• Journal of the Korea Convergence Society
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• v.12 no.3
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• pp.237-245
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• 2021

The puropose of this study is to propose an effective diction training techniqe that conductors can use in choral communication. In chorus, the phonology of the language used in the lyrics influences the diction. Therefore, Korean lyrics must be pronounced according to Korean phonology. In verbal language, accuracy of pronunciation is important, but when expressing lyrics in a song, both vocalization and diction are important. In particular, chorus is sung by many people, so if the diction is not accurate, the lyrics will not be delivered properly. In this study, the dictions of lyrics frequently used in actual Korean choral songs were systematically analyzed according to Korean phonological rules. As a result of the study, the main factor that makes choral diction difficult is the phenomenon of phonological fluctuations in Korean. In particular, phonological fluctuations often occurred when pronouncing the final sound and when consonants and consonants were combined. A follow-up study intends to contribute to the development of choral communication by presenting a systematic choral diction based on Korean phonology.

• Journal of the Korea Convergence Society
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• v.8 no.6
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• pp.299-309
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• 2017

The study was aimed at finding an effective use of para-languages, which are important to communicate the meaning of the korean choral music. Para-language is a nonverbal communication that contributes to the delivery of a more expressive language. In choral music, vocalization and diction are important para-languages. Until now, the conductors emphasized vocalization rathe than diction while focusing musical expression in chorus. However, vocalization and diction are not distinct. This study suggested effective choral vocalization and diction technique through the convergence of experience as conductor and knowledge of communication theory.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.267-280
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• 2019

The hybrid phenomenon of pronunciation of K-Pop lyrics, which is the diction fusion phenomenon of lyrics, is not a strategic measure for an overseas expansion but a natural formation in the course of history of K-Pop. With the debut of Seo Tai-ji and Boys in 1992, the course of K-Pop changed and settled from ballad to dance music. After three years, the success of a hip hop dance music, 'Come Back Home', opened up a door to Korean Americans who ascertained the potential competitiveness of a hip hop music in K-Pop market. And the writer insists that such advance of Korean Americans into K-Pop market is the origin of the bilingual usage and diction fusion phenomenon of K-Pop lyrics. Therefore, this research will look into the pronunciation system of Korean and English in order to understand the bilingual pronunciation system shown in the lyrics sung by Korean American hip hop singers in the 1990s. Moreover, through Korean pronunciation system, this analysis will discover the main cause of continual acceptance and application of Korean American's broken Korean in the diction of lyrics. Last but not least, this exploration will show the correlation of English pronunciation method of Korean lyrics appeared in K-Pop and the diction of Korean lyrics used by Korean American hip hop singers in late 90s. This research will identify the primary cause of the diction fusion phenomenon in the course of history of K-Pop.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.93-94
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• 2015

본 연구는 보컬을 위한 영어 딕션법을 이중모음 [aɪ], [eɪ]. [ɔɪ], [aʊ], [oʊ]를 중심으로 연구했다. 먼저 영어음성학을 기초로 소리 내는 법을 정리하고 그다음으로 노래할 때 필요한 딕션법을 정리했는데, 이 항목에서는 이중모음을 노랫말로 표현할 때 조음기관의 위치를 어떻게 설정할 것인지를 중점적으로 다뤘다. 각 항목의 예시로 영어노래 악보들을 첨부했으며 악보에 표기된 가사들은 원어, 국제음성기호(IPA), 한글표기 세 가지로 분석하여 노래할 때 참고할 수 있도록 만들었다.

• Proceedings of the Korean Information Science Society Conference
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• 2000.04a
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• pp.460-462
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• 2000

무선 이동통신 네트워크 환경에서는 제한된 네트워크 대역폭과 모바일 호스트(Mobile Host)의 잦은 이동성에 기인한 핸드오프(Hand-Off)로 인하여 다양한 종류의 트래픽(Traffic)에 대한 QoS(Quality of Service)를 보장하기가 용이하지 않다. 그러나, 이렇게 예측하기 힘든 다양한 특징을 가지는 무선 이동통신 네트워크 환경에서도 특정 종류의 트래픽, 예를 들자면 실시간 트래픽(Real-time Traffic)에 대하여 요구된 범위 내에서의 QoS(Quality of Service)가 반드시 보장되어야 한다. 본 논문에서는 모바일 호스트의 이동성을 제공하는 차세대 무선 이동통신 네트워크, 즉 2.5 세대라 불리는 IS-2000 무선 네트워크에서 다양한 종류의 실시간 트랙픽에 대해 QoS를 보장하기 위한 개선된 레져베이션 프로토콜(Advanced Reservation Protocol) 및 GPS 베이스드 (Global-Positioning-System Based)핸드오프 프리딕션 (Hand-Off Prediction) 알고리즘을 제안하였다.

