• The Journal of the Acoustical Society of Korea
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• v.30 no.2
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• pp.100-106
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• 2011

Music recordings have been digitalized such that huge size of music database is available to the public. Thus, the automatic classification system of music genres is required to effectively manage the growing music database. Mel-Frequency Cepstral Coefficient (MFCC) is a popular feature vector for genre classification. In this paper, the combined super-vector with Decorrelated Filter Bank (DFB) and Octave-based Spectral Contrast (OSC) using texture windows is processed by Support Vector Machine (SVM) for genre classification. Even with the lower order of the feature vector, the proposed super-vector produces 4.2 % improved classification accuracy compared with the conventional Marsyas system.

• Journal of the Korean Home Economics Association
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• v.49 no.2
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• pp.97-109
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• 2011

The purpose of this study was to investigate the reading habits, reading patterns and reading motivation of 362 college students from the capital area majoring in child development or early childhood education. The main findings of this study were as follows. Firstly, 70 percent of students spent less than three hours a week on reading academic or school-related material, and 75 percent spent less than three hours a week on independent or recreational reading. Students most preferred reading the "cultural" genre and least preferred reading the "human life(spiritual)" genre. The "cultural" and the "human life(spiritual)" genres also represented the most and least frequently read genres, respectively. Secondly, students presented high-level reading patterns, in that they previewed the reading material before reading, understood the meaning of it during reading, and shared their reading experience with others after reading. Thirdly, the average reading motivation levels scored near the midpoint on a five-point scale. Fourthly, students with higher reading motivation levels displayed higher reading frequencies and preference levels for each genre, with the exception of the "fiction and humor" genre. Moreover, students with higher levels of reading motivation received higher ratings for their reading patterns.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.519-541
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• 2010

A number of recent Victorian studies have participated in a renewed focus on form. E. Warwick Slinn and Monique R. Morgan, for instance, have contributed to enhancing our understanding of the Victorian dramatic monologue. This paper aims to expand what they have addressed by revisiting the mechanics of the dramatic form as a form, in particular addressing two types of dramatic monologue represented with supreme adroitness by Robert Browning and Alfred, Lord Tennyson, both of whom successfully attempted to widen our epistemology through a large act of the poetic imagination and great intellectual power. To this end, this paper lays particular attention to the role of the reader who is regarded as a key element of the dramatic aspect of the genre. In the dramatic monologue proper, real readers are actively brought into dialogic relation with the speaker or the poet, or both, whereby it seeks to represent an act of play among the poet, the speaker, and the reader. What the genre achieves in this fashion is twofold. For one thing, it pushes itself sufficiently to the very centre of the complex of apparently various narrative motives that animate the genre; for another, it honours the world of multiple viewpoints more than any other previous form of literature, all the more so as readers' views vary across their own time, space, and socio-cultural contexts. Incidentally, in one way and another, the dramatic monologue is of kinship with a Jamesian type of fiction, which is noted for its exterior impersonality. So this paper concludes by suggesting some theoretical implications that the dramatic genre assumes for, not only the naturalist novel, but also the (post-)modernist one.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.2
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• pp.133-146
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• 2011

The purpose of this study is to analyze the fusion phenomenon that appears in contemporary women's denim fashion in order to find a way to come up with a creative denim design. The methodology of this study is to research documents related to fusion phenomena and consider precedent studies to establish a criteria for analyzing fusion phenomena. The results are as follows: First, fusion phenomena in modern women's denim can be categorized into fusion of time, fusion of space, fusion of gender, fusion of culture, and fusion of genre. Fusion of time appears as fusion with the past and fusion with the future. Fusion of space appears as fusion with Asia and fusion with other regions. Fusion of gender appears as unisex, androgynous, and genderless. Fusion of culture appears as fusion with subcultures such as grunge, kidult, lingerie, hippy look, hip hop fashion, etc. Finally, fusion of genre appears as fusion of materials, fusion of style, and fusion of circumstances. Second, when analyzing the frequency of appearance for fusion phenomena, fusion of culture appeared with a frequency of 29.7%, followed by fusion of genre with 19.1%, fusion of time with 10.5%, fusion of gender with 9.9%, and fusion of space with 8.5%. When analyzing the most frequently appearing fusion phenomena by year, fusion of culture appeared the most from the year 2000 to 2004, fusion of space and time in 2005, fusion of genre from 2006 to 2007, fusion of culture again in 2008 and 2009, and once more fusion of genre appeared the most in 2010.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.62-69
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• 2015

This study examined the effects of the level of narrativity of a culture content on the level of preference of a related culture content. The culture contents were categorized into novels, cartoons and TV programs according to the content type, and into dramas, comedies, and actions by the contents genre because previous studies found a high level of narrativity in novels and dramas. Based on the survey data on the movie preference, the following were found. First, when people prefer novels with high-level narrativity, rather than TV programs, which have low-level narrativity in a certain genre, they prefer watching movies in the same genre. Second, this relationship is even more reinforced when the genre of the original of the movie is drama, which has high-level narrativity, rather than comedies or actions, which have low-level narrativity. Narrativity plays an important role in the movie preference, especially when it comes to movie originals.

