• International Journal of Contents
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• 제16권4호
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• pp.68-77
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• 2020

VR (Virtual Reality) contents make the audience perceive virtual space as real through the virtual Z axis which creates a space that could not be created in 2D due to the space between the eyes of the audience. This visual change has led to the need for technological changes to sound and sound sources inserted into VR contents. However, studies to increase immersion in VR contents are still more focused on scientific and visual fields. This is because composing and producing VR sounds require professional views in two areas: sound-based engineering and computer-based interactive sound engineering. Sound-based engineering is difficult to reflect changes in user interaction or time and space by directing the sound effects, script sound, and background music according to the storyboard organized by the director. However, it has the advantage of producing the sound effects, script sound, and background music in one track and not having to go through the coding phase. Computer-based interactive sound engineering, on the other hand, is produced in different files, including the sound effects, script sound, and background music. It can increase immersion by reflecting user interaction or time and space, but it can also suffer from noise cancelling and sound collisions. Therefore in this study, the following methods were devised and utilized to produce sound for VR contents called "A Midsummer Night" so as to take advantage of each sound-making technology. First, the storyboard is analyzed according to the user's interaction. It is to analyze sound effects, script sound, and background music which is required according to user interaction. Second, the sounds are classified and analyzed as 'simultaneous sound' and 'individual sound'. Thirdly, work on interaction coding for sound effects, script sound, and background music that were produced from the simultaneous sound and individual time sound categories is done. Then, the contents are completed by applying the sound to the video. By going through the process, sound quality inhibitors such as noise cancelling can be removed while allowing sound production that fits to user interaction and time and space.

• 한국콘텐츠학회논문지
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• 제13권5호
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• pp.1-8
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• 2013

본 논문에서는 객체 간 충돌음과 같이 가상환경의 발생 상황을 전달할 수 있는 중요한 감각 채널 중 하나인 소리를 통해 청각적 인터랙션을 디자인할 수 있는 방법을 제시하였다. 철, 고무, 유리 등 물질별 기본음 샘플에 대해 각각의 고유음을 특징짓는 모드 게인 값의 스케일 변경을 허용함으로써 디자인적 변형이 가능하도록 하고, 충돌 상황에 대한 인지적 속성인 충돌체의 크기, 딱딱한 정도, 접촉면적, 충돌 속도 차이에 의한 충돌음의 변화를 실시간에 재현할 수 있게 하는 계산적 알고리즘을 사용한 방법이다. 소리를 통한 충돌물체의 물질 및 충돌 상황 인지 실험을 통해 제안된 방법이 가상환경 청각적 인터랙션 디자인에 사용될 수 있음을 보였다.

• 대한기계학회논문집A
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• 제21권10호
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• pp.1666-1673
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• 1997

In order to investigate the characteristics of sound-structure interaction plate having a cut-out, we modeled a rectangular cavity and the flexible plate of the cavity. Because the particle velocity of air is the same as that of plate on the plate, we could easily redefine vibration equation using the velocity potential. We calculated the natural frequencies of plate using orthogonal polynomial functions which satisfy the boundary conditions in the Rayleigh-Ritz method. For the change of vibration characteristics, the effect of sound-structure interaction is more dominant than that of cut-out size.

• 대한기계학회논문집A
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• 제20권8호
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• pp.2546-2554
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• 1996

In order to investigate the characteristics of sound-structure interaction problems, we modeled a rectangular cavity and the flexible wall of the cavity. Because the governing equations of motion are coupled through velocity terms, we could redefine them using the velocity potential. We calculated the natural frequencies of plate using orthogonal polynomial functions which satisfy the boundary conditions in the Rayleigh-Ritz Method. As the result, comparisons of theory and experiment show good agreement. and using orthogonal polynomial functions which satisfy the boundary conditions in the Rayleigh-Ritz method show useful method for sound-structure interaction problems too.

• 가정과삶의질연구
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• 제17권3호
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• pp.93-102
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• 1999

This paper is to clarify the concepts of "sound home" and "healthy family" Even though "sound home" and "healthy family have different meanings and definitions. many researchers are using them in a mixed ways. Therefore through this paper I tried to make distinction of the meanings of the above concepts as below: 1. Sound Home : Basic and fundamental social units and environment which have strong and healthy family members and performs well not only family function but also have attitudes and willingness to perform family function and maintain their family value and ethics. 2. Healthy Family : Social units which have strong and healthy family members and develop individual personal development -their physical emotional social moral development and self-esteem self-achievemet -and have good interaction enhancement skills- communication decision making stress managing strategies- and also maintain family systems. Whereas "sound home" is more broad concept related to Home Econom cs "healthy family" is more related family relations and interaction.quot; is more related family relations and interaction.

• 대한기계학회논문집
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• 제18권3호
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• pp.584-590
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• 1994

A theoretical model has been developed to analyze the jet-edge interaction and the sound radiation. The edge responding to the sinuous impinging jet is regarded as an array of dipoles and their strength is determined by the boundary condition on the edge surface. The surface pressure distribution and the edgeforce are estimated using these dipoles. Then the pressure amplitude and directivity of the sound field is obtained by summing the radiating sounds from the dipole sources. It is found that the effective source is located a little distance downstream from the edge tip. And the directivity of the sound radiation is cardioid pattern near the edge but dipole pattern far from the edge. The theoretical model is confirmed by comparing the theoretical prediction of the edgeforce and sound pressure level with available experimental data.

• 대한산업공학회지
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• 제35권1호
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• pp.101-108
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• 2009

This study aims to design ergonomic warning sound that is not confusing and enhancing preference. Four factors of the warning sound represented as interval, chord, reverberation and pitch were selected as independent variables. And, perceived urgency, perceived criticality, degree of confusion and user preference are measured as dependent variables. An experiment was conducted in silent lab environment. Warning sounds were given in 90dB constantly to subjects through stereo speakers. A statistical analysis revealed that interval was significant for perceived urgency; also interval and chord were both effective for perceived criticality. Pitch, interval, chord and the interaction between pitch and chord were effective in degree of confusion, so were reverberation, the interaction between reverberation and pitch and the interaction between reverberation and chord for preference. This study characterized the situation under which warning sounds are required into three types in terms of urgency and criticality; and found the right warning sound that the subjects perceived to best represent the situation through the validation study. These findings are expected to help the designer choose the right warning sound according to the situational contexts in which such warning sounds are implemented.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2002년도 봄 학술발표회 논문집
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• pp.270-271
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• 2002

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2005년도 춘계 학술발표대회 논문집
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• pp.54-55
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• 2005

• 한국군사과학기술학회지
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• 제18권2호
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• pp.201-211
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• 2015

Acoustic propagation in shallow water with changing environments is a major concern of navy. Temporal and spatial variability of acoustic propagation in the northern East China Sea (ECS) is studied, using the 11 years hydrographic data and the Bellhop acoustic model. Acoustic propagation in the northern ECS is highly variable due to extensive interaction of various ocean currents and boundaries. Seasonal variations of transmission loss (TL) with various source depths are highly affected by sharp gradient of sound speed and bottoms interaction. Especially, various bottom sediment types lead to severely degrading a waterborne propagation with bottom loss. In particular, the highly increased TL near the ocean front depends on the source position, and the direction of sound propagation.