• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.9 no.2
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• pp.109-114
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• 1998

Background and Objectives : Aerodynamic investigation is valuable information about the efficiency of the larynx in translating air pressure to acoustic signal. The normal data of the Korean has been reported, but there is no basic data of professional western classical singers who have learned how to control the flow of expiratory air for singing. The purpose of this study was to investigate the normal aerodynamic data of korean professional western classical singers and compare this with that of the Korean Materials and Methods : 50 Korean western classical singers were studied. Expiratory lung pressure combined with measurements of the mean air flow rate, voice frequency and intensity were measured with the aerodynamic test using airway interruption method. These data were compared with normal data of untrained normal adults. Results and Conclusions : The voice frequency and the voice intensity were increased in the western classic singers, but the mean air flow rate and the expiratory air pressure of the classical singers were within the same range of the untrained normal adults. This result means that western classical singers can change the loudness and pitch with a little increased or decreasing the mean air flow and the expiratory air pressure.

• Speech Sciences
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• v.4 no.2
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• pp.115-139
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• 1998

The aim of this study is to develop an the assessment program for the singing voice which is based on the physiological and acoustic methods. 22 sopranos, 6 mezzo sopranos, 4 tenors and 4 baritones participated to these experiments. The results measured by Visi-Pitch, spectrograph, and strobo-scope can be summarized as follows: (1) The maximum phonation time of singers must over 14 second higher with one deep inspiration (2) The parts classified by vocal range using Visi-Pitch: soprano between 167Hz $\sim$1,190Hz, mezzo soprano between 146Hz$\sim$956Hz, tenor between 75Hz$\sim$503Hz and baritone between 73 Hz and 385 Hz. (3) Longitudinal glottal size of singers decreases depending on the high-low pitch variation while lattitudinal glottal size increases depending on high-low pitch variation. (4) Well-trained singers show over 5 times the vibrato rate of untrained singers and regular pitch variation during measured periods. Vibrato's intensity do not over 3 dB. (5) Singer's formant indicates professional voice depending on the each parts: 3,207 Hz for soprano, 3,057 Hz for mezzo soprano, 2,754 Hz for tenor and 2,560 Hz for baritone.. (6) $F_1$ of singing voice is higher than that of speech while $F_2\;and\;F_3$ of singing voice are lower than those of speech.

• (The) Research of the performance art and culture
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• no.33
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• pp.97-128
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• 2016

According to the findings of the study, the music composition of the mask play is deeply related to the main characteristics of the scene. The first scene of the play starts with the Byeoksa dance. This particular dance part represents the evil spirit expel ritual. The instrumental accompaniment like and are played for the dance. The last part of the play starts with the Halmi and Yeonggam scene. This scene is played in both the instrumental and vocal music. For the instrumental part , for the vocal part and songs are played. and songs are played on the part of the Halmi's funeral ceremony scene. The instrumental and are played in various scenes for the accompaniment of the dance part. The musical structure of the mask play is flexible. This kind of flexibility of scene structure mainly concerned with the way of musical composition. The main structure of the mask play can be classified into two main styles according to the allocation of the vocal music. In first style, the vocal music is evenly dispersed. In second style, the vocal parts are concentrated in the rear section. As I mentioned earlier, no logical association is found in the matter of the scene arrangement. A scene arrangement has a deep connection with the arrangement of the music in each scene. In conclusion, the mixed arrangement of the scene in mask play is mainly concerned with the matter of the music arrangement in order to maintain the tension of the drama.

• 월간 기계설비
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• no.12 s.221
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• pp.24-27
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• 2008

정승일 회장을 아는 사람들은 그를 '르네상스맨'이라고 부른다. 설비건설업계 뿐만 아니라 음악을 비롯한 다양한분야에서 다재다능한 재능을 보여주었기 때문이다. 정승일 명예회장은 대한설비건설협회 제5대 회장이자, 금탑산업훈장 수훈의 주인공이며, 국립합창단 이사장, 매년 연말이면 열리는 솔리스트앙상블 대표이기도 한다. 또 11월14일에는 한국산업경영시스템학회가 수상하는 제 1회 '산업공학을 빛낸 경영인'상을 수상했다. 이런 그가 (재)세일음악문화재단을 설립하고 지난 11월 1일 호암아트홀에서 설립 기념음악회를 개최했다. 성악가를 꿈꾸었던 소년의 못다이룬 꿈이 이루어지는 순간이었다. 정승일 명예회장이 살아왔던 삶과 열정을 조명해 본다.

