• Journal of KIISE
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• v.43 no.2
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• pp.204-211
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• 2016

In this paper, we propose an automatic melody composition system that can generate a sophisticated melody by adding non-harmony tone in the given chord progression. An overall procedure consists of two steps, which are the rhythm generation and melody generation parts. In the rhythm generation part, we designed new fitness functions for rhythm that can be controlled by a user setting parameters. In the melody generation part, we designed new fitness functions for melody based on harmony theory. We also designed evolutionary operators that are conducted by considering a musical context to improve computational efficiency. In the experiments, we compared four metaheuristics to optimize the rhythm fitness functions: Simple Genetic Algorithm (SGA), Elitism Genetic Algorithm (EGA), Differential Evolution (DE), and Particle Swarm Optimization (PSO). Furthermore, we compared proposed genetic algorithm for melody with the four algorithms for verifying performance. In addition, composition results are introduced and analyzed with respect to musical correctness.

• Journal of KIISE:Databases
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• v.30 no.5
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• pp.507-520
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• 2003

In this paper, an automatic construction method of theme melody index for large music database and an associative content-based music retrieval mechanism in which the constructed theme melody index is mainly used to improve the users' response time are proposed. First, the system automatically extracted the theme melody from a music file by the graphical clustering algorithm based on the similarities between motifs of the music. To place an extracted theme melody into the metric space of M-tree, we chose the average length variation and the average pitch variation of the theme melody as the major features. Moreover, we added the pitch signature and length signature which summarize the pitch variation pattern and the length variation pattern of a theme melody, respectively, to increase the precision of retrieval results. We also proposed the associative content-based music retrieval mechanism in which the k-nearest neighborhood searching and the range searching algorithms of M-tree are used to select the similar melodies to user's query melody from the theme melody index. To improve the users' satisfaction, the proposed retrieval mechanism includes ranking and user's relevance feedback functions. Also, we implemented the proposed mechanisms as the essential components of content-based music retrieval systems to verify the usefulness.

• MALSORI
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• no.44
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• pp.131-143
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• 2002

Music query by humming is a challenging problem since the humming signal inevitably contains much variation and inaccuracy. In this paper, we suggest an algorithm for querying a wanted song from music database by humming its melody. In order to suit or adapt the inaccurate peoples humming, a new melody representation technique is proposed. Our algorithm is basically a pitch and duration information-based one and performs fairly well. 85% of correct query rate of the song is achieved for the top 3 matches when tested with 20 songs.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2014.10a
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• pp.146-149
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• 2014

In this paper, humming based automatic music creation method is described. It is difficult for the general public which does not have music theory to compose the music in general. However, almost people can make the main melody by a humming. With this motivation, a melody and chord sequences are estimated by the humming analysis. In this paper, humming is generated without a metronome. Then based on the estimated chord sequence, accompaniment is generated using the MIDI template matched to each chord. The 5 Genre is supported in the music creation. The melody transcription is evaluated in terms of onset and pitch estimation accuracy and MOS evaluation is used for created music evaluation.

• Speech Sciences
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• v.10 no.4
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• pp.63-71
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• 2003

This study aims to experiment on learning French intonation, based on the visualization of melody, which was employed in the early sixties to reeducate those with communication disorders. The visualization of melody in this paper, however, was used to the foreign language learning and produced successful results in many ways, especially in learning foreign intonation. In this paper, we used the PitchWorks to visualize some French intonation samples and experiment on learning intonation based on the bitmap picture projected on a screen. The students could see the melody curve while listening to the sentences. We could observe great achievement on the part of the students in learning intonations, as verified by the result of this experiment. The students were much more motivated in learning and showed greater improvement in recognizing intonation contour than just learning by hearing. But lack of animation in the bitmap file could make the experiment nothing but a boring pattern practices. It would be better if we can use a sound analyser, as like for instance a PitchWorks, which is designed to analyse the pitch, since the students can actually see their own fluctuating intonation visualized on the screen.

• Proceedings of the Korea Society of Design Studies Conference
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• 2001.10a
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• pp.70.1-70
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• 2001

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.47 no.5
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• pp.109-116
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• 2010

In this paper, we propose a method for extracting predominant melody of polyphonic music based on harmonic structure. Since polyphonic music contains multiple sound sources, the process of melody detection consists of extraction of multiple fundamental frequencies and determination of predominant melody using those fundamental frequencies. Harmonic structure is an important feature parameter of monophonic signal that has spectral peaks at the integer multiples of its fundamental frequency. We extract all fundamental frequency candidates contained in the polyphonic signal by verifying the required condition of harmonic structure. Then, we combine those harmonic peaks corresponding to each extracted fundamental frequency and assign a rank to each after calculating its harmonic average energy. We finally run pitch tracking based on the rank of extracted fundamental frequency and continuity of fundamental frequency, and determine the predominant melody. We measure the performance of proposed method using ADC 2004 DB and 100 Korean pop songs in terms of MIREX 2005 evaluation metrics, and pitch accuracy of 90.42% is obtained.

• Journal of the Korea Society of Computer and Information
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• v.11 no.4 s.42
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• pp.137-145
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• 2006

A user remembers a melody as not the combination of pitch and duration which is written in score but the contour which is composed of the relative pitch and duration. Because of the way of remembering a melody the previous Music Information Retrieval Systems which uses keyboard Playing or score as the main input melody are not easily acceptable in Query By Humming Systems. In this paper, we mention about the considerable checkpoints for Query By Humming System and previous researches. And we propose the feature extraction which is similar with the way of remembering a melody and similarity computation algorithms between melody in humming and melody in music. The proposed similarity computation algorithms solves the problem which can be happened when only uses the relative pitches by using relative durations.

