• Journal of the Korea Society of Computer and Information
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• v.22 no.1
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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.

• Journal of Korea Multimedia Society
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• v.14 no.11
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• pp.1507-1515
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• 2011

As the first step in research for sound synthesis of Pyungjong, timbre was analyzed by FFT analysis. There was no significant difference in the pitch of scale between modern Pyungjong and western twelve-tone equal temperament scale. The timbre of Pyunjong chagnes over time. When striking Pyunjong, the noises to be generated across all frequencies will disappear in a short period of time, and a unique partial only is left. Then it disappear from the partial of high frequency components in order, and two partials remain at release time. At this time, the beating is occurring by the frequency of the remaining partial. Pyungjong used in this study is relatively a recently manufactured Pyungjong, and for original sound synthesis of Pyungjong, a study of ancient Pyungjong's timbre should be additionally conducted later.

• The Journal of the Acoustical Society of Korea
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• v.15 no.5
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• pp.113-117
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• 1996

We study the similarities in timbre by varying both the form of the spectrum and the fundamental frequencies. A three dimensional configuration was drawn as a result of multidimensional scaling analysis. This configuration suggests that the difference in fundamental frequencies is one of the factors that change the timbre of complex tones. Also we considered the possibility of expressing the broad perception of timbre using auditory spectrum. The experimental result is well agreed with the calculation using the frequency weight matrix excluding the small value of auditory spectrum.

• The Journal of the Acoustical Society of Korea
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• v.25 no.2E
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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.

• Proceedings of the IEEK Conference
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• 2003.07e
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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.

• Journal of Korea Multimedia Society
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• v.13 no.11
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• pp.1728-1738
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• 2010

Pyeon-gyeong, similar to Chinese Bianqing, is a Korean traditional lithophone with multiple stone chimes. Due to the temperature- and humidity-insensitive characteristics of its material, pumice stone, the instrument provides highly stable pitch and therefore has played a key role in Korean traditional court music. By reason of having absolute pitch, it is an important part of the research on the standard pitch and scale system of korean traditional music, but as an instrument, the study on the sound characteristics and worth is not making satisfactory progress, to date. This research is an analysis paper for physical modeling synthesis of pyeongyeong. Through this study, we will determine the original characteristics of the timbre of pyeongyeong as a unique korean traditional percussion, and investigate these characteristics objectively, based on the music acoustics by scientific analysis. Furthermore, this study will be used as an important basic material for physical modeling synthesis of pyeongyeong, and also make a huge contribution to the cultural applicability by the vitalization of graft onto the various artistic creation field, through the comprehension of the timbre of pyeongyeong as an instrument.

• The Journal of the Acoustical Society of Korea
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• v.19 no.1E
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• pp.38-42
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• 2000

In this paper we studied the reduced subjective timbre space of time-varying tones as well as steady state tones. 45 modified test tones were constructed from the original violin tone in consideration of 4 physical factors: spectrum envelope, inharmonicity, time-varying spectrum and time reversal. The semantic differential (SD) method was used in the listening test. According to the factor analysis, the adjectives can be factorized into 4 groups. The first factor is characterized by the adjectives, 'free', 'broad', 'deep', 'rich', 'strong' and 'reverberant', the second by 'tenor', 'clear', 'bright', 'light' and 'sharp', the third by 'easy', 'smooth', and 'solid', the fourth by 'warm' and 'full'. The first factor, 'richness', seems to be dependent upon the time-varying characteristic of a tone. The second factor, 'sharpness', is shown to play an important role in a time-varying tone as well as in a steady state tone.

• The Journal of the Acoustical Society of Korea
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• v.26 no.2E
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• pp.56-62
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• 2007

This paper presents the automatic music emotion classification on acoustic data. A three-level structure is developed. The low-level extracts the timbre and rhythm features. The middle-level estimates the indication functions that represent the emotion probability of a single analysis unit. The high-level predicts the emotion result based on the indication function values. Experiments are carried out on 695 homogeneous music pieces labeled with four emotions, including pleasant, calm, sad, and excited. Three machine learning methods, GMM, MLP, and SVM, are compared on the high-level. The best result of 90.16% is obtained by MLP method.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.219-227
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• 2019

In this paper, we proactively looked at the structure and characteristics of each instrument in order to compare and analyze the sound colors of the western violin, chinese erhu and korean haegeum, which are representative bow string instruments. Also, many performers have simply been unable to fully explain how the violin is rich in pitch and the haegeum has a unique tone. Also, many performers thinks that violin sounds rich just because it has many overtones and have been unable to fully explain how haegeum makes unique tone. While previous research data show that most instruments are studied and published by analyzing their own frequencies or related cases of acoustic studies, this study provides a visual look how the harmonics composition, which determines musical instruments' timbres, consists of and suggests data specifically by analyzing each sound pressure of integer multiple overtones so that the structure of instruments' unique timbre can be understood. Based on this, we hope that it will be of considerable help to the development of virtual musical instruments of korean traditional instruments, which are relatively small compared to western virtual instruments, by reproducing instrument sounds through the synthesizers in the future.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.229-236
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• 2020

In this paper, the tone of Daegeum, one of the most representative wind instruments of our country, was analyzed. Daegeum is widely used as Jeongak Daegeum and Sanjo Daegeum, which are played in royal and wind music, and Sanjo Daegeum is mainly played in Sanjo, Sinawi and folk music. The reason why the two pieces of music are being played in different music genres is due to the improvement of the length of the pipe and the location of the finger holes, allowing the Sanjo Daegeum to perform faster than Jeongak Daegeum, apply various techniques, and make the choice of musical instruments harmonized with music by making the difference in tone. For timber analysis of Jeongak Daegeum and Sanjo Daegeum, the composition of the overtones was visually verified through Spectrogram and Spectrum Analizer, in which the results of recordings were recorded by playing octave low, flat, and octave high positions with the same power. From this, Jeongak Daegeum, which is rich in low-pitched sound, harmonizes with solemn music such as royal music, and Sanjo Daegeum, which has a relatively clear high-pitched sound, is well suited to bright music such as solo music.