• Proceedings of the KSLP Conference
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• 2003.11a
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• pp.215-218
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• 2003

발성치료는 약400여년간 내려오고 있는 성악발성법 (벨칸토 발성)을 이용하여 음성을 교정하고 치료하는 방법으로 과학적이고 의학적으로 인정된 방법을 통하여 음성을 교육하고 교정하는 약물적이고 비 수술적인 치료 방법이다. 음성크리닉검사 1) 공기역학검사(Phonatory function analyzer test) 2) 최대발성지속시간(Maximum phonation time) 3) 컴퓨터 음성검사(Dotor speech. MDVP) 4) 듣기평가 5) 내시경검사(Stroboscopy) 6) 전기성문파형검사(EGG) 7) 호흡근력검사. (MIP. MEP. 등)및 호흡검사(FVC. FEVI. PF. 등) 8) 음성전문의사의 확진 후 발성치료권유 (중략)

• Proceedings of the KSLP Conference
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• 1999.11a
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• pp.176-176
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• 1999

배경 : trill은 혀의 첨부가 호기에 따라 진동하면서 경구개 전방에 부딪혀 나는 소리로 주로 "르" 발음으로 들린다. trill은 성악가들에게는 발성전에 후두의 준비운동으로 사용되고, 성대수술 반흔에 의한 애성환자나 노인성 음성장애환자의 음성치료에도 이용되고 있다. 목적 : trill을 실시할 때 전기성문파 측정법상에서 나타난 성대점막의 움직임을 조사하고 효과적인 trill 기법을 찾아보고자 하였다. (중략)

• Proceedings of the KAIS Fall Conference
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• 2009.05a
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• pp.364-367
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• 2009

음악 장르마다 소리의 색깔, 성량이 모두 다르다. 그것은 발성법 즉 소리를 어떻게 만들어내느냐에 따라 다른 것 인데, 호흡법에 따라서도 많은 차이난다. 성악의 경우 맑고 깨끗한 소리를 만들어내기 위해 주로 두성을 많이 사용 한다. 창이나 판소리의 경우도 처음에는 몸통에서 소리를 끌어내는 방식으로 소리를 내다가 결국에는 두성으로 소리를 만들어낸다. 이는 모두 소리를 멀리 보내기 위한 방법인데, 마이크와 앰프를 사용하는 대중음악 가수들의 경우는 분명 다른 발성법을 사용해야한다. 본 연구에서는 소리의 확장보다는 본인만의 개성을 중요시 하는 가수들에게 필요한 발성법에 대해 연구해 보고자 한다.

• Proceedings of the KAIS Fall Conference
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• 2009.05a
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• pp.208-211
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• 2009

발성법은 좋은 목소리로 크고, 아름답게 노래를 부르기 위한 훈련 방법이다. 그러나 결국 이러한 발성의 표현은 무대 위에서 이루어져야 한다. 성악이나 판소리의 경우는 주로 정적인 상태에서의 감상을 위한 음악인데 반해 대중음악은 동적인 상태에서 관객과 함께 즐겨야 하는 경우가 대부분이다. 따라서 대중가요 가수들에게는 관객과 함께 호흡하며 노래하되 절대 흥분하지 않는 상태에서 올바른 발성을 해야 하는 냉정함이 요구된다. 발성은 노래를 부르기 위한 사전과정이며 가수는 무대에서 노래를 해야 한다. 따라서 좋은 노래를 부를 수 있도록 기초 과정을 거쳐 만들어진 발성을 올바르게 노래에 표현하는 방법을 연구해보도록 하겠다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.6
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• pp.262-268
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• 2016

The in-country interest in vocalists is worthy of notice. However, the public, including experts, don't have sufficient information for their interest. In this situation, the popularity of Seth Riggs' books is surprising, because his major is vocal music, not popular music, although he is known as 'a great vocal trainer'. Therefore, we should analyze his vocalization methods and compare them with Bel Canto. His skills are (focused on) SLS (Speech-level singing). The unique styles he used are related to Bel Canto in vocal music, but with some differences. Nevertheless, both styles have something in common. For example, they are similar in that they continue to keep up with the times, so as to improve and evolve. Therefore, it is important for the selected passages to be investigated and presented, based on the individual body conditions and properties. Seth Riggs' vocalization method should be systematically examined too. This is because it has great influence on the public.

• Speech Sciences
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• v.10 no.2
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• pp.111-128
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• 2003

Aerodynamic study is valuable information about the vocal efficiency in translating airflow to acoustic signal. The purpose of this study was to investigate the differences between trained singers and untrained controls under different two pitch by simultaneous using the airway interruption method and electroglottography (EGG). Under singing a Korean lied 'Gene', 20 (Male 10, Female 10) trained singers were studied on two one-octave different tone. Mean flow rate (MFR) , subglottic pressure (Psub) and intensity were measured with aerodynamic test using the Phonatory function analyzer (Nagashima Ltd. Model PS 77H, Tokyo, Japan). Closed quotients (Qx), jitter and shimmer were also investigated by electroglottography using Lx speech studio (Laryngograph Ltd, London, UK). These data were compared with those of normal controls. MFR and Psub were increased on high pitch tone in all subject groups. Statistically significant increasing of Qx and intensity were observed in male trained singers on high pitch tone (Qx;p = .025, intensity;p < .001). Beacasue of increasing of Qx and intensity, vocal efficiency was also significantly increased in male singers (p < .001). The trained singers' phonation was more efficient than untrained singers. The result means that the trained singers can increase the loudness with little changing of mean flow rate, subglottic pressure but more increasing of glottic closed quotients.