• (The) Research of the performance art and culture
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• no.34
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• pp.383-421
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• 2017

Because the Jitsori and the Hotsori of the Beompae(the Korean Budhhist chant) has no meter and no Jangdan(a Rhythmic cycle of the Korean Music), so it is hard to analyze the melody of the Beompae. Also the melody of the Beompae is different from that of the other Korean traditional music, so studying of the Beompae has been out of the limelight of many scholars, studying the Korean music. But the melody of Beompae had been handed down for thousands of years in Korea, it and other Korean trditional music, had exchanged the impacts each other for a longtime. So I thinks that the Korean Beomapae have shared the similarity of the musical features with the other Korean traditional music. Because the Beompae of the Bulmosan Yeongsanjae on the Geongsangnamdo province has also no meters and no Jangdan, it is difficult to understand, too. But because the Onghoge of Bulmosan Yeongsanjae have a well-regulated melodic structure in comparison with the Beompae of the Seoul province, so called Geongjae Beompae, it seem to be easy to analyze its melody. So I will analyze the melody of Bulmosan Yeongsanjae Onghoge. This analyze should be contribute to investigate the rule of the melodic progress method on the convoluted Beompae melody. Onghoge has been sung on the procedure for Siryeon, Samsiniun(Goebuliun), Jojeonjeoman, Sinjungjakbeop. And the monk for the ritual has sung the chant first to purify the ritual place and to protect the soul. They has called the song, Onghoge a Jitsori at the Bulmosan Yeongsanjae preservation society of the Gyeongnam province. Commonly, there were Jitsori and Hotsori in the Beompae melody, and the melody of Jitsori is longer than that of the Hotsori. So, the melody of Onghoge is lengthened. In other word, the melody of the Onghoge show the lengthened and curved melodic feture of the Beompae very well. Hahn Manyeong, who had studied on the Beompae, Budhhist chant, said that the Hotsori has five letters in a phrase, and there were 4 phrases in a song. And he had insisted that the form of the song, Hotsori, is ABAB. I analyze the melody of the Onghoge by the Hahn's method. I will extract the Wonjeom(a primary tone of a skeletal melodic structure) from the melody of Onghoge, and in the progress of the Wonjeom of Onghoge melodies, I will arrange the repeat of the Wonjeom melody. It is a structural melody of Onghoge. The first phrase of Bulmosan Yeongsanjae Onghoge, 'Pal bu geum gang ho do ryang(八部金剛護道場)' have 4 structural melodies, the second phrase 'Gong sin sog bu bo cheon wang(空神速赴報天王)', the third phrase 'Sam gye je cheon ham le jip(三界諸天咸來集)', the firth phrase 'Yeo geum bul chal bo jeong sang(如今佛刹補禎祥)' have 2 structural melodies each. The structural melodies of Onghoge are 10 in total. And the structural melody of the Onghoge is formed the shape of 'Mi - La - do - La - Mi'. All of the Onghoge melodies is repeated 10 times by the melodic shape. The form of the Onghoge is not ABAB by Hahn, but is 10 times repeat of the shape.

• (The) Research of the performance art and culture
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• no.39
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• pp.701-748
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• 2019

Gwanak-yeongsanhoesang, called as Samhyeon-yeongsanhoesang or Pyojeongmanbangjigok, is played by the musical instrumental organization, Samhyeonyukgak or by a large scale wind ensemble added Sogeum and Ajaeng. This study aims to analyze the structure and form of Piri melody which plays major melody of Sangnyeongsan in Gwanak-yeongsanhoesang, and to examine the relationship between Piri melody and Daegeum yeoneum grasping the structure and function of yeoneum. In Sangnyeongsan of Gwanak-yeongsanhoesang, the criterion for grouping the phrases of Piri melody is yeoneum. Especially, Daegeum yeoneum carries out the function of finishing the phrase of Piri playing the major melody by ornamenting or extending it, and presenting the motives or motive elements of the next phrase while Piri rests. The types of a, b, g, and i in the various shapes of the minimum melodic fragment of Piri are important motive elements that constitute a phrase of Piri melody. Especially, main motive a-type (仲→無) contrasts with b type (林→潢) which forms a strong tension by transposing 2 degrees upward. In addition, a-type gradually descends towards the end of music by changing to g-type (仲→林) or to i-type (太→林) which is 3 degrees below, which is related to the gradual descent cadence of Korean traditional music. A phrase of Piri melody of Sangnyeongsan in Gwanak-yeongsanhoesang consists of a combination of the types a, b, g, i, and cadence (x-type), and each phrase is structured in the repeating tension-relaxation. Looking at the structure of Piri phrases by similar types, each phrase has a logical variation structure through the methods such as omission and addition of notes, and crossing of melodies. The shape of the minimum melodic fragment of Daegeum yeoneum can be divided into a back-yeoneum of a~b types and a front-yeoneum of x1~x3. The x-types ornament Jungnyeo (仲), the cadence tone of Piri melody or are simply used as the extending back-yeoneum, and types a and b have the function of a front-yeoneum that prepares the beginning of the next phrase of Piri melody. The combination types of the minimum melodic fragment of Daegeum yeoneum appear mostly as the shape of back-yeoneum + front-yeoneum. In addition, the front-yeoneum of the type a and b appears independently without back-yeoneum, and the x3 type has a shape of the back-yeoneum without the front-yeoneum. Looking at the structure of Daegeum yeoneum by similar types, it can be seen that Daegeum yeoneum is also composed of a variation structure of omission and addition of notes like Piri melody.