• Speech Sciences
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• v.6
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• pp.83-101
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• 1999

The aim of this study is to provide a learning method of prosodic rhythm for Taegu North Kyungsang Korean speakers to learn French rhythm more effectively. The rhythmic properties of spoken French and Taegu North Kyungsang Korean dialect are different from each other. Therefore, we try to provide a basic rhythmic model of the two languages by dividing into three parts: syllable, rhythmic unit and accent, and intonation. To do so, we recorded French of Taegu Kyungsang Korean speakers, and then analysed and compared the rhythmic properties of Korean and French by spectrograph. We tried to find rhythmic mistakes in their French pronunciation, and then established a learning model to modify them. After training with the CSL Macro learning model, we observed the output result. However, although learners understand the method we have proposed, an effective method which is possible by repeating practice must be arranged to be actually used in direct verbal communications in a well-developed learning programme. Hence, this study may play an important role at the level of preparation in the setting of an effective rhythmic learning programme.

• 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.

• Phonetics and Speech Sciences
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• v.4 no.1
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• pp.49-54
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• 2012

Recent studies on acoustic correlates of stress in English compounds and English phrases have revealed the difference of changes in acoustic manifestation between English compounds and English phrases with different intonation patterns. However, little effort has been made to compare Korean compounds and Korean phrases in different intonational environments. Therefore, this study focuses on the analysis of acoustic characteristics of Korean compounds and Korean phrases produced in different intonational sentence patterns (Subject, Question, Clause-Final, and Statement-Final). Measurements of vowel duration, intensity (dB) and pitch (in semitones) were compared. The results of the experiment in which 30 native speakers of Korean pronounced Korean compounds and Korean phrases (obtained from $8{\times}30$ sentences) in controlled prosodic and intonational environments reveal clear patterns that distinguish Korean compounds from Korean phrases and support the evidence of acoustic salience for phrases. Duration differences turned out to be a significant cue to distinguish Korean compounds and Korean phrases in all but the Clause Final position. According to the size effect, duration ratio is the most reliable cue to distinguish Korean compounds and Korean phrases followed by the pitch differences between the first syllable and the second syllable and the intensity ratio. Implications for Korean and English intonation training were also discussed.

• Proceedings of the KSPS conference
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• 2000.07a
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• pp.47-58
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• 2000

For the learners of English as a foreign language, oral repetition of model sentences is an e essential practice to improve their listening and speaking abilities of English. Skill training of both speech perception and production is involved in this practice. This paper reports on an observation of production e$\pi$ors in such practice made by Japanese college students in my class. The teaching material used is intended for acquainting the learners with basic English rhythm and intonation p patterns. The students were required to repeat each sentence in a series of conversations after a model reading. Although the vocabulary and expressions were rather limited, I monitored different kinds of errors in their repetition. Putting aside intonation, their difficulties are classified into five types; 1. Omission of words or morphemes, 2. Addition of unnecessary words or morphemes, 3. Replacement of words, 4. Japanization of English sounds, 5. Wrong rhythm caused by improper stress assignment. Accurate listening, especially to weakly stressed syllables and to assimilated sounds, as has often been pointed out, is the most difficult part in perception for them. Japanese sound system interferes in production of English sounds. More often than not their knowledge of grammar or the context does not work at all to guess the words they are hearing

• The Journal of Korea Robotics Society
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• v.13 no.1
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• pp.16-25
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• 2018

The talking head (TH) indicates an utterance face animation generated based on text and voice input. In this paper, we propose the generation method of TH with facial expression and intonation by speech input only. The problem of generating TH from speech can be regarded as a regression problem from the acoustic feature sequence to the facial code sequence which is a low dimensional vector representation that can efficiently encode and decode a face image. This regression was modeled by bidirectional RNN and trained by using SAVEE database of the front utterance face animation database as training data. The proposed method is able to generate TH with facial expression and intonation TH by using acoustic features such as MFCC, dynamic elements of MFCC, energy, and F0. According to the experiments, the configuration of the BLSTM layer of the first and second layers of bidirectional RNN was able to predict the face code best. For the evaluation, a questionnaire survey was conducted for 62 persons who watched TH animations, generated by the proposed method and the previous method. As a result, 77% of the respondents answered that the proposed method generated TH, which matches well with the speech.

