• Journal of Korea Multimedia Society
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• v.10 no.11
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• pp.1398-1406
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• 2007

Providing natural and efficient access to the fast growing multimedia information is a critical aspect for content-based information system. Query by humming system allows the user to find a song by humming part of the tune form music database. Conventional music information retrieval systems use a high precision pitch extraction method. However, it is very difficult to extract true pitch perfectly. So, In this paper, we propose to use YIN parameter with applying the reliability to reduce the pitch extraction errors. And we describes developed music information retrieval method based on a query by humming system which uses reliable feature extraction. Developed system is based on a continuous dynamic programming algorithm with features including pitch, duration and energy along with their confidence measures. The experiment showed that the proposed method could reduce the errors of the top-10 7.2% and the top-1 9.1% compared with the cepsturm based multiple pitch candidate. The overall retrieval system achieved 92.8% correct retrieval in the top-10 rank list on a database of 155 songs.

• Journal of Korea Game Society
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• v.12 no.1
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• pp.33-42
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• 2012

This study is intended to design a rhythm game improving the student's capacity to learn and appreciate music. This game was tested in the music classes of an elementary school. The note patterns reflecting melody affected the perception of pitch, duration, and loudness of the music. This study also presented that the factor influencing students' immersion in music and learning music was the multi-sense of sight, hearing, and touch.

• The Journal of the Acoustical Society of Korea
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• v.23 no.6
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• pp.488-496
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• 2004

This paper describes a music information retrieval system which uses humming as the key for retrieval Humming is an easy way for the user to input a melody. However, there are several problems with humming that degrade the retrieval of information. One problem is a human factor. Sometimes people do not sing accurately, especially if they are inexperienced or unaccompanied. Another problem arises from signal processing. Therefore, a music information retrieval method should be sufficiently robust to surmount various humming errors and signal processing problems. A retrieval system has to extract pitch from the user's humming. However pitch extraction is not perfect. It often captures half or double pitches. even if the extraction algorithms take the continuity of the pitch into account. Considering these problems. we propose a system that takes multiple pitch candidates into account. In addition to the frequencies of the pitch candidates. the confidence measures obtained from their powers are taken into consideration as well. We also propose the use of an algorithm with three dimensions that is an extension of the conventional DP algorithm, so that multiple pitch candidates can be treated. Moreover in the proposed algorithm. DP paths are changed dynamically to take deltaPitches and IOIratios of input and reference notes into account in order to treat notes being split or unified. We carried out an evaluation experiment to compare the proposed system with a conventional system. From the experiment. the proposed method gave better retrieval performance than the conventional system.

• The Journal of the Acoustical Society of Korea
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• v.29 no.2
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• pp.102-110
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• 2010

Music transcription is extracting pitch (the height of a musical note) and rhythm (the length of a musical note) information from audio file and making a music score. In this paper, we decomposed a waveform into frequency and rhythm components using Non-Negative Matrix Factorization (NMF) and Non-Negative Sparse coding (NNSC) which are often used for source separation and data clustering. And using the subharmonic summation method, fundamental frequency is calculated from the decomposed frequency components. Therefore, the accurate pitch of each score can be estimated. The proposed method successfully performed music transcription with its results superior to those of the conventional methods which used either NMF or NNSC.

• Science of Emotion and Sensibility
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• v.9 no.1
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• pp.9-17
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• 2006

As is commonly said, music is 'language of emotions.' It is because sound is a plentiful modality to communicate the human sensibility information. However, most researches of auditory displays were focused on improving efficiency on user's performance data such as performance time and accuracy. Recently, many of researchers in auditory displays acknowledge that individual preference and sensible satisfaction may be a more important factor than the performance data. On this ground, in the present study we constructed the sound sensibility dimensions ('Pleasure', 'Complexity', and 'Activity') and systematically examined the attributes of sound on the sensibility dimensions and analyzed the meanings. As a result, sound sensibility dimensions depended on each sound attributes , and some sound attributes interact with one another. Consequently, the results of the present study will provide the useful possibilities of applying the affective influence in the field of auditory displays needing the applications of the sensibility information according to the sound attributes.

• Journal of Korea Multimedia Society
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• v.13 no.11
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• pp.1728-1738
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• 2010

Pyeon-gyeong, similar to Chinese Bianqing, is a Korean traditional lithophone with multiple stone chimes. Due to the temperature- and humidity-insensitive characteristics of its material, pumice stone, the instrument provides highly stable pitch and therefore has played a key role in Korean traditional court music. By reason of having absolute pitch, it is an important part of the research on the standard pitch and scale system of korean traditional music, but as an instrument, the study on the sound characteristics and worth is not making satisfactory progress, to date. This research is an analysis paper for physical modeling synthesis of pyeongyeong. Through this study, we will determine the original characteristics of the timbre of pyeongyeong as a unique korean traditional percussion, and investigate these characteristics objectively, based on the music acoustics by scientific analysis. Furthermore, this study will be used as an important basic material for physical modeling synthesis of pyeongyeong, and also make a huge contribution to the cultural applicability by the vitalization of graft onto the various artistic creation field, through the comprehension of the timbre of pyeongyeong as an instrument.

