• Proceedings of the KSLP Conference
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• 2003.11a
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• pp.184-186
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• 2003

배경 : 전문 음성 사용자(professional voice user)중 성악인들은 특히 음성문제에 관심이 많으며, 전문 성악인이나 성악전공학생들은 항상 가장 좋은 발성으로 아름다운 연주를 하기 위해 노력한다(이정희 1992 ; 황화자 1999 ; Appleman 1986). 목적 : 병변이 없는 정상 성악인과 병변이 있는 성악인의 경우, 음성언어치료사가 행할 수 있는 치료접근법을 알아보고자 한다. (중략)

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.10 no.2
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• pp.124-129
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• 1999

Background and Objectives : Classical singers are capable of masking abnormalities due to their high level of training and may present with apparent technical deficits rather than with obvious dysfunction. Therefore, some variations from expected normal laryngeal behavior may be present in trained classical singers. Consequently it is important for otolaryngologist to obtain a baseline assessment of their laryngeal function. Materials and Methods : Acoustic measurement including strobovideolaryngoscopy from 50 classically trained singers was done for this study, which was compared with the data from 20 untrained adults. Results and Conclusion : This study showed that 50-healthy asymptomatic classical singers revealed an incidence of 50% abnormal strobovideolaryngoscopic findings, but their acoustic data was within normal limit despite the abnormal laryngeal findings. Therefore the author recommends that the classical singers need objective voice analysis and their baseline data should be used for the accurate diagnosis of the cause of voice dysfunction In classical singer whose baseline laryngeal behavior may be unusual.

• Proceedings of the KSLP Conference
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• 1998.11a
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• pp.198-198
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• 1998

성악발성 시 전문적인 성악가와 비전문가에서 성대외근의 수축 경향을 파악함으로써, 성대외근이 성악발성에 갖는 중요성을 파악하고, 얻어진 자료를 토대로 성악발성 숙련도의 판정이나 성악인의 음성치료에 활용할 수 있는 가능성을 알아보고자 하였다. 서양음악을 전공한 지 10년 이상 된 20-30대의 소프라노 4인을 성악가 군으로, 비전공자 여성 4인을 대조군으로 하여, E3 부터 C6 내의 9개 음을 낮은 음부터 시작하여 차례로 /이/ 모음을 수초간 발성하게 하였다. Multi-Mode Program (UP) Plus (Nicolet, Viking IV)와 1개 채널의 음성신호 및 3개 채널의 surface electrode를 이용하여 발성 시설골상근, 설골하근, 견갑설골근의 활동전위를 측정한 뒤, 단위시간 당 근전위 진폭의 합을 구하여 두 군간에 그 양상을 비교하였다. (중략)

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.17-26
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• 2019

In order to study the role of legato to singers in vocal music performance, this paper adopts the methods of demonstration and induction and comparison to analyze the three factors affecting the creation of legato in performance and propose solutions. When thinking about the influence of singing skills on legato, singers will be able to solve such issues as breathing, articulation and vocal register, thus improving their singing skills. When thinking about the influence of singing language on legato, singers will make an in-depth study on the phonetic and structural features of the language to reach legato in language, thus promoting the in-depth study of singers on the singing language. When thinking about the influence of singing emotion on legato, singers will solve the problem of emotional coherence from two aspects of thought and emotion to create legato of emotion, thus promoting the expression of singers' emotion in the work. Obviously, legato plays an important role in improving singers' singing skills, singing language and singing emotion. The aim of the paper is to encourage singers to further deepen their attention to legato in vocal music performance and make better use of legato in singing.

