• Title/Summary/Keyword: 배경 음악

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Interactive Game Designed for Early Child using Multimedia Interface : Physical Activities (멀티미디어 인터페이스 기술을 이용한 유아 대상의 체감형 게임 설계 : 신체 놀이 활동 중심)

  • Won, Hye-Min;Lee, Kyoung-Mi
    • The Journal of the Korea Contents Association
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    • v.11 no.3
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    • pp.116-127
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    • 2011
  • This paper proposes interactive game elements for children : contents, design, sound, gesture recognition, and speech recognition. Interactive games for early children must use the contents which reflect the educational needs and the design elements which are all bright, friendly, and simple to use. Also the games should consider the background music which is familiar with children and the narration which make easy to play the games. In gesture recognition and speech recognition, the interactive games must use gesture and voice data which hits to the age of the game user. Also, this paper introduces the development process for the interactive skipping game and applies the child-oriented contents, gestures, and voices to the game.

Research on Animation Sound (애니메이션 사운드에 관한 연구)

  • Lim, Woon-Ju
    • The Journal of the Korea Contents Association
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    • v.7 no.6
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    • pp.127-134
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    • 2007
  • The biggest purpose of sound is communication with spectator in animation. Animation sound delivers background to spectator more naturally through music age enemy, space enemy of fantastic, realistic work and use rhythm and rhythm according to smoke action of character and character delineation and specific character of character, atmosphere as is intimate to spectator. This research achieved research of connection literature data to grasp the importance of role and function that sound reaches in animation reflex. Because is companionate with reflex at animation sound manufacture process with this, in work whole atmosphere in Naereotibeu's structure progress of the event smoothly connect and focused to if make video and interaction of sound smoothly and deliver to spectator.

Real-Time Implementation of Speaker Dependent Speech Recognition Hardware Module Using the TMS320C32 DSP : VR32 (TMS320C32 DSP를 이용한 실시간 화자종속 음성인식 하드웨어 모듈(VR32) 구현)

  • Chung, Ik-Joo;Chung, Hoon
    • The Journal of the Acoustical Society of Korea
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    • v.17 no.4
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    • pp.14-22
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    • 1998
  • 본 연구에서는 Texas Instruments 사의 저가형 부동소수점 디지털 신호 처리기 (Digital Singnal Processor, DSP)인 TMS320C32를 이용하여 실시간 화자종속 음성인식 하 드웨어 모듈(VR32)을 개발하였다. 하드웨어 모듈의 구성은 40MHz의 TMS320C32 DSP, 14bit 코덱인 TLC32044(또는 8bit μ-law PCM 코덱), EPROM과 SRAM 등의 메모리와 호 스트 인터페이스를 위한 로직 회로로 이루어졌다. 뿐만 아니라 이 하드웨어 모듈을 PC사에 서 평가해보기 위한 PC 인터페이스용 보드 및 소프트웨어도 개발하였다. 음성인식 알고리 즘의 구성은 에너지와 ZCR을 기반으로 한 끝점검출(Endpoint Detection) 침 10차 가중 LPC 켑스터럼(Weighted LPC Cepstrum) 분석이 실시간으로 이루어지며 이후 Dynamic Time Warping(DTW)를 통하여 최고 유사 단어를 결정하고 다시 검증과정을 거쳐 최종 인식을 수행한다. 끝점검출의 경우 적응 문턱값(Adaptive threshold)을 이용하여 잡음에 강인한 끝 점검출이 가능하며 DTW 알고리즘의 경우 C 및 어셈블리를 이용한 최적화를 통하여 계산 속도를 대폭 개선하였다. 현재 인식률은 일반 사무실 환경에서 통상 단축다이얼 용도로 사 용할 수 있는 30 단어에 대하여 95% 이상으로 매우 높은 편이며, 특히 배경음악이나 자동 차 소음과 같은 잡음환경에서도 잘 동작한다.

