• Proceedings of the Korean Society of Computer Information Conference
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• 2023.01a
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• pp.357-360
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• 2023

본 논문에서는 거품 입자의 물리적 속성을 활용하여 가상 시뮬레이션 장면에 맞는 거품 사운드를 합성하고 사운드의 물리적 현상을 기반으로 사운드의 크기를 효율적으로 제어할 수 있는 기법을 제안한다. 현실에서는 사운드의 근원지와 청중의 위치 관계에 따라 사운드 크기의 차이가 나타타는 것을 쉽게 관찰할 수 있다. 본 논문에서는 이 문제를 효율적으로 풀어내기 위해 복잡한 3차원 유체의 움직임을 분석하는 게 아닌, 2차원으로 투영된 입자의 유동을 분석하여 사운드를 합성하고 제어하는 방식을 소개한다. 우리의 방법은 거품 사운드의 크기를 효율적으로 조절할 수 있도록 스크린 공간에서 계산된 거품 입자의 속도와 위치를 활용하여 청중의 위치 관계 및 사운드의 방향성을 확인하고, 이를 통해 거품 사운드를 사실적으로 합성하였다.

• Journal of the Korea Convergence Society
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• v.11 no.11
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• pp.175-182
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• 2020

In this study, we introduced the technique of matching classical music using deep learning to design soundscape that can help the viewer appreciate painting and proposed an evaluation index to evaluate how well matching painting and music. The evaluation index was conducted with suitability evaluation through the Likeard 5-point scale and evaluation in a multimodal aspect. The suitability evaluation score of the 13 test participants for the deep learning based best match between painting and music was 3.74/5.0 and band the average cosine similarity of the multimodal evaluation of 13 participants was 0.79. We expect multimodal evaluation to be an evaluation index that can measure a new user experience. In addition, this study aims to improve the experience of multisensory artworks by proposing the interaction between visual and auditory. The proposed matching of painting and music method can be used in multisensory artwork exhibition and furthermore it will increase the accessibility of visually impaired people to appreciate artworks.

• The KIPS Transactions:PartB
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• v.17B no.1
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• pp.69-78
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• 2010

Spectral modeling synthesis (SMS) has been used as a powerful tool for musical sound modeling. This technique considers a sound as a combination of a deterministic plus a stochastic component. The deterministic component is represented by the series of sinusoids that are described by amplitude, frequency, and phase functions and the stochastic component is represented by a series of magnitude spectrum envelopes that functions as a time varying filter excited by white noise. These representations make it possible for a synthesized sound to attain all the perceptual characteristics of the original sound. However, sometimes considerable phase variations occur in the deterministic component by using the conventional SMS for the complex sound such as whale sounds when the partial frequencies in successive frames differ. This is because it utilizes the calculated phase to synthesize deterministic component of the sound. As a result, it does not provide a good spectrum matching between original and synthesized spectrum in higher frequency region. To overcome this problem, we propose a modified SMS that provides good spectrum matching of original and synthesized sound by calculating complex residual spectrum in frequency domain and utilizing original phase information to synthesize the deterministic component of the sound. Analysis and simulation results for synthesizing whale sounds suggest that the proposed method is comparable to the conventional SMS in both time and frequency domain. However, the proposed method outperforms the SMS in better spectrum matching.

• Korea Science and Art Forum
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• v.24
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• pp.375-388
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• 2016

Integrated analysis of OST and VST of animation Alladin is carried out in this study. The OST is classified into 4 stages (Introduction, Bridge Passage, Climax, and Ending) and their OST and VST characteristics are found for each step. Especially, high dynamic characteristics of OST elements (sound, tonality, tempo, major range, intensity, and instrumentation) and VST elements (image structure, camera shot, camera movement) are found in the Climax stage. Full Shot is highly used up to 47.9% and this helps to show that the two characters become one in the completion stage of love. This is common factor shown in the previous analysis of OST "Beauty and the Beast". It is also found that specific musical instruments are matched to specific characters in "Beauty and the Beast" and high/low position or up/down movement of the object in the screen are matched to specific musical instruments in 'Alladin'.

• The Journal of the Acoustical Society of Korea
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• v.28 no.3
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• pp.229-238
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• 2009

This paper describes a sound engine of Korean traditional instruments, which are the Gayageum and Taepyeongso, by using a TMS320F2812. The Gayageum and Taepyeongso models based on commuted waveguide synthesis (CWS) are required to synthesize each sound. There is an instrument selection button to choose one of instruments in the proposed sound engine, and thus a corresponding sound is produced by the relative model at every certain time. Every synthesized sound sample is transmitted to a DAC (TLV5638) using SPI communication, and it is played through a speaker via an audio interface. The length of the delay line determines a fundamental frequency of a desired sound. In order to determine the length of the delay line, it is needed that the time for synthesizing a sound sample should be checked by using a GPIO. It takes $28.6{\mu}s$ for the Gayageum and $21{\mu}s$ for the Taepyeongso, respectively. It happens that each sound sample is synthesized and transferred to the DAC in an interrupt service routine (ISR) of the proposed sound engine. A timer of the TMS320F2812 has four events for generating interrupts. In this paper, the interrupt is happened by using the period matching event of it, and the ISR is called whenever the interrupt happens, $60{\mu}s$. Compared to original sounds with their spectra, the results are good enough to represent timbres of instruments except 'Mu, Hwang, Tae, Joong' of the Taepyeongso. Moreover, only one sound is produced when playing the Taepyeongso and it takes $21{\mu}s$ for the real-time playing. In the case of the Gayageum, players usually use their two fingers (thumb and middle finger or thumb and index finger), so it takes $57.2{\mu}s$ for the real-time playing.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.104-112
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• 2021

In this study, emotional analysis was conducted based on the basic attribute data of music and the emotional model in psychology, and the result was applied to the visualization rules in the formative arts. In the existing studies using musical parameter, there were many cases with more practical purposes to classify, search, and recommend music for people. In this study, the focus was on enabling sound data to be used as a material for creating artworks and used for aesthetic expression. In order to study the music visualization as an art form, a method that can include human emotions should be designed, which is the characteristics of the arts itself. Therefore, a well-structured basic classification of musical attributes and a classification system on emotions were provided. Also, through the shape, color, and animation of the visual elements, the visualization of the musical elements was performed by reflecting the subdivided input parameters based on emotions. This study can be used as basic data for artists who explore a field of music visualization, and the analysis method and work results for matching emotion-based music components and visualizations will be the basis for automated visualization by artificial intelligence in the future.