• Proceedings of the Korea Information Processing Society Conference
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• 2013.11a
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• pp.1639-1642
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• 2013

아코디온은 키보드와 건반 그리고 공기주머니로 구성 되어 있는 악기로써 건반 악기의 특성과 화음을 위한 키보드 코드의 손가락 운영 기법이 요구되는 악기의 특성을 갖는다. 따라서, 연주를 자습하거나 독자적인 교습을 위한 연주법에 대한 알고리즘이 요구된다. 본 연구에서는 아코디온의 효율적인 연주를 위하여 손가락 연주의 알고리즘을 패트리 넷으로 표현하여 화음과 멜로디의 관계성을 표현하였다. 또한 사례를 들어 모델링을 검증하였다.

• Proceedings of the KAIS Fall Conference
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• 2010.11b
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• pp.620-623
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• 2010

단순한 폴리리듬은 이제 더 이상 폴리리듬이라고 생각되지 않을 정도로 많이 또 쉽게 연주되고 있지만, 좀 더 복잡한 폴리리듬은 그 접근부터가 불가능하다고 생각되기가 쉽다. 예를 들어 '9 against 2'의 경우를 보면, 이것을 연주하기 위해서는 우선 기존의 한 박자를 9개로 나누어 연주하는 것에서부터 출발하여야 하므로 처음부터 난관에 봉착하게 된다. 그러나 '3 against 2'를 이용하여 생각해 보면 좀 더 쉬운 연주법을 찾을 수 있다. 본 연구에서는 이러한 원리를 이용하여 또 다른 복잡한 폴리리듬도 접근할 수 있는 방법들을 제시하였다.

• Journal of Korea Multimedia Society
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• v.13 no.10
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• pp.1557-1564
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• 2010

This study present to operator system about performance method by diagrammatic and analysis based on Petri Nets when accordion is performed. Especially, this study present to the basis an automatic performance education by visibility according to divide place and transition of correlation of musical objects. In this, our purpose is flexible performance of deadlock-freeness by visibility of operating process and detail of marking. This study is effective and useful of understand to performance process by Petri Nets modeling inclusive of many musical instrument. The first time, this study suggest performance model of accordion based on Petri Nets and verify of efficiency, an example.

• Proceedings of the KAIS Fall Conference
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• 2009.12a
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• pp.418-421
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• 2009

복잡한 리듬의 근간에는 소위 폴리리듬이라 일컫는 리듬이 자주 등장하는데, 폴리리듬이란 한마디로 기존의 펄스에 반하는 새로운 펄스의 리듬이 기존의 리듬과 동시에 진행되는 복합리듬을 얘기하는 것이다. 이때 단순한 폴리리듬(예를 들면 2:3, 3:4등)은 우리가 쉽고 또 정확하게 접근할 수 있으나 복잡한 폴리리듬은 아주 숙련된 연주자들조차도 정확히 연주하기가 어렵다. 이에 본 논문에서는 이러한 복잡한 폴리리듬을 쉽게 접근할 수 있는 방법으로 '가상 리듬 연주법'이라는 새로운 개념을 도입하고자한다. 이것의 가장 핵심적인 내용은 복잡한 폴리리듬의 정확한 연주는 그 수학적 복잡성으로 인해 어렵지만 그 수학적 복잡성의 근사치에 해당하는 우리가 이해하기 쉬운 다른 리듬으로 대체하여 연주하는 방법을 이용하여 그 이해도를 높이자는 것이다.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2021.05a
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• pp.413-415
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• 2021

Piano is one of the most beloved instruments in the world and is used a lot for children to learn music because it is simple to play. As a result, various products for children, such as toy pianos, were released. However, there is a lack of piano skills for music education, such as how to play the piano or read the score. To solve this problem, in this paper, we propose a game-style educational piano using Arduino. It is expected to capture fun and education at a low price by scoring points by displaying the score on the LCD screen and pressing the keyboard according to the timing of playing the note.

