• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.4
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• pp.2170-2178
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• 2014

In this paper, electroencephalographic (EEG) signal of one among subjects measured biosignal with visual evoked stimuli inducing the concentration was analyzed to detect the changes in the attention status during attention task fulfillment from January to February, 2011. The independent component analysis (ICA) was applied to EEG signals to isolate the attention related innate source signal within the brain and Electroculogram (EOG) artifact from measured EEG signals at the scalp. The consecutive accumulation of short time Fourier transformed (STFT) attention source signal with excluded EOG artifact can enhance the regular depiction of EPOCH graph and spectral color map representing time-varying pattern. The extracted attention indices associated with somatosensory rhythm (SMR: 12-15 Hz), and theta wave (4-7 Hz) increase marginally over time. Throughout experimental observation, the ICA with STFT can be used for the assessment of participants' status of attention.

• Journal of Fashion Business
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• v.18 no.6
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• pp.57-66
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• 2014

The purpose of this study is to design appropriate digital tools for the production of makeup designs. In this study, we used a three-dimensional facial avatar simulation program developed by the Electronics and Telecommunications Research. This study is based on the creation of three-dimensional CG digital art of facial avatar makeup, produced by using simulation technology. First, the actual application and the tools for digital-optimization and media features were created, leading to the research and cleanup. Second, the theoretical background was applied to the formative elements of oriental colors in the designing process. Makeup design elements include point, line, surface, color, and texture. In this study, effective makeup design was interpreted to be based on the representation of particular elements, notably the design principles of balance, proportion, rhythm, repetition, emphasis, contrast, harmony, and unity. In Asia, design is based on the visibility of red, blue, black, yellow, and white-the colors of the five elements-and the use of points, lines, and shapes. This study was recently under scrutiny in relations to digital simulation and various three-dimensional designs, in terms of how to take advantage of a wide range of applications, and how to apply the findings through media and the dissemination of basic research. This study applies the characteristics of the limited existing stereoscopic three-dimensional and digital simulation programs in order to take advantage of the empirical research, providing a basis to implement this research in a meaningful way. A follow-up study is needed to extend these findings and theoretical foundation through continuous observation and in-depth technical development and research.

• Korean journal of food and cookery science
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• v.22 no.5 s.95
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• pp.690-701
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• 2006

Classifying vegetables recorded in Sikgamchalyo of Jeongjoji of Limwonsibyukji and Tangaekpyeon of Donguibogam and comparing the types features, efficacy and side effects based on Kimi Theory(氣味), we found forty one leafy vegetables, six root vegetables, nine fruit vegetables, nine mushrooms, seven seaweeds and two other vegetables in Limwonsibyukji and thirty five leafy vegetables, eight root vegetables, eight fruit vegetables, one mushroom, two seaweeds and one another vegetable in Donguibogam. According to the literature, vegetables are classified by five conditions(五氣) and five tastes(五味) and many are cold with sweet and bitter taste or warm with hot taste. They are efficacious in protecting the five viscera, building up energy, controlling heat, calming febrile diseases, promoting urination and excretion, calming cholera morbus, improving skin condition, calming the stomach, neutralizing poisonous effects and improving eyesight. To help prevent and cure diseases, those with cold physical constitution must take warm vegetables to vitalize their physiology and those with hot physical constitution cold vegetables for balance. To improve their physical health, our ancestors tried to control their bio rhythm with food and medicinal material and promoted health and prevented diseases by taking such food. We therefore expect that we can have a healthy dietary life by taking advantage of the five conditions and five tastes of vegetables and continuing the spirit of Yacksikdongwon(藥食同源).

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.23-42
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• 2021

The purpose of this study is to analyze the characteristics of the Chinese Miao people's Batik patterns and provide data in the field of fashion design for the utilization of the traditional patterns. This study investigated and analyzed the regional characteristics of Batik dyeing, which was listed on China's national intangible cultural heritage list; Danzhai, Anshun, Huangping, and Gonghyeon. The expressive characteristics were classified into four categories: symbolism, abstraction, decorativeness, and playfulness. The results are as follows. First, symbolism can be classified into the origins of the Miao, symbols of faith, history of migration, and the symbols of status with Batik patterns from different regions, seemingly involving various symbolic implications. Due to the absence of letters, Miao people expressed their emotions and history in the design patterns. A series of developments in recent years has led to incorporating the temperament of the Miao people, history of migration, expression of emotions, and ideal hopes in Batik dyed design patterns and the symbolic functions have been significantly emphasized. Second, the decorativeness is mainly characterized by repeated patterns of the Miao Batik dyeing design. The overall patterns demonstrate design features characterized by regularization and simplification, along with a sense of rhythm with the unique arrangement of patterns. Third, the abstractness of the Batik dyeing design patterns is often found in plant and animal patterns, properly delivering new designs created by Miao women by extracting and rearranging various elements, including dots, lines, and faces shown in natural images. Fourth, playfulness is expressed by the transformation and distortion of Miao Batik patterns, and were created by applying patterns or other elements to original forms to express animal or plant patterns in a playful way.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.101-111
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• 2021