• The Journal of the Acoustical Society of Korea
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• v.40 no.5
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• pp.460-465
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• 2021

In active sonar, time delay estimation is used to find the distance between the target and the sonar. Among the time delay estimation methods for active sonar, estimation in the frequency domain is widely used. When estimating in the frequency domain, the time delay can be thought of as a frequency estimator, so it can be used relatively easily. However, this method is prone to rapid increase in error due to noise. In this paper, we propose a new method which applies weighted dictionary and sparsity in order to reduce this error increase and we extend it to two receivers to propose an algorithm for estimating the time delay between two receivers. And the case of applying the proposed method and the case of not applying the proposed method including the conventional frequency domain algorithm and Generalized Cross Correlation-Phase transform (GCC-PHAT) in a white noise environment were compared with one another. And we show that the newly proposed method has a performance gain of about 15 dB to about 60 dB compared to other algorithms.

• Journal of the Institute of Electronics Engineers of Korea SD
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• v.41 no.5
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• pp.51-60
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• 2004

Due to the improvements in circuit design and manufacturing technique, the complexity of a circuit is growing. Since the complexity of a circuit causes high frequency of faults, it is very important to locate faults for improvement of yield and reduction of production cost. But unfortunately it takes a long time to find sites of defects by e-beam proving if the physical level. A fault diagnosis algorithm in the Sate level has meaning to reduce diagnosis time by limiting fault sites. In this paper, we propose an efficient fault diagnosis algorithm in the logical level. Our method is hybrid fault diagnosis algorithm using a new fault dictionary and additional fault simulation which minimizes memory consumption and simulation time.

• 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.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.343-362
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• 2020

English is a stress-timed language that has a phonetic system in which the speech is restructured by stress changes. On the other hand, Korean is a syllable-timed language in which each syllable is pronounced at almost the same length and intensity, and Korean and English have distinctly different metrical systems in general speech. However, as the language of the lyrics in K-Pop music is mixed in both languages, Korean and English, the Korean lyrics in K-Pop music have a metrical system by stress changes as in English. The writer's view is that the change in the metrical structure of Korean lyrics is inevitable in order to sustain the new Korean Wave. Therefore, in this study, dance music - a major genre of K-Pop music that focuses on rhythm expression - is classified into 1998, 2003, and 2009 according to the changes in the Korean Wave, and the metrical structure of each period is compared and analyzed. Based on this, the current K-Pop metrical structure features are derived and the K-Pop Korean writing method is proposed that deviates from the existing limited writing method which allocates one syllable per note. The author hopes this research will be used as a methodology for writing lyrics in Korean songs in K-Pop, as well as a way to encourage the use of Korean lyrics.

• (The) Research of the performance art and culture
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• no.43
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• pp.357-380
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• 2021

Akjang yoram 『樂章要覽』 is a book that summarizes only the important contents from the Akjang 樂章. Akjang 樂章 is arranged in the first half, and score 樂譜 is arranged in the second half. It seems that Akjang yoram 『樂章要覽』 passed through a total of four stages through the time when the handwriting and the lyrics were written. The presence of various handwriting and traces of modifications means that it has been passed through by several people, so it is not unrelated to the fact that several traces remain on the back of the cover of Akjang yoram 『樂章要覽』. The first part of the Akjang 樂章 is a method of presenting the name and lyrics of the accompanying music based on the ritual procedure, and in particular, the lyrics are written in Chinese characters and Hangeul sounds to improve readability. The score in the second half complies with the ritual procedures, but boldly omits overlapping melodies, and is composed based on the music, and various symbols are used to capture the expression of court music. This structure is a reflection of the direction we practiced to harmonize with the music after prior ritual procedures and diction. This was a device to increase the efficiency of music education and music practice for the court musician. The characteristics of the musical pieces are that they consist of essential musical pieces that must be mastered as musicians. In addition, the name Kim Hyung-sik 金亨植 is noted on the back cover of Akjang yoram 『樂章要覽』, and he was a court musician who was active in the age of King Sunjo 純祖. In other words, the musical pieces included in Akjang yoram 『樂章要覽』 are the core repertoire played by court musicians like Kim Hyung-sik 金亨植. Akjang yoram 『樂章要覽』 is a 'music practice booklet' containing the daily life of court musicians. Akjang yoram 『樂章要覽』 is a booklet designed for the purpose of teaching the court musicians to sing while correctly pronouncing the lyrics in major ceremonies. It is even more noteworthy in that Kim Hyung-sik 金亨植 was an owner. In addition to the fact that Kim Hyung-sik's name remains, and in the practicality of being used by various court musicians reflecting and modifying the changes of the times, it is meaningful in that it contains the path of court musicians who spent a lot of time and time to transmit court music.