• Proceedings of the KSPS conference
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• 2000.07a
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• pp.312-320
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• 2000

This presentation aims to explore some possibility of non-segmental phonetics usually ignored in phonetics education. In pedagogical phonetics, especially ESL/EFL oriented phonetics speech sounds tend to be classified in two criteria 1) 'pronunciation' which deals with segments and 2) 'prosody' or 'suprasegmentals', a criterion that deals with non-segmental elements such as stress and intonation. However, speech involves more dynamic processing. It is non-linear and multi-dimensional in spite of the linear sequence of symbols in phonetic/phonological transcriptions. No word is without pitch or voice quality apart from segmental characteristics whether it is spoken in isolation or cut out from continuous speech. This simply tells the dichotomy of pronunciation and prosody is merely a useful convention. There exists some room to consider dynamic non-segmental phonetics. Examples of non-segmental phonetic investigation, some of the analyses conducted within the frame of Firthian Prosodic Analysis, especially of the relation between vowel variants and foot types, are examined and we see what kind of auditory phonetic training is required to understand impressionistic transcriptions which lie behind the non-segmental phonetics.

• 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.

• Phonetics and Speech Sciences
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• v.3 no.3
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• pp.57-62
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• 2011

Focused items in English sentences are usually accompanied by changes in acoustic manifestation. This paper investigates the acoustic characteristics of $H^*$ in English utterances produced by natives speakers of English and Korean learners of English. To obtain more reliable results, the changes of the acoustic feature values (F0, intensity, syllable duration) were normalized by a median value and a whole duration of each utterance. Acoustic values of sentences with no focused words were compared with those of sentences with focused words within each group (Americans vs. Koreans). Sentences with focused words were compared between the two groups, too. In the instances in which a significant Group x Focus Location (initial, middle and final of a sentence) interaction was obtained, further analysis testing the effect of Group on each Focus Location was conducted. The analysis revealed that Korean learners of English produced focused words with lower F0, lower intensity and shorter syllable duration than native speakers of English. However, the effect of intensity change caused by focus was not significant within each group. Further analysis examining the interaction of Group and Focus Location showed that the change in F0 produced by Korean group was significantly lower in the middle and the final positions of sentences than by American group. Implications for the intonation training were also discussed.

• Phonetics and Speech Sciences
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• v.3 no.4
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• pp.63-70
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• 2011

Recent studies on English $L^*$ (low pitch accent) have revealed the difference of changes in acoustic manifestation between utterances produced by Koreans and those produced by native speakers of English. However, not much effort has been made to compare $L^*$ focused constituents and non-focused constituents. At the same time, most previous works on focus realization are lacking in terms of normalization of acoustic measurement. Therefore, this research is dedicated to comparing the $L^*$ focused items and non-focused items realized by Koreans and Americans and to examining the realization of English $L^*$ produced by the two language groups with improved normalization of the acoustic features (F0, intensity and duration). Within-group analysis comparing focused words and non-focused words showed both Americans and Koreans prolonged the $L^*$ focused syllables but the effect size of syllable lengthening made by Koreans was far less than that made by Americans. Furthermore, significant F0 lowering was found in Americans but not in Koreans. However, the effect of intensity change caused by $L^*$ focus was not significant within each group. The effect of focused words was tested between the two groups revealing that Koreans implemented English $L^*$ focus with higher F0, lower intensity and shorter duration than Americans. In the instances in which a significant Group x Focus Location (initial, middle and final of a sentence) interaction was found, further analysis testing the effect of Group on each Focus Location was conducted. The testing showed that the Koreans produced shorter syllables at initial and middle of a sentence and higher F0 at initial of a sentence than Americans. Implications for the intonation training were also discussed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.119-129
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• 2019

Traditional speech training in acting education focused on the technical aspects of expressing the lines such as finding long/short syllables in the word, exercising articulation of consonants and vowels, and practicing diction etc. There was a limit on this education to transform written words to vivid verbal words. The lines become live when the actor sees the concrete mental images hidden in the words while speaking the lines. I will bring the knowledge of cognitive brain science and NLP(Neural Linguistic Programming) to investigate what mental images are and why mental images are fundamental elements of thought and emotion. In addition to that, I will examine how the muscles of the body react in the process of visualization of delicate mental images (subordinate form) and how to use the responsive muscles to express speaking materials such as intensity, pause, pitch, intonation etc. Conclusion, I will enumerate the obstacles encountered by actors in the course of practicing mental images, and suggest 'activation of breathing' as a thesis of the follow-up paper to eliminate those obstacles. This process, I intend to make mental images to be the concrete and practical information that can be applied to speak the dialogue in the play.