• Journal of the Ergonomics Society of Korea
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• v.27 no.3
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• pp.15-22
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• 2008

The purpose of this study was to define the effects of noise and background music on the trunk muscle fatigue during dynamic lifting and lowering tasks. Six healthy male subjects with no prior history of low back disorders participated in this study. The participants were exposed to two levels of background noise such as 40dB noise and 90dB noise and three levels of background music such as no music, slow music, and fast music. Six different combinations of background noise and background music were played while the participants were performing the lifting task at 15% level of Maximum Voluntary Contraction. Electromyography signals from six muscles were collected and fatigue levels were analyzed quantitatively. In results, the 90dB noise increased trunk muscle fatigue and slowed down the recovery. The trunk muscle fatigue was the lowest when the fast music was played for as background. After recovery, the 90dB noise increased trunk muscle fatigue. The trunk muscle fatigue was the lowest when the slow music was played for as background. The results can be useful to manage the cumulative fatigue of trunk muscles due to background noise and music during repetitive lifting and lowering tasks in industry.

• Journal of Korea Society of Digital Industry and Information Management
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• v.4 no.1
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• pp.65-68
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• 2008

In this paper, a web-based 3D virtual reality (VR) pavillion of Korean Traditional Music was implemented. The VR pavillion is used for the virtual demonstration and experience of Korean Traditional Music, which provides the information as well as multimedia experience on eight instruments to users through internet. It provides eight web-pages and one an audio-visual classroom on the instruments.

• The Journal of the Acoustical Society of Korea
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• v.19 no.1
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• pp.61-66
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• 2000

In this paper, we are proposing an efficient 3D source localization algorithm using 3 uniform linear subarrays. The proposed algorithm replaces 3D search required in conventional 3D MUSIC algorithm with 3 1D searches, and thus reduces computational burden. The estimate of the 1D conic angle obtained from a subarray under the far-field assumption satisfies a nonlinear algebraic equation of the true source bearing angle, elevation angle, and range. The proposed algorithm estimates source location by solving 3 algebraic equations obtained from 3 subarrays. Comparing 3D MUSIC spectrums of the estimated source locations, the proposed algorithm solves pairing problem for multiple sources localization.

• The Journal of the Acoustical Society of Korea
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• v.23 no.3
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• pp.214-220
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• 2004

A computationally efficient algorithm is presented for 3-D near-field source localization using a uniform circular away (UCA). Algebraic relations are demonstrated between the incident angles (elevation angle and azimuth angle) under the far-field assumption and the actual near-field location (range. elevation angle, and azimuth angle). Using these relations as paths to follow to the peak of the 3-D MUSIC spectrum, the proposed algorithm replaces the 3-D search required in the conventional 3-D MUSIC with a 1-D path following after a 2-D initialization. thereby reducing the computational burden.

• Journal of Korea Multimedia Society
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• v.8 no.6
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• pp.807-813
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• 2005

The production and authoring of digital multimedia contents are most important fields in multimedia technology. Nowadays web-based technology and related multimedia software technology are growing in the IT industry and these technologies are evolving most rapidly in our life. The technology of digital audio and video processing is utilizing rapidly to improve quality of our life, Also we are more interested in high sense and artistic feeling in the music and entertainment areas by use of three dimensional (3D) digital sound technology continuously as well as 3D digital video technology. The service field of digital audio contents is increasing rapidly through the Internet. And the society of Internet users wants the audio contents service with better quality. Recently Internet users are not satisfying the sound quality with 2 channels stereo but seeking the high quality of sound with 5,] channels such as 3D audio of the movie films. But it might be needed proper hardware equipments for the service of 3D sound to satisfy this demand. In this paper, we expand the simple 3D audio generator developed and propose a web-based music bank by the software development of 3D audio generation player in 3D sound environment with two speakers minimizing hardware equipments, Also we believe that this study would contribute greatly to digital 3D sound service of high quality for music and entertainment mania.

• The Journal of the Acoustical Society of Korea
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• v.30 no.3
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• pp.129-135
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• 2011

An algorithm is presented for estimating the 3-D location (i.e., azimuth angle, elevation angle, and range) of multiple sources with a uniform circular array (UCA) consisting of an even number of sensors. Recently the rank reduction (RARE) algorithm for partly-calibrated sensor arrays was developed. This algorithm is applicable to sensor arrays consisting of several identically oriented and calibrated linear subarrays. Assuming that a UCA consists of M sensors, it can be divided into M/2 identical linear subarrays composed of two facing sensors. Based on the structure of the subarrays, the steering vectors are decomposed into two parts: range-independent 2-D direction-of-arrival (DOA) parameters, and range-relevant 3-D location parameters. Using this property we can estimate range-independent 2-D DOAs by using the RARE algorithm. Once the 2-D DOAs are available, range estimation can be obtained for each source by defining the 1-D MUSIC spectrum. Despite its low computational complexity, the proposed algorithm can provide an estimation performance almost comparable to that of the 3-D MUSIC benchmark estimator.