This paper is a study that analyzes the use and techniques of rap in music that entered Melon Chart, one of the major music sites in Korea, during 2020. Among the songs that entered the chart, reflecting the public's preference, the trend of rap music, an important element of hip-hop music, is analyzed and musical features such as representative artists or frequently used rhythm patterns are analyzed. Through this paper, characteristics of rap music favored by the public and artists in recent popular music have been organized and formalized, and based on this, the elements of etude development for technical polishing are summarized. Through this, it is hoped that just like the long-time analyzed and structured performance techniques such as vocals and instruments, various styles of rap music can develop into a systematic and step-by-step technique system for students who want to learn and practice it.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.26 no.10
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• pp.1490-1499
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• 2022

Arrhythmia is a condition in which the heart has an irregular rhythm or abnormal heart rate, early diagnosis and management is very important because it can cause stroke, cardiac arrest, or even death. In this paper, we propose arrhythmia classification using hybrid combination model of CNN-BLSTM. For this purpose, the QRS features are detected from noise removed signal through pre-processing and a single bit segment was extracted. In this case, the GAN oversampling technique is applied to solve the data imbalance problem. It consisted of CNN layers to extract the patterns of the arrhythmia precisely, used them as the input of the BLSTM. The weights were learned through deep learning and the learning model was evaluated by the validation data. To evaluate the performance of the proposed method, classification accuracy, precision, recall, and F1-score were compared by using the MIT-BIH arrhythmia database. The achieved scores indicate 99.30%, 98.70%, 97.50%, 98.06% in terms of the accuracy, precision, recall, F1 score, respectively.

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.504-518
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• 2023

The objective of this study was to explore the symbolism associated with phoenix patterns in China and the temporal aesthetic characteristics of these patterns found in Dunhuang Mogao Grottoes. The study involved collecting examples of clothing designs featuring phoenix patterns from China Fashion Week and the Vogue website, spanning from spring and summer of 2016 to fall and winter of 2022. After collecting and organizing these examples, representative cases were selected for analysis. The objective was to identify effective techniques for incorporating phoenix patterns within the context of Dunhuang Mogao Grottoes and provided insights for future clothing design and textile pattern design research. Phoenix patterns boasted a lengthy history and were laden with symbolic meaning. Early renditions of phoenix patterns found at Mogao Grottoes in Dunhuang were relatively simplistic in design, mainly employing elements like rhythm, coordination, balance and symmetry to convey a sense of nature and gravity. Over time, these patterns evolved under the influence of the prevailing cultural backdrop, employing repeated emphasis to portray notions of abundance and tenacity. Furthermore, regarding the use of phoenix patterns in clothing, there were four prevalent expression techniques: embroidery, beading, printing, and knitting. Traditional techniques like embroidery and beadwork often prioritized aesthetic features like coordination, emphasis, and symmetry, thereby showcasing the opulent characteristics of phoenix patterns. On the other hand, printing and knitting techniques used a single phoenix pattern or a modified version to simplify designs by emphasizing or repeating aesthetic characteristics while adhering to a modern artistic approach.

• The Journal of the Acoustical Society of Korea
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• v.27 no.3
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• pp.111-118
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• 2008

In this paper, we propose a new automatic taxonomy generation algorithm for the audio genre classification. The proposed algorithm automatically generates hierarchical taxonomy based on the estimated classification accuracy at all possible nodes. The estimation of classification accuracy in the proposed algorithm is conducted by applying the training data to classifier using k-fold cross validation. Subsequent classification accuracy is then to be tested at every node which consists of two clusters by applying one-versus-one support vector machine. In order to assess the performance of the proposed algorithm, we extracted various features which represent characteristics such as timbre, rhythm, pitch and so on. Then, we investigated classification performance using the proposed algorithm and previous flat classifiers. The classification accuracy reaches to 89 percent with proposed scheme, which is 5 to 25 percent higher than the previous flat classification methods. Using low-dimensional feature vectors, in particular, it is 10 to 25 percent higher than previous algorithms for classification experiments.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.5-42
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• 2005

