• Proceedings of the KAIS Fall Conference
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• 2010.11b
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• pp.611-613
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• 2010

Constant Structure는 Non-Functional Harmony로써 현대 재즈에 적극적으로 사용되고 있다. 본 논문에서는 McCoy Tyner의 'Passion Dance'에서 Constant Structure Voicing이 어떻게 사용되었는지 분석하고, 이를 토대로 Constant Structure Voicing의 기초적 활용 방법을 연구한다.

• Speech Sciences
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• v.7 no.3
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• pp.35-51
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• 2000

The goal of this paper is to examine how Case Drop (the drop of the case markers) correlates with the prosodic structure in Korean. On the assumption that intervocalic Lenis Stop Voicing (LSV) applies within the domain of the Accentual Phrase (AP), voicing analyses are performed on intervocalic lenis stop consonants before and after Case Drop. A statistical analysis reveals that the drop of the nominative and accusative case markers significantly alter the AP structure. Pitch values will then be extracted to verify that such changes in the AP structure conform to the pitch properties proposed for the AP (Jun 1993, 1998). The results show that the AP structure suggested by LSV does not always coincide with that imposed by the pitch properties.

• MALSORI
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• no.39
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• pp.15-24
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• 2000

This study aims to reexamine Korean Lenis Stop Voicing (henceforth, LSV) and to specify its phonetic conditions in phonetic terms. LSV optionally occurs within certain prosodic domains. They are called 'Malthomak'(Lee, 1996),'phonological phrase'(Kang, 1992), or 'accentual phrase'(Jun, 1993). On the basis of Jun's phrasing, this study focuses on the more specific phonetic conditions of LSV in the accentual phrase medial position, sub-classifying voicing as complete and partial. The results shows that whether the stops become completely voiced or partially voiced was determined by the various phonetic environments, such as adjacent segments and following intonational phrase boundaries. It is shown that the conditions of LSV should be described in terms of more detailed phonetic environments and that they could be used in predicting the class of voicing.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.12
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• pp.5477-5485
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• 2011

This study comparatively analyzed the instrumentation and the voicing structure, which were shown in the film music titled "Star Wars-Main Title" by John Williams(1932~), with analytical technique that the writer mapped out, and aimed to discover the progression principle in orchestration based on the results. Also, it applied a functional part-division method that was classified and distributed into 3 functional parts according to auditory cognitive level as for each of functional elements such as the musical element. And, it made it pattern for the vertical structure and the voicing structure in musical instruments, which were distributed to each functional part based on this, and comparatively analyzed the standard point in a change which were shown according to progression of music, namely, the operating technique. As for the results of this study, first, each theme has specific instrumentation pattern. Unity was emphasized by consistently organizing those things in exposition, reprise, and recapitulation of each theme. To reinforce diversity, an attempt was made such as adding and reducing auxiliary instruments in the middle part and the rear part. Second, even in a change of instrumentation pattern by passage in accordance with a change in theme amid each part, the same instrumental group was organized in the middle part, thereby having maintained unity. Third, to strengthen diversity by clause, which is forming each theme, a continuous change in voicing pattern was created by adding or omitting a part. Fourth, the voicing concentration was maintained the structure of "thinness-thickness" in the whole musical piece. However, in part 2 that is repeated theme 3, diversity was pursued with a unique change of "thickness-thickness." Fifth, in part 4 that is indicated theme 4, the other diversity was intensified with the inverted range in the front part and the middle part. Accordingly, based on the conclusions that were indicated in this work, it is desired to be conducive to understanding the horizontal consideration and the progression principle of orchestration.

• Proceedings of the KAIS Fall Conference
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• 2010.05b
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• pp.755-758
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• 2010

본 논문에서는 현재 Jazz에서 사용되어지는 화성기법을 Pat Metheny의 작품인 “Question & Answer”를 통해서 알아보았다. D Minor Pentatonic Scale이 선율에 주로 사용된 본 작품은 Intro부분에서는 Quater Voicing이 사용되었다. A 부분에서는 Line Cliche와 D Minor Scale과 D Harmonic Minor Scale의 Diatonic Chord를 사용하였지만 A Aeolian Mode적인 기법이 A부분 셋 번째 단에서 사용되어 Modal적인 분위기도 연출 하였으며 B부분에서는 John Coltrane이 자주 사용하였던 3 Tonic 기법이 사용되면서 동질의 화성이 일정간격으로 움직이는 Constant Structure기법도 사용되었다.

• Proceedings of the KSPS conference
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• 2000.07a
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• pp.364-364
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• 2000

It has been widely discussed in phonology that syllable structure of mother tongue influences one's acquisition of foreign language. However, the topic was hardly examined experimentally. So, we investigated effects of Korean syllable structure when Korean speakers pronounce English words, especially focusing on consonant strings that are not allowed in Korean. In the experiment, all the subjects are divided into 3 groups, that is, native, experienced, and inexperienced speakers. Native group consists of 1 male English native speaker. Experienced and inexperienced are each composed of 3 male Korean speakers. These 2 groups are divided by the length of residence in the country using English as a native language. 41 mono-syllable words are prepared considering the position (onset vs. coda), characteristic (stops, affricates, fricatives), and number of consonant. Then, the length of the consonant cluster is measured. To eliminate tempo effect, the measured length is normalized using the length of the word 'say' in the carrier sentence. Measurement of consonant cluster is the relative time period between the initiation of energy (onset I coda) which is acoustically representative of noise (consonant portion) and voicing. bar (vowel portion) in a syllable. Statistical method is used to estimate the differences among 3 groups. For each word, analysis of variance (ANDY A) and Post Hoc tests are carried out.