• The Journal of Korean Institute of Electromagnetic Engineering and Science
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• v.19 no.3
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• pp.294-303
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• 2008

ISAR(Inverse Synthetic Aperture Radar) images represent the 2-D(two-dimensional) spatial distribution of RCS (Radar Cross Section) of an object, and they can be applied to the problem of target identification. A traditional approach to ISAR imaging is to use a 2-D IFFT(Inverse Fast Fourier Transform). However, the 2-D IFFT results in low resolution ISAR images especially when the measured frequency bandwidth and angular region are limited. In order to improve the resolution capability of the Fourier transform, various high-resolution spectral estimation approaches have been applied to obtain ISAR images, such as AR(Auto Regressive), MUSIC(Multiple Signal Classification) or Modified MUSIC algorithms. In this study, these high-resolution spectral estimators as well as 2-D IFFT approach are combined with a recently developed ISAR image classification algorithm, and their performances are carefully analyzed and compared in the framework of radar target recognition.

• Journal of Intelligence and Information Systems
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• v.24 no.2
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• pp.21-35
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• 2018

Since the introduction of MP3 players, CD recordings have gradually been vanishing, and the music consuming environment of music users is shifting to mobile devices. The introduction of smart devices has increased the utilization of music through music playback, mass storage, and search functions that are integrated into smartphones and tablets. At the time of initial MP3 player supply, the bitrate of the compressed music contents generally was 128 Kbps. However, as increasing of the demand for high quality music, sound quality of 384 Kbps appeared. Recently, music content of FLAC (Free License Audio Codec) format using lossless compression method is becoming popular. The download service of many music sites in Korea has classified by unlimited download with technical protection and limited download without technical protection. Digital Rights Management (DRM) technology is used as a technical protection measure for unlimited download, but it can only be used with authenticated devices that have DRM installed. Even if music purchased by the user, it cannot be used by other devices. On the contrary, in the case of music that is limited in quantity but not technically protected, there is no way to enforce anyone who distributes it, and in the case of high quality music such as FLAC, the loss is greater. In this paper, the author proposes an audio watermarking technology for copyright protection of high quality stereo music. Two kinds of information, "Copyright" and "Copy_free", are generated by using the turbo code. The two watermarks are composed of 9 bytes (72 bits). If turbo code is applied for error correction, the amount of information to be inserted as 222 bits increases. The 222-bit watermark was expanded to 1024 bits to be robust against additional errors and finally used as a watermark to insert into stereo music. Turbo code is a way to recover raw data if the damaged amount is less than 15% even if part of the code is damaged due to attack of watermarked content. It can be extended to 1024 bits or it can find 222 bits from some damaged contents by increasing the probability, the watermark itself has made it more resistant to attack. The proposed algorithm uses quantization in DCT so that watermark can be detected efficiently and SNR can be improved when stereo music is converted into mono. As a result, on average SNR exceeded 40dB, resulting in sound quality improvements of over 10dB over traditional quantization methods. This is a very significant result because it means relatively 10 times improvement in sound quality. In addition, the sample length required for extracting the watermark can be extracted sufficiently if the length is shorter than 1 second, and the watermark can be completely extracted from music samples of less than one second in all of the MP3 compression having a bit rate of 128 Kbps. The conventional quantization method can extract the watermark with a length of only 1/10 compared to the case where the sampling of the 10-second length largely fails to extract the watermark. In this study, since the length of the watermark embedded into music is 72 bits, it provides sufficient capacity to embed necessary information for music. It is enough bits to identify the music distributed all over the world. 272 can identify $4*10^{21}$, so it can be used as an identifier and it can be used for copyright protection of high quality music service. The proposed algorithm can be used not only for high quality audio but also for development of watermarking algorithm in multimedia such as UHD (Ultra High Definition) TV and high-resolution image. In addition, with the development of digital devices, users are demanding high quality music in the music industry, and artificial intelligence assistant is coming along with high quality music and streaming service. The results of this study can be used to protect the rights of copyright holders in these industries.

• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.302-309
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• 2006

Game and Animation are considered as two different fields. The definition of animation is "moving picture" and game is a kind of animation which can be controlled by users. Actually, many principles of animation are applied to the production of games, and are even more emphasized in the mobile game contents which are becoming popular these days because of the characteristics of mobile devices such as small screen size. In this paper, we study on the application of the 12 principles of animation through the making of a mobile 3D game called "Fly to the music" and that game is going to be serviced in late 2006 by SK Telecom. Moreover, we studied the differences between 3d mobile game animation and ordinary animation.

• Journal of Oral Medicine and Pain
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• v.35 no.1
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• pp.49-59
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• 2010

The purpose of this study was to investigate short-term masticatory muscle reactions in response to simulated noise and music sound. Hypothesis of this study was that loud noise would cause increased stiffness and decreased elasticity of the masticatory muscles compared to low level of noise or identical sound level of music. Fifteen male volunteers were recruited for the study. The sound levels of noise and music used here were 60 dB and 100 dB. The experiment comprised 4 sessions, Session 1 with 100 dB of noise for the 1st day of experiment: Session 2 with 100 dB of music for the $2^{nd}$ day: Session 3 with 60 dB of noise for the $3^{rd}$ day: Session 4 with 60 dB of music for the $4^{th}$ day. Stiffness and elasticity on the anterior temporalis and superficial masseter muscles were measured with tactile sensor before and 2, 4 and 6 minutes after exposure of sound. The study indicated that, in short-term exposure of sound, there was no significant difference between noise and music at both 60 and 100 dB of sound level, but that there were partially significant differences between 60 and 100 dB of sound level regardless of sound type. This suggest that high level of sounds like 100 dB used in this study, in spite of short term exposure of several minutes, would lead to masticatory muscle contraction, especially in the masseter muscles.