• The Journal of the Acoustical Society of Korea
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• v.19 no.5
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• pp.60-64
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• 2000

This paper studies the relation between the Fundamental Frequency (F0) and the formants of simple vowels in the Korean language sung by sopranos. It is hewn that, in soprano singing, the F0 of a vowel affects its formants. For this reason the formants of simple vowels sung by sopranos must be considered in all over the soprano singing range. We recorded the five simple vowel sounds /a/, /e/, /i/, /o/, and /u/ sung by five professional sopranos from A3 (220.0Hz) to A5 (880.0Hz) in the major scale and compared the formants of the sung vowels with those of spoken vowels. We observed that F1 and F2 of sung vowels were stable in low F0 (lower than B4) but in high F0 (higher than B4), F1 and F2 lost their stabilities. In the case of /a/, /o/, and /u/, the slope of the F1-F2 graph was about 2.6, and those of the F0-F2 and F0-Fl graphs were 2.2-2.5 and 0.7-1.0, respectively. And as the F0 increases, the F1 and F2 of sung vowels /a/, /e/, /i/, /o/, and /u/ were almost the same. At A5, the Fl and F2 of five sung vowels had the same values. This results suggest that the relation between the F0 and the formants be used to synthesize soprano's singing vowels.

• Proceedings of the KSLP Conference
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• 2002.06a
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• pp.201-201
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• 2002

• Proceedings of the KSLP Conference
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• 1998.11a
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• pp.181-181
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• 1998

목적 : 성대결절이 있는 서양음악을 전공한 성악도들의 발성시 음향학적 특징과 문제점을 알아보고자 하였다. 대상 및 방법 : 음악대학교 성악과에서 소프라노를 전공하는 학생으로, 음성장애로 인하여 치료를 받은 과거력이 없으면서 성대화상술 검사상 성대결절이 확인된 18세부터 25세 사이의 여학생 10명을 대상군으로 하고, 성대결절이 없는 성악도 20명을 대조군으로 하여 평소 발성상의 문제점과 연주시의 문제점에 대한 설문조사와 음성분석을 시행하였다. (중략)

• Proceedings of the Acoustical Society of Korea Conference
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• 1998.06e
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• pp.77-80
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• 1998

본 연구는, 현재 대학에서 성악을 전공하고 있는 2-3학년 재학생들과, 합창단 등에서 활동하고 있는 졸업생들이 성악적으로 '아'를 다른 피치에서 발음할 때, 그 발성의 음향학적 특징들을 보여주고 있다. 연구결과, 졸업생들의 경우 성악발성 포르만트의 형태는 피치가 높아지더라도 Speech시의 형태를 그대로 유지하고 있었다. 그러나 재학생들의 경우에는 피치가 높아지는 동안 성악발성 포르만트상에 크고 작은 변화가 있었는데, 특히 여성파트에서 f1, f2, f3의 주파수가 C5, D5의 음역에서 갑자기 낮은 주파수로 떨어지는 현상을 보였다. 이는 성악가들이 말하는 '팟사지오' 음역을 나타내는 것으로 보이며 남성보다는 여성에게서 그 숙련도의 차이가 많은 것을 보였다 [10]. 또한, 피치가 높아질수록 포르만트이외의 많은 배음열들이 재학생, 졸업생 양쪽 모두에게서 나타났는데 이는 고음부에서 울리는 특정한 발성기관의 영향으로 보인다[3].

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.11 no.1
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• pp.32-38
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• 2000

Background and Objectives : Voice therapy has been used as a viable adjuvant to surgery and pharmacological therapy fir the management of voice disorders. The singing voice features a special brand of emotion, intensity, and energy so successful therapeutical approach requires the doctor is able to involve himself into the physical and psychic condition and artistic usage of the voice. The purpose of this study was to evaluate the effect and utility of singing therapy as an initial treatment for classically trained singers with voice disorders. Material and method : Twenty-one male and fifty-five female classic singers with voice disorders were treated with singing therapy. At first, abdominal breathing, resonant phonation, and relaxation method was trained, then after accessing each patient's singing abilities, treatment methods for each specific problems was applied. The results were compared according to age, sex, treatment duration, part, laryngeal pathology, patient subjective evaluation, perceptual evaluation of voice, and maximal phonation time. Results : Patients subjective evaluation, perceptual evaluation, pathologic findings of larynx, maximal phonation time showed superior results after singing therapy. Conclusion : Singing therapy changes the mode of respiration and phonation and enhances the vocal function and improves the laryngeal pathology, The result of this study indicate that singing therapy is an effective treatment method that laryngologists can use for classical singers with voice disorders.

• Proceedings of the KSLP Conference
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• 2017.04a
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• pp.105-105
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• 2017