and musical preference according to coping strategy of university students. The survey was conducted to 200 students and the data of 168 was analysed. The results of the research are as follows. First, the number of problem-solving coping was the highest, and the number of emotional-alleviate coping was the lowest. And coping strategy between male and female student showed a significant difference. Second, music listening was the most preferred activity. There was a significant difference in the most preferred activity between male and female students, also between active and inactive coping strategy. However, the most doing activity between music major students and non-music major students showed a significant difference. In addition, there was a significant differences in the purpose of playing instruments between male and female students and among academic year. Third, Korean-pop was the most preferred genre. Result showed a significant difference in preferred musical elements between male and female students. There were genre, melody, loudness, and theme of lyric. Meanwhile, preferred musical elements between active and inactive coping strategy showed a statistical differences. There were rhythm, timbre, and medium of listening. Finally, there were statistical differences in the preferred harmony and familiarity between music major students and non-music major students.

• (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.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.291-302
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• 2019

In this paper, we first looked at the structures and characteristics of the musical instrument to study the tone of haegeum, which is the only Korean musical instrument made using all the eight ingredients that make gugak instruments, and which is now the most frequently used in fusion gugak or pop music production sites. In addition, for the comparison of the various tones of the haegeum, under the same conditions, we analized how the haegeum's tone changes according to the types of Wonsan, which works as the bridge of the haegeum. Four Wonsan made of Park, Rosewood, Maple and Black Dan were used in the experiment, and low, medium, and high notes were recorded to compare the inner and outter open strings and the sound ranges. By doing so, we looked at the composition of frequency characteristics and the distribution and analyzed the timbres according to the types of Wonsan. Based on this study, it is expected to help the performers in the field choose the proper Wonsan according to each harmony part, rather than just to their tastes when performing Gugak orchestral music or haegeum ensemble. We also look forward to playing haegeum and using the timbres in various combinations of Wonsan that suit the genres at the pop music industry.