• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.470-480
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• 2010

Although e-Learning contents contain audio materials as well as visual materials, research on the design of audio materials has been focused on visual design. If it is considered that non-speech sounds which are a type of audio materials can promptly provide feedbacks of learners' responses and guide learners' learning process, the systemic design of non-speech sounds is needed. Therefore, the purpose of this study is to investigate the learners' perceptions toward non-speech sounds contained the e-Learning contents with multidimensional scaling method. For this purpose, the eleven non-speech sounds were selected among non-speech sounds designed Korea Open Courseware. The 66 juniors in A university responded the degree of similarity among 11 non-speech sounds and the learners' perceptions towards non-speech sounds were represented in the multidimensional space. The result shows that learners perceive separately non-speech sounds by the length of non-speech sounds and the atmosphere which is positive or negative.

• Cartoon and Animation Studies
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• s.15
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• pp.221-235
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• 2009

Most of the sounds used in animated films are artificially made. A large number of the sounds used are either actual sound recordings or diversely processed artificial sounds made with professional sound equipments such as synthesizers. One animation episode contains numerous amounts of sounds, resulting in significant sound production costs. These sounds have full potential to be reused in different films or animations, but in reality we fail to do so. This thesis discusses ways these sound sources can be acknowledged as added new values to the present market situation as a usable 'digital content'. The iTunes Music Store is an American Apple company product that is acknowledged as the most successful digital content distribution model at the time being. Its system's sound library has potential for application in the Korean sound industry. In result, this system allows the sound creator to connect directly to the online store and become the initiative content supplier. At the same time, the user can receive a needed content easily at a low price. The most important part in the construction of this system is the search engine, which allows users to search for data in short periods of time. The search engine will have to be made in a new manner that takes into consideration the characteristics of the Korean language. This thesis presents a device incorporating the Wiki System to allow users to search and build their own data bases to share with other users. Using this system as a base, the Korean animation sound library will provide development and growth in the sound source industry as a new digital sound content.

• 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.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.137-138
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• 2016

<2001 스페이스 오디세이(2001 : A Space Odyssey, 1968)>는 인간이 달에 도달하기 이전에 만들어진 영화임에도 불구하고 우주에서의 사운드를 현실적으로 표현하려고 노력했다. 우주에서 주인공이 우주복을 입었을 때 숨소리가 과장되게 들리게 함으로서 청자들에게 새로운 공간에 대한 사운드를 제시했고 소리가 전달되지 않는 우주의 특성을 활용해 과감하게 '사일런스(침묵)'를 앰비언스 개념으로 사용함으로서 이후에 나온 우주를 배경으로 한 SF영화에 음향적으로 많은 영향을 끼쳤다.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.18-29
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• 2014

was somewhat of a turning point for Godard, allowing the Novelle Vague auteur to address for the first time the current political climate of the world in one of his film, and this film is a film of constant questioning and is, in the truest sense, a 'talking film'. In this paper, I attempt to analyse the sound of this film to interpret the complicated sound structure in . Godard was aware of the power of sound and experimented diverse methods such as 'direct sound', interviewing using the effect of on-sound and off-sound, multiple narration, reading a text aloud, sound effect and music which are controled and selected by himself in this film. , with its largely improvised dialogue, was a work of journalism which was recorded a generation of Marx Coca-Cola.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.50-59
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• 2014

A basic role of sound is to give realism to the expressions on the screen or to highlight the images using exaggerated effect as a supporting role. In that way, sound effect makes it possible for audiences to naturally understand realistic images. However, the sound effect in movies is not real 'sound' in fact. Rather, sound effect is a separate cinematic tool that needs a separate direction to manipulate sounds in order to create appropriate effects for particular intention in the movie. While watching the movie, the audiences go through unique experience where they comprehend the manipulated world as the real world. Therefore, direction for sound effect must help deliver realism to the images by auditory factors. Thus, effective sound direction shall have precise and independent design for identification, reason and eurythmical match with the screen and occurred sounds shall be designed based on the subjective listening point to see who is actually listening.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.626-637
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• 2013

Film sound should be analyzed based upon the profound understanding of sound design process and the principle behind it. Lack of this knowledge prevents the research from having the comprehensiveness and concreteness. This study aims to reaffirm the important role of sound design in filmmaking while also investigating the narrative functions of sound design. The role of sound design as a cinematic technique was defined as creating audio-visual experience with a collection of information, emotion, and ideas organized and presented in the sound narrative of films. Each process of sound design, dialog, ambience, Foley, and sound effects, was proved to be performing this role as a result of a case study of various narrative films. The narrative functions of sound design was able to be defined as well.

• The KIPS Transactions:PartB
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• v.14B no.4
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• pp.273-280
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• 2007

This paper presents a new 3D sound toolkit called $EVE-Sound^{TM}$ that consists of pre-processing tool for environment simplification preserving sound effect and 3D sound API for real-time rendering. It is designed so that it can allow users to interact with complex 3D virtual environments by audio-visual modalities. $EVE-Sound^{TM}$ toolkit would serve two different types of users: high-level programmers who need an easy-to-use sound API for developing realistic 3D audio-visually rendered applications, and the researchers in 3D sound field who need to experiment with or develop new algorithms while not wanting to re-write all the required code from scratch. An interactive virtual environment application is created with the sound engine constructed using $EVE-Sound^{TM}$ toolkit, and it shows the real-time audio-visual rendering performance and the applicability of proposed $EVE-Sound^{TM}$ for building interactive applications with complex 3D environments.

• Journal of Digital Contents Society
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• v.17 no.5
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• pp.391-400
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• 2016

The purpose of this study is to reassert the important role of sound design in creating narrative space in films. The main focus is on re-interpreting Chion's sound space composition as a narrative structure. The sound design process has been analyzed to find that the physical properties of sound are purposely manipulated to create the layers of sound to be perceived by the audience in the same way as human perception and cognition of the actual reality work, eventually to create the cinematic reality. The hierarchy of the layers is determined by the importance of the narrative information contained in each sound, with the higher layers being appropriate to convey the information of the narrative, and the lower layers being efficient to deliver the emotion to the audience. With this idea, each of the Chion's space composition is explained as a distinctive area in telling a story with the separate narrative role from the others.

• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.427-435
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• 2019

Soundscape provides important resources to understand social and cultural aspects of our society, however, it is still its infancy to study on the research framework to record, conserve, categorize, and analyze soundscapes. Topic modeling is an automatic approach to discover hidden themes that are disperse in unstructured documents, thus topic modeling is robust enough to find latent topics such as research trends behind a collection of documents. The purpose of this paper is to discover topics on current soundscape research based on topic modeling, furthermore, to discuss the possibilities to design a metadata system for sound archives and to improve Soundscape Ontology which is currently developing.