• Journal of Veterinary Science
• /
• v.21 no.1
• /
• pp.18.1-18.17
• /
• 2020

Cat vocalizes to communicate with another and express their internal states. The vocal repertoire of the cat is wide and up to 21 different vocalizations have been described in the literatures. But it is more than probable that the repertoire contains more types of vocalizations. An ethogram was created in this paper describing the actual known vocalisations of the domestic cat based on an auditory classification. However, the audiogram allows also a visual classification which can increase the accuracy of vocalization differentiation. The classification can be risky as it is sometimes unclear if different types of vocalizations are produced in different environments or if a unique type of vocalization is used with variation in the acoustic parameters. As an example, isolation calls produced by kittens differ depending on the context. The environment has an important impact on the vocal behaviour and thus feral cats and pet cats vocalize differently. Pet cats are thus able to create an efficient communication with humans thanks to the flexibility of vocalisation behaviours. This review allowed us to create a simple model of the cat vocal repertory.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
• /
• v.21 no.1
• /
• pp.27-31
• /
• 2010

Mild vocal fold hypomobility is a common finding of which clinical significance is incompletely understood. Recently, electrophysiologic investigations have shown that vocal fold hypomobility is a continuum of neurogenic dysfunction ; partial denervation (paresis), complete denervation (paralysis), and variable degrees and patterns of reinnervation. Despite a sound pathophysiological basis for its existence, interest in and acceptance of the diagnosis of vocal fold paresis is relatively recent. Vocal fold paresis may be a relatively common and often overlooked condition that can be difficult to diagnose since laryngoscopy does not reliably distinguish innocent laryngeal asymmetry from hypomobility caused by paresis. Although not entirely free from error, laryngeal electromyography seems to hold more promise as a means of reliable diagnosis than laryngoscopy, and should be employed systematically in the evaluation of suspected paresis. The means to help most patients with paresis already exists in the repertoire of interventions developed to treat paralysis. However, since the vocal fold retains substantial movement, more conservative treatment strategy is recommended as a first line of treatment. The authors reviewed the representative reports of vocal fold paresis and summarized the controversies and consensus regarding the vocal fold paresis.

• Animal cells and systems
• /
• v.9 no.2
• /
• pp.47-55
• /
• 2005

Avian vocalization has been main topics in studying animal communication. The structure and usage as well as development and function of vocalization vary enormously among species and even among populations, and thus we reviewed the general patterns of song learning and the consequences of song communication in birds at the behavioural level: first, we compared the different learning phenomena between non-songbird and songbird, and we investigated the learning process of songbird both in the field and in the lab, which are needed to fully understand vocal communication. Second, we discussed a recent trend of sexual selection hypothesis explaining the structural and functional diversity of song in songbirds with repertoire and presented how the repertoire is actually used between neighbours based on individual recognition.

• Animal cells and systems
• /
• v.1 no.4
• /
• pp.565-569
• /
• 1997

Vocal repertoires of the B1ack-tailed gull (Larus crassirostris) were studied at established reproductive colonies. The Black-tailed gull has eleven different vocal signals which can be grouped into three different call classes according to behavioral functions: contact call, alarm call (attention call), and aggressive call. The contact call or mew call is the most frequently used and functions as means of recognition among individuals, particularly between parents and youngs. Our results show that each call plays .an important role in particular social relationships in a high- density breeding colony.

• Proceedings of the Korea Contents Association Conference
• /
• 2018.05a
• /
• pp.97-98
• /
• 2018

재즈 연주자들이 음반에 많이 녹음한 재즈 스탠더드 곡을 대상으로 레퍼토리의 장르를 분류하여 선정한 곡을 중심으로 다른 버전의 편곡 특성을 연구한다. 레퍼토리 곡은 재즈 스탠더드 원곡에서 블루스, 스윙, 발라드, 비밥, 라틴의 5가지 장르로 분류되며, 대부분 발라드와 스윙이다. 레퍼토리의 곡 분류를 통해 같은 곡이 다른 버전에서 어떻게 다르게 연주되었는지 보기위해 여성 재즈보컬들에 의해 녹음된 음반을 중심으로 각 버전의 특징을 분석한다. 이 연구를 수행하여 각 여성 재즈 보컬들의 녹음된 곡에서 다른 버전의 편곡 특성을 도출한다.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.357-392
• /
• 2019

This paper reexamines the formation process of Ch'anggŭk, Korea's musical drama based on p'ansori in the 1930s, focusing on the Ch'anggŭk gramophone records and the repertoire of the Chosŏn Sŏngak Yŏn'guhoe(Korean Vocal Music Association). The paper discussed the achievements and limitations of the Chosŏn Sŏngak Yŏn'guhoe which was at the center of the formation of Ch'anggŭk by examining the activities of the Chosŏn Sŏngak Yŏn'guhoe in the 1930s. The role of 'ipche-chang' and 'narrator' in the Ch'anggŭk gramophone records was seen as Ch'anggŭk imagination that was realized by the members of the Chosŏn Sŏngak Yŏn'guhoe who recognized the 'dramatic space and stage', which is distinct from p'ansori, Korean traditional vocal and percussion music. In addition, the paper discussed the difference and meaning of the concept of 'Sin-Ch'anggŭk' between Seo Hang-Seok and Song Seok-Ha, which is derived from the Ch'anggŭk formation. The performance of stage Ch'anggŭk in the 1930s was a repetition of the discussion that it should reach a point of Kagŭk, music or song dramas. This paper discussed the process of replacing the term 'Ch'anggŭk' with 'Kagŭk' at the time, and examined the way Ch'anggŭk stage was established as a perfect form during the process. The formation of Ch'anggŭk by members of the Chosŏn Sŏngak Yŏn'guhoe could be an important achievement in the history of Ch'anggŭk, but there was no choice but to reveal the limitation in the formal aspect due to the 'refinement' and 'exclusion' according to the cultural policy of Japan. P'ansori musicality was enhanced, but it could not contain the spirit and diversity of the times, so it could be said that there was no choice but to stop as a rudimentary creative imagination of Ch'anggŭk. Ch'anggŭk is a genre that is inherently limited, but the limitation can be overcome over the times, which will be covered in a subsequent paper.