Based on a field investigation of intangible cultural asset # 2, author Sir Shin Seok-bong of Daejeon Metropolitan Cityinvestigated the music of Antaek-gut, which is the base and core of Anjoon-gut, and found the following musical features: A Jang-gu(drum) and Kkoaengkwari(gong) were used to recitethe Sutra(kyungmoon) of Anjoon-gut. The Jang-gu, located on the right side, played an accompaniment role with regular beats when the Sutra was recited. The Kkoaengkwari, located on the left side, played the role of covering the caesura of the Sutra passages, so it is played with various rhythmic variations in accordance with Kojang(鼓杖). This is one way of playing Korean national classical music that has temporary caesuras, depending on the rector's bre! ath or the contents of a Sutra during the Sutra chanting, with the Jang-gu covering the pause with its variation. In other words, when being played in concert, the instruments that play the main melody are at rest while another instrument takes its turn to play the main melody as a form of prolonged sound. The rhythmic cycles of the sutras of Antaek-gut recited with this instrumental accompaniment consist of five types; a) Woemarch-jangdan (a single beat) of 4 meter by 3 bit, b) Dumarch-jangdan (two beats) of 8 meter by 3 bit, c) Saemarch-jangdan (three beats) of 4 meter by 3 bit with a fast tempo, d) Mak-gojang, uniform beats with a standardized rhythm, and e) incomplete beats deviated from the regular beats. Sir Shin Seok-bong chanted Chang (唱), a traditional native song which he called 'Cheong (淸)' with a cycle of 'Dumarch-jangdan' throughout the places of Antaek-gut. Only 'Toesonggyung' a chant for the gate that was the last location of the Antaek, was chanted with a cycle of 'Woemarch-jan! gdan'. In addition, 'Saemarch-jangdan' and 'Mak-gojang' that had comparatively faster tempos than the former two jangdans, were played without a chant when a female shaman was dancing and catching her spirit-invoking wand. The 'Saemarch-jangdan', particularly, was played while dancing began at a relatively slow tempo, then proceeded at a violent tempo and then back again to the slow tempo. This shows one of the representative tempos of our music with a slow-fast-slow tempo. The organizational tones were 'mi-la-do'-re'', and its key tones of 'mi-la-do'' were performed with perfect fourth and minor third, which was the same as those of Menari-tori. However, it did not show a typical Sigimse, an ornamental tone, of Menari-tory, whose first tone, 'mi', is vibrated and its Sigimse is gliding down from the tone 're' to 'do'. That is because the regional tone-tori of Chungcheong-do have a relatively weaker musical expression than that of Gyeongsang-do. In addition, the rhythmic types in accordance with the words of a song for the Antaek-gut music had a comparatively faster tempo than the other sutras. Also, it was only with 'Toesonggyeong' that the tone 'la' continuously appeared throughout the melody and showed 'a syllabic rhythm', while other places consisted of either a 'syncopation' or 'melismatic' rhythm. Finally, according to a brief investigation of the tone organization in accordance with each sutra, the tone 'la' was given more weight. The tone procedure showed a mainly ascending 'la-do'' and the descending 'la-mi' with minor third and perfect fourth. Also, the overall tempo proceeded with M.M.♩.=116-184, while the tempo for the Gut proceeded with M.M.♩.=120-140, which was suitable for reciting a Sutra.

• (The) Research of the performance art and culture
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• no.36
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• pp.75-102
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• 2018

Manjungpan Chunhyangga is established by Manjung Kim Sohee. She selectively chose and arranged the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, Kim Yeonsoo, Park Dongsil, and Jung Kwangsil. Kim Sohee once stated that while a major section of Chunhyangga is based on the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, and Kim Yeonsoo, the whole part of Okjungga is derived from Park Dongsil. However, there is not much material that will provide enough information with regard to what musical characteristics Park Dongsilje Chunhyangga possessed. Under the circumstances, the voice of Park Dongsilje, left by Kim Sohee, triggers curiosity on Park Dongsilje Chunhyangga. It can also be construed that there must be a good reason for choosing Park Dongsilje for Okjungga, unlike other parts. Therefore, this paper attempted to find out what the unique features of Par Dongsilje are and what the reasons behind Kim Sohee's musical choice were through comparison and analysis of Kim Sohee's musical features in Okjungga. The following are the results. Firstly, Okjungga is a created verse by its nature and it does not possess specific features to a school. Therefore, the reason for choosing Park Dongsilje could have been based on musical reason rather than verse. Secondly, the lyrics of Park Dongsilje Okjungga is closer to that of Song Mangap rather than that of Jung Jungryeolje. It can be argued that it falls between the two of them. Thirdly, the tone and melody of Park Dongsilje Okjungga falls in the middle section of Dongpyenje and Supyenje. Fourthly, the analysis of Jinyangjo rhythm out of the whole Manjungpan Chunhyangga shows that there are slight differences among Song Mangapje, Jung Jungryeolje, and Jung Eungminje. Park Dongsilje is very unique in the sense that it does not use utbutim in gyemyeonjo part in Manjungpan Chunhyangga. Park Dongsilje Okjungga is a song to which the tone, melody, and sigimsae of Supyeonje is added to lyric butimsae of Dongpyeonje. It can be seemed as simple and less sophisticated because, with its simple lyric butimsae, it shows a less complicated tone utilization rather than Jung Jungryeol. With lighter decoration of music, feelings can be conveyed more directly. That is probably why Kim Sohee commented on Park Dongsilje Chunhyangga that it is the most mournful song for Chunhyang and it is the song that moves anyone who listens to the song. Consequently, Kim Sohee accepted Park Dongsilje Okjungga and she created different feelings to Manjungpan Chunhyangga which has repeatedly displayed the color of Jung Jungryeol. Combining the lyric addition of Dongpyeon style and the melody of Supyeon style can crated a different language.