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The Characteristics of the Popular Culture Contemporary Fashion Shows -Focus on Pret-a-Porter Collections after the Mid of 1990s- (현대패션쇼의 대중문화적 특성(제2보) -1990년대 중반이후 기성복컬렉션을 중심으로-)

  • 장안화;박민여
    • Journal of the Korean Society of Costume
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    • v.54 no.5
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    • pp.1-12
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    • 2004
  • This Study has examined characteristics of the popular culture of the contemporary fashion show by each element as follows The fashion show place expanded its area when It moved its center because of not only the use of ordinary and public friendly place but also adjacent places post-modernism thought. The installation stage was produced by organic combination with the stage using object: The technology for the stage has produced dynamic variability and variety enough to expand the stage. The dramatic element of production technique was introduced to the fashion show to shorten gap with ordinary life and transfer a theme by facial expressions, gesture and pose. etc of a model In addition. its performance element combines other genre freely to be one time and viewers' participating type technique. At the minimalism element, clothing functions moderately as main factor of the fashion show: Technical elements are added to emphasize future Images. At sound tracks and sound effects, the show's overall atmosphere has been revived to remake various genre of music and improve images. At the fashion model, objective appearance boundary is collapsed to expand model concept and make tools of their own. The fashion show has external values of active movement of associated industry as well as economic boost enough to produce jobs, and internal values to provide aesthetic rest and satisfactions to let the ones. who are isolated from recreation values and the society, establish friendly relations with the society

The Effect of Noise and Background Music on the Trunk Muscle Fatigue during Dynamic Lifting and Lowering Tasks (들기/내리기 작업 시 소음과 배경음악이 몸통근육 피로도에 미치는 영향)

  • Kim, Jung-Yong;Shin, Hyun-Joo;Lee, In-Jae
    • Journal of the Ergonomics Society of Korea
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    • v.27 no.3
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    • pp.15-22
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    • 2008
  • The purpose of this study was to define the effects of noise and background music on the trunk muscle fatigue during dynamic lifting and lowering tasks. Six healthy male subjects with no prior history of low back disorders participated in this study. The participants were exposed to two levels of background noise such as 40dB noise and 90dB noise and three levels of background music such as no music, slow music, and fast music. Six different combinations of background noise and background music were played while the participants were performing the lifting task at 15% level of Maximum Voluntary Contraction. Electromyography signals from six muscles were collected and fatigue levels were analyzed quantitatively. In results, the 90dB noise increased trunk muscle fatigue and slowed down the recovery. The trunk muscle fatigue was the lowest when the fast music was played for as background. After recovery, the 90dB noise increased trunk muscle fatigue. The trunk muscle fatigue was the lowest when the slow music was played for as background. The results can be useful to manage the cumulative fatigue of trunk muscles due to background noise and music during repetitive lifting and lowering tasks in industry.

A Study on Convergence Step Sequence through Virtual Reality (가상현실을 통한 융복합 스텝시켄서(Step Squencer) 연구)

  • Oh, Seung-Hwan
    • Journal of Digital Convergence
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    • v.16 no.11
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    • pp.487-493
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    • 2018
  • In recent years, various virtual reality contents have been explosively developed, and the 'chance operation' in previous studies was mentioned. This study tries to implement the Step Sequencer in the virtual reality. Through the theoretical background analysis and case studies of virtual reality, three major experiential values such as Value of Overcoming Constraints, Value of Strengthening Experience, and Value of Creating New Experience were induced. A convergencestep sequencer with the presence and immersion elements was developed and presented so that the music contents divided into 4 areas can be understood easily controlled more conveniently while keeping the identity of the step sequencer. It is expected that various convergence VR contentscan be developed in the future studies.