• Journal of Music and Human Behavior
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• v.1 no.1
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• pp.1-10
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• 2004

Being engaged in the musical tasks needs cognitive skills to perceive musical sound, organize them into meaningful unit, store them in the memory and retrieve them when needed. These skills are also required for academic tasks indicating that there is positive correlation between skills for musical and academic tasks. Based on these findings, the study purported to examine whether the developed sessions can enhance cognitive skills which is composed of auditory information skills, which is composed of perceiving sounds, organizing them into groups based on the existing information or organization pattern, and short-term memory skills. Eighteen elementary students in 4, 5, and 6th grades have participated in the study. The study has administered Music Cognitive Skills Test(MCST) before and after implementing music therapy sessions. The MCST consisted of five parts, first one measuring the rhythm imitating skills, second, measuring the melodic imitation skills, third, measuring discriminative skills in identifying higher pitch, fourth, measuring discriminative skills in identifying identical chords, and lastly, measuring the tone retention skills. The results indicated that there was statistical difference between the pre and post test in rhythm and melody imitation skills. Because reproduction of perceived rhythm patterns requires memory skills, imitating patterns are considered cognitive skills. Also melody is defined adding spatial dimension to the rhythm which is temporal concept. Being able to understand melodic pattern and to reproduce the pattern also requires cognitive skills. The subjects have shown significant improvement in these two areas. In other areas, there were definite increase of scores, however, no significant differences. The study also explores interpretation of these results and also observed consistencies among the participants in completing the musical tasks.

• Journal of Music and Human Behavior
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• v.8 no.2
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• pp.47-64
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• 2011

This study was to examine music preferences of school-aged cochlear implant(CI) recipients in comparison with normal hearing(NH) children. Participants were 12 CI recipients and 155 NH children. CI children were recruited from a hospital in Seoul and they had cochlear implants for longer than two years(M = 4.7). NH children were randomly sampled. All participants were asked to respond to a questionnaire and rate their music preferences. The results showed that while 58.33% of CI recipients preferred child voices, 71.61% of NH children preferred adult voices. For preferred frequency range, both of CI and NH groups preferred higher frequency. With regard to preferred musical styles, while CI children gave the highest rating(M = 3.58) to Korean folk songs on the 5-point Likert scale, popular music and TV and soundtrack music were found to be the highest-rated styles(M = 3.83) for NH children. These results indicate that self-rated music preferences of CI recipients may be affected by a musical environment that these children have experienced. The results also implies that the provision of appropriate musical input and experiences would significantly affect future music preferences and appreciation of CI children. Providing useful information about music preferences of CI recipients in comparison with NH children, this study has significant implications for further studies on this population.

• (The) Research of the performance art and culture
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• no.35
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• pp.441-470
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• 2017

This paper deals with three issues related to influx and change of the Confucian Shrine Ritual Music. First, the musical instrument of the Akhakgwebeom-wooden frame-form used in the current Confucian Shrine Ritual Music is not a form that came in when the Daesung-Aak of the Song Dynasty was introduced in 1116, but it is a Yuan Dynasty form brought from the Ming Dynasty, in the 19th year of King Kongmin. In the Song Dynasty of the Goryeo Yejong era, when Daesung-Aak came in, there was not yet 'Baeso', a musical instrument of the Akhakgwebeom form, which first appeared in the Yuan Dynasty. A new musical instrument named 'Baeso' appears with the 'So' in the later period of King Gongmin, and it is very likely that this 'Baeso' is the musical instrument of the present Akhakgwebeom form. Second, although the form of the 'So' in the Joseon Dynasty recorded in the Akhakgwebeom was followed by the Chinese one, but the pitch and arrangement are the one of the pitch of '12 Yul and 4 Cheongseong' and the arrangement of the pitch from left to right. Third, in the 1930s, the whole form was the same as that of the Akhakgwebeom, but there existed two types, which several pipes stick together or pipes fall apart. But since then, as seen in the musical instrument located at Kyungpook National University Museum and in instruments currently used in Confucian Shrine Ritual Music, only musical instruments exist which pipes fall apart. It is unclear for what reason and to what extent the 'So' were so transformed, but it would be appropriate to re-establish the form of the 'So' in the musical and historical point of view.

• Journal of Korea Entertainment Industry Association
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• v.10 no.4
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• pp.77-92
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• 2016

In this study, the relationship of images and sounds of the animations "Dots" and "Loops" which Norman McLaren animated with his Animated sound technique when he worked at Guggenheim museum at New York, are analyzed through the audiovisual analysis theory by Michel Chion, and through the theory of synchronism/asynchronism and parallelism/counterpoint by Siegfried Kracauer. For the results of the analysis, there are a few difference between "Dots" and "Loops" regarding the aspect of sound arrangement and expressive aspect of abstract animation. However, there are being of two main elements of sound, composing with monophony sound, making musical structure with sound effects, and the emphasizing of parallelism with synchronization bewteen images and sounds in common with both "Dots" and "Loops". In "Dots" and "Loops", there are close correlations between pitch of sound and arrangement/shape of image, between loudness of sound and size of image, and between length of sound and length/shape of image. The image and sound of "Dots" and "Loops" have equal relationship each other, rather than subordinate relationship according as image become sound and the sound become new image with the animated sound technique. "Dots" and "Loops" show tendency of minimal art and music video. Since these two films, and remind about the new approach to sound creation in today's animation production.