• MALSORI
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• no.33_34
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• pp.71-89
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• 1997

In the framework of linear representation which allows for no internal structure within features, there is no way to represent nonlinear phonological phenomena such as complex segments. This paper shows how we carl solve some problems of the linear feature theory in relation to the hierarchical feature theory. The purpose of this paper is to explain lateral assimilation under hierarchical feature representation. Although arguments for the position of classes of distinctive features have been made the position of (lateral) remains the issue of debate. Sagey(1988) argues that the feature [lateral] is structurally dependent on the root node. In contrast Rice & Avery (1991) put the feature (lated) under the spontaneous voicing. I have discussed previous studies of feature hierarchy and I propose a revised model of feature representation. Within this model I have shown how well feature geometry describes lateralization as feature spreading.

• Speech Sciences
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• v.9 no.4
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• pp.175-185
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• 2002

The purpose of this study was to investigate the acoustic durations of Korean vowels followed by either voiced or voiceless consonants. Six healthy adult speakers (2 females and 4 males) recorded nonsense syllables in which voiced (/b, d, g/) or voiceless (/p', t', k', $p^{h},t^{h},k^{h}$) consonants follow three different vowels (/i, a, u/) embedded in a carrier phrase. Results showed that vowels preceding voiced consonants (e.g., haba) were significantly longer in duration than those preceding voiceless consonants (e.g., hiP' a or $hip^{h}a$). Also vowels were longer in duration when occurring before velar-stops than before bilabial-stop and dental-stops. Finally, the duration of the low vowel (/a/) was substantially longer than that of the high vowels (/i, u/). These findings may be applicable to speech synthesis or therapy.

• Cartoon and Animation Studies
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• s.39
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• pp.321-348
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• 2015

The purpose of this study was to find a system and a progression principle in orchestral piece based on the outcome after comparatively analyzing the orchestral operation technique in "Battle for The Glory" out of the background music in the animation "Dragon Quest IV" by Koichi Sugiyama(1931~), who is a leading runner of Japan's animation music, based on functional parts daccord & Instrumentation Pattern, Rhythm Pattern, Voicing Pattern, and harmonic ratio by progression section devised by the writer. As a result, first, five themes in this music have specific instrumentation pattern, respectively. In a passage that is shown exposition, reprise, and representation in theme, the unity was emphasized by maintaining the same instrumentation pattern. On the contrary to this, a passage of being suggested new theme is being used the exchange method and addition & subtraction in musical instrument in order to strengthen diversity. Second, the voicing pattern is forming the vertical contrasting relationship of "thinness-thickness" on the whole. However, the diversity is being intensified that is changed into the structure of "thickness-thinness" in the third theme and of "thinness-thickness" that has two melodies in the fourth theme. Third, the rhythm pattern is forming the vertical contrasting relationship of "big-small" on the whole. However, the fifth theme is being given diversity with being changed into the structure of "small-big." Fourth, the harmony by progression section from the horizontal perspective is shown to be high in the proportion of unity in the section of being repeated and represented the theme and to be high in the proportion of diversity in the section of being suggested new theme. In this study, the balanced orchestral operation technique through the operation technique, which was used in this work, is what extracts the relationship of diverse proportions in the horizontal progression section based on the technique of vertical perspective. In this aspect, this analytical study is desired to be positioned as a new paradigm in establishing a theoretical system and an educational method in orchestration.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.2
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• pp.178-184
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• 2004

The Yatomi - Aioiyama line is a city-planning road that was notified in 1957 and subsequently prepared by land readjustments. Currently, approximately 900m of road pass in the inside of the Aioiyama green area has not been constructed. The surveying briefing session for inhabitants was held in July 1992, the project was authorized by the Ministry of Land, Infrastructure and Transport in September 1993, and the project briefing session for inhabitants was held in September 1993. The site purchase has been completed. At the May 2000 briefing session, inhabitants of the area began voicing dissenting demanding the conservation of the natural environment of this green area. The inspector system serves as the third party, independent of both the administration and the inhabitants. Before finalizing the geometric line form of the road to be constructed, some surveys of animals and plants found along the walking trails carried out intensively in the northern area, which is approximately 50 ha, of the Aioiyama green area. The natural environment inspector submitted a plan for changing the geometric line form of the road decided upon by city planning, and it was approved by the city planning council. If the shelter structure or the retaining wall structure is adopted at the location where large slope faces are produced by excavation or landfill, and if the bridge structure is adopted at the place where stream-lines and walking trails intersect, it leads to a reduction of approximately $40\%$ in the areas for which change is planned. Furthermore, approximately $20\%$ of the area to be changed is restored by returning soil to the roof of the shelter.