The Sociocultural Codes for Interpreting Racism in Puerto Rico (푸에르토리코의 인종주의를 읽는 세 가지 사회문화적 코드)

  • Lee, Euna
    • Cross-Cultural Studies
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    • v.44
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    • pp.7-28
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    • 2016
  • This study examines the sociocultural background of negritude by delving into Caseríos, Reggaeton, and $Trigue{\tilde{n}}os$, which are interrelated with the racism deeply embedded in Puerto Rican society. These terms have also been discussed in relation to the ideological discourse of racial democracy, which has caused Puerto Rican people to be blind to silenced inequality and hegemonic racial policies. Caseríos, housing projects for the poor urban class, are targeted by the state - sponsored project 'Mano Dura'. Due to the policing, control and surveillance of this anticrime project, Caseríos became perceived even more as residential communities of violence, poverty, and insecurity generally connected to the stigmatization of blackness. Reggaeton emerged as a mega hit genre of transnational Puerto Rican music in the 2000s, which in turn, drew attention to both the afrodiaspora in New York and the urban musical power in the Island. This musical genre serves to highlight the meaningfulness of black heritage in the national cultural identity of Puerto Rico. $Trigue{\tilde{n}}idad$ has recently become a common racial cultural term that embraces a broader racial paradigm of mestizaje. This term can function as an alternative concept of blackness, but it has not yet been transformed into enough cultural politics to resist ongoing racial democracy. The three terms intrinsically address both the uprooted racism and potential methods of challenging it. This paper argues the necessity of stronger and more responsive cultural politics to defy the pervasiveness and invisibility of racial discrimination in Puerto Rico.

The transmission background and characteristics of Bongyoung and Sogang masked dance of Ongjin county in whagnhae province (황해도 옹진의 본영탈춤·소강탈춤의 전승배경과 연희적 특징)

  • Jung, Hyung-ho;Song, In-woo
    • (The) Research of the performance art and culture
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    • no.20
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    • pp.213-249
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    • 2010
  • Aside from the Kangryung masked dance, a masque dance in the near of Ongjin county in Hwanghae province has been transmitted. This article was written by two researchers to investigate this fact in a new way. Inwoo Song had conducted a focus interview aimed at persons who came from Ongjin to South Korea and Hyungho Chung had been responsible for summarizing and analyzing the interview. Bonyoung and Suyoung were a place in which a navy admiral stayed and a very rich area. These two places and Kangryung invited and perfomed each other. They kept a competition relationship for the performance. For this reason, the masque dance had advanced in this area. Compared to Kangryung masked dance, this masked dance had a difference in the performance order including a lion dance. Malddukyi dance was expressed in detail in the first part and Hanryang dance was performed independently in the middle of the dance. Sangjwa dance among dances was considered important. Also a lively Malddukyi dance was a scale which measured the skill of the dance. Chwiballyi starred in the dance. The mask was made from a paper and had a grotesque ghost face. This dance was played around Dan-oh. The music accompaniment was conducted by professional musician group, "Kyungjanpae", who lived in the vicinity. They had talents such as masked dance, tightrope dancing, tumbling in addition to music accompaniment. Especially, a local shaman took part in the Bonyoung masked dance and leaded an excorcism after the death of Halmi. Also, in the part of the Kwangdaedaegam gut, the shaman and village people put on the mask and danced together. Therefore, a shaman was closely connected with a local masked dance. After the Korean war, Kangryung masked dance was restored but Bongyoung and Sogang masked dance was not transmitted at all. This article will be helpful for completing the script and restoring the Bongyoung and Sogang masked dance.

Study of Sound Art Curating (사운드아트 큐레이팅 연구)

  • Lim, Shan
    • The Journal of the Convergence on Culture Technology
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    • v.8 no.5
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    • pp.171-176
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    • 2022
  • This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

The actual aspects of North Korea's 1950s Changgeuk through the Chunhyangjeon in the film Moranbong(1958) and the album Corée Moranbong(1960) (영화 <모란봉>(1958)과 음반 (1960) 수록 <춘향전>을 통해 본 1950년대 북한 창극의 실제적 양상)

  • Song, Mi-Kyoung
    • (The) Research of the performance art and culture
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    • no.43
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    • pp.5-46
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    • 2021
  • The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.