• Journal of Korea Multimedia Society
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• v.10 no.7
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• pp.817-826
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• 2007

The existing a music genre classification research used signal feature of the part which gets 20 seconds interval of the random or the $40%{\sim}45%$ after in the music. This paper propose it to increase the accuracy of existing research to classify music genre using climax part in the music. Generally the music is divided to three parts; introduction, progress and climax. And the climax is the part which the music emphasizes and expresses the feature of the music best. So, we can get efficient result if the climax is used, when the music classify. We can get the climax in the music finding the tempo and node which uses FFT and the maximum waveform from each node. In this paper, we did a genre classification experiment which uses existing research method and proposing method. The existing method expressed 47% accuracy. And proposing method expressed 56% accuracy which is improved than existing method.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.41 no.6
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• pp.271-278
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• 2004

In this paper, we propose a content-based audio genre classification algorithm that automatically classifies the query audio into five genres such as Classic, Hiphop, Jazz, Rock, Speech using digital sign processing approach. From the 20 seconds query audio file, the audio signal is segmented into 23ms frame with non-overlapped hamming window and 54 dimensional feature vectors, including Spectral Centroid, Rolloff, Flux, LPC, MFCC, is extracted from each query audio. For the classification algorithm, k-NN, Gaussian, GMM classifier is used. In order to choose optimum features from the 54 dimension feature vectors, SFS(Sequential Forward Selection) method is applied to draw 10 dimension optimum features and these are used for the genre classification algorithm. From the experimental result, we can verify the superior performance of the proposed method that provides near 90% success rate for the genre classification which means 10%∼20% improvements over the previous methods. For the case of actual user system environment, feature vector is extracted from the random interval of the query audio and it shows overall 80% success rate except extreme cases of beginning and ending portion of the query audio file.

• Korean journal of communication and information
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• v.58
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• pp.201-221
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• 2012

The male audience for melodrama, a typical women's genre, has drawn little attention in the audience research. Thus, this paper examines how and in what context they watch it, as well as how they accept and rationalize their 'feminine' taste. And in-depth interviews were conducted with seven middle-aged males. While they acknowledge their feminine taste, they tend to legitimize and re-contextualize it in ways that may not contradict their notion of masculinity. Consequently, they often demonstrate seemingly contradictory attitudes oscillating between enjoying it and distancing themselves from their please of viewing. Yet, their acknowledgement of feminization hardly extends to an acceptance of being labelled 'feminine' men. They attempt to distance themselves from emotional engagement in television viewing, either through emotional self-censorship or under-valuation of the taste for the genre itself. Finally, they hardly connect their taste for the genre to a sort of active post-viewing practices of fandom. The results have considerable implications for understanding how the melodrama-viewing males keep traversing the boundaries of gender-specific genres, and reconstitute the notion of masculinity.

• Journal of the Institute of Electronics Engineers of Korea SC
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• v.48 no.5
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• pp.31-36
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• 2011

In this paper, Mel-Frequency Cepstral Coefficient (MFCC), Decorrelated Filter Bank (DFB), Octave-based Spectral Contrast (OSC), Zero-Crossing Rate (ZCR), and Spectral Contract/Roll-Off are combined as a set of multiple feature-vectors for the music genre classification system based on the Support Vector Machine (SVM) classifier. In the conventional system, feature vectors for the entire genre classes are normalized for the SVM model training and classification. However, in this paper, selected feature vectors that are compared based on the One-Against-One (OAO) SVM classifier are only used for normalization. Using OSC as a single feature-vector and the multiple feature-vectors, we obtain the genre classification rates of 60.8% and 77.4%, respectively, with the conventional normalization method. Using the proposed normalization method, we obtain the increased classification rates by 8.2% and 3.3% for OSC and the multiple feature-vectors, respectively.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.939-951
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• 2007

This paper is about bridegroom's wedding robe, danryung(團領, a kind of official uniform) which can be found in the scenes of wedding ceremonies such as Chohaeng(初行, a ceremony that the bridegroom goes to the bride's house for wedding) and Hoehonrye(回婚禮, a ceremony that celebrates the $60^{th}$ wedding anniversary) in the genre paintings from the $18^{th}$ century to the $19^{th}$ century. In the documents of the $18^{th}$ and the $19^{th}$ centuries containing the wedding information of that period, danryung was described in various red tones ranging from Ja(紫, purple), Gang(絳 crimson), to Yeonhong(軟紅, pale pink). Similarly, red danryung(紅團領) was seen most frequently at the Chohaeng sights of the genre paintings. On the other hand, it was often depicted that the bridegrooms put on various colored danryungs at Hoehonrye. This was because bridegrooms at Hoehonrye wore their full dress according to their official ranks. In the genre paintings of the 18th century, all bridegrooms wore simple danryungs without hungbae(胸背, official insignia panel) except those in Hoehonrye painting where officials used hungbae. On the contrary, hungbae was discovered in the $19^{th}$ century Chohaeng paintings even though it was not precisely painted. This change of the bridegroom's danryung with hungbae attached was related to that of the official uniform system itself, in which black danryung with hungbae was exclusively used for officials. Afterwards it became the basis of the blue danryung of the present day.