• The Journal of the Acoustical Society of Korea
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• v.28 no.2
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• pp.119-126
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• 2009

This paper describes the non-stringed guitar composed of laser strings, frets, sound synthesis algorithm and a processor. The laser strings that can depict stroke and playing arpeggios comprise laser modules and photo diodes. Frets are implemented by voltage divider. The guitar body does not need to implement physically because commuted waveguide synthesis is used. The proposed frets enable; players to represent all of chords by the chord glove as well as guitar solo. Sliding, hammering-on and pulling-off sounds are synthesized by using parameters from the voltage divider. Because the pitch shifting corresponds to the time-varying propagation speed in the digital waveguide model, the proposed model can synthesize vibrato as well. After transformation of signals from the laser strings and frets into parameters for synthesis algorithm, the digital signal processor, TMS320F2812, performs the real-time synthesis algorithm and communicates with the DAC. The demonstration movieclip available via the Internet shows one to play a song, 'Arirang', synthesized by proposed algorithm and interfaces in real-time. Consequently, we can conclude that the proposed synthesis algorithm is efficient in guitar solo and there is no problem to play the non-stringed guitar in real-time.

• Journal of IKEEE
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• v.23 no.3
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• pp.893-898
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• 2019

Time-frequency representations are methods to display the magnitude or energy density of a signal on the two dimensional plane of both time and frequency. They are useful in analyzing the characteristics of time-varying signals. Music is a typical time-varying signal, and it can be analyzed by time-frequency representations. Recently, it is popular to change the sound quality by attaching a safety sounder to an instrument. It is performed to improve perception subjectively by spending little cost and modifying sound quality. In time domain, it is difficult to notify the difference between music signals with and without the sounder. But, it is easy to find the difference in frequency domain or in time-frequency domain. In this paper, the music signal from a flute with sounder is analyzed both in the frequency domain and in the time-frequency domain. It is confirmed that the frequency components in the mid-frequency range of 500~2500 are reinforced.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.10
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• pp.4426-4431
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• 2012

Though polyrhythm is definitely a complex form of rhythm as we all know, some forms of polyrhythm(for example, '2 against 3' or '3 against 4') are considered as simple rhythm compared with others such as '5 against 4' or '7 against 4'. It is because this kind of polyrhythm might be used as often as enough to be able to be understood and to be played. However, the polyrhythm that we are talking about in this study(I'd like to call them as complex polyrhythm) is not able to be played by someone who is not familiar with quintuplets or septuplets. Here I would like to suggest a new way of playing polyrhythm, called the 'Simulation Method'. The main purpose of this method is to easily approach the complex polyrhythm by using its mathematical similarity even though these polyrhythms are originally hard to be played due to its mathematical complexity.

• The Journal of the Acoustical Society of Korea
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• v.27 no.6
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• pp.296-302
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• 2008

This study investigated that the preference model of soloist performers for both vocal and instrumental types in terms of a stage support parameter, ST1. The test was carried out on a stage of a fan-shaped multi-purpose hall with orchestra shell. Objective measurements were carried out at 15 positions on the stage to evaluate various stage condition. The results showed that ST1 varies between -19.9 and -11.3 dB. Vocal and instrumental players participated in performance evaluation test as they played at 5 selected positions according to ST1 values. Players' preference was evaluated by 5-point rating and rank ordering method. As a result, it was found that the preference model of vocalist is different from that of instrumentalist. It was also found that the ST1 does not correlate well with the performer's preference.

• Proceedings of the Acoustical Society of Korea Conference
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• spring
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• pp.537-540
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• 2002

본 연구에서는 악기 피치 검출에서 샘플링 오차로 인하여 발생하는 문제점을 살펴보고, 보간법을 적용한 피치 검출 실험 예를 소개한다. 악기의 피치 검출과 음성의 피치 검출의 차이점을 보이고 그 처리 절차를 소개한다. 제안된 알고리즘으로 검출된 피치를 이용하여 악기가 연주되고 있는 음정을 추정하여 음표로 변환한다. 단선율의 솔로 악기 연주 파일(.wav)을 미디 파일로 변환하여 구현된 알고리즘의 유용성을 평가하였다.