• 말소리와 음성과학
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• 제1권1호
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• pp.63-67
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• 2009

In this paper, in order to protect music copyrights, we propose a music identification system which is scalable to the number of pieces of registered music and robust to signal-level variations of registered music. For its implementation, we define the new concepts of 'music word' and 'music phoneme' as recognition units to construct 'music acoustic models'. Then, with these concepts, we apply the HMM-based framework used in continuous speech recognition to identify the music. Each music file is transformed to a sequence of 39-dimensional vectors. This sequence of vectors is represented as ordered states with Gaussian mixtures. These ordered states are trained using Baum-Welch re-estimation method. Music files with a suspicious copyright are also transformed to a sequence of vectors. Then, the most probable music file is identified using Viterbi algorithm through the music identification network. We implemented a music identification system for 1,000 MP3 music files and tested this system with variations in terms of MP3 bit rate and music speed rate. Our proposed music identification system demonstrates robust performance to signal variations. In addition, scalability of this system is independent of the number of registered music files, since our system is based on HMM method.

• Journal of Audiology & Otology
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• 제24권3호
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• pp.140-148
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• 2020

Background and Objectives: The aim of this study is to evaluate the effect of music training on the characteristics of auditory perception of speech and music. The perception of speech and music stimuli was assessed across their respective stimulus continuum and the resultant plots were compared between musicians and non-musicians. Subjects and Methods: Thirty musicians with formal music training and twenty-seven non-musicians participated in the study (age: 20 to 30 years). They were assessed for identification of consonant-vowel syllables (/da/ to /ga/), vowels (/u/ to /a/), vocal music note (/ri/ to /ga/), and instrumental music note (/ri/ to /ga/) across their respective stimulus continuum. The continua contained 15 tokens with equal step size between any adjacent tokens. The resultant identification scores were plotted against each token and were analyzed for presence of categorical boundary. If the categorical boundary was found, the plots were analyzed by six parameters of categorical perception; for the point of 50% crossover, lower edge of categorical boundary, upper edge of categorical boundary, phoneme boundary width, slope, and intercepts. Results: Overall, the results showed that both speech and music are perceived differently in musicians and non-musicians. In musicians, both speech and music are categorically perceived, while in non-musicians, only speech is perceived categorically. Conclusions: The findings of the present study indicate that music is perceived categorically by musicians, even if the stimulus is devoid of vocal tract features. The findings support that the categorical perception is strongly influenced by training and results are discussed in light of notions of motor theory of speech perception.

• 대한청각학회지
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• 제24권3호
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• pp.140-148
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• 2020

Background and Objectives: The aim of this study is to evaluate the effect of music training on the characteristics of auditory perception of speech and music. The perception of speech and music stimuli was assessed across their respective stimulus continuum and the resultant plots were compared between musicians and non-musicians. Subjects and Methods: Thirty musicians with formal music training and twenty-seven non-musicians participated in the study (age: 20 to 30 years). They were assessed for identification of consonant-vowel syllables (/da/ to /ga/), vowels (/u/ to /a/), vocal music note (/ri/ to /ga/), and instrumental music note (/ri/ to /ga/) across their respective stimulus continuum. The continua contained 15 tokens with equal step size between any adjacent tokens. The resultant identification scores were plotted against each token and were analyzed for presence of categorical boundary. If the categorical boundary was found, the plots were analyzed by six parameters of categorical perception; for the point of 50% crossover, lower edge of categorical boundary, upper edge of categorical boundary, phoneme boundary width, slope, and intercepts. Results: Overall, the results showed that both speech and music are perceived differently in musicians and non-musicians. In musicians, both speech and music are categorically perceived, while in non-musicians, only speech is perceived categorically. Conclusions: The findings of the present study indicate that music is perceived categorically by musicians, even if the stimulus is devoid of vocal tract features. The findings support that the categorical perception is strongly influenced by training and results are discussed in light of notions of motor theory of speech perception.

• 대한음성학회지:말소리
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• 제46호
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• pp.37-50
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• 2003

In this paper, we evaluate and compare the performance of speech/music discrimination based on various feature parameters and classifiers. As for feature parameters, we consider High Zero Crossing Rate Ratio (HZCRR), Low Short Time Energy Ratio (LSTER), Spectral Flux (SF), Line Spectral Pair (LSP) distance, entropy and dynamism. We also examine three classifiers: k Nearest Neighbor (k-NN), Gaussian Mixure Model (GMM), and Hidden Markov Model (HMM). According to our experiments, LSP distance and phoneme-recognizer-based feature set (entropy and dunamism) show good performance, while performance differences due to different classifiers are not significant. When all the six feature parameters are employed, average speech/music discrimination accuracy up to 96.6% is achieved.

• 디지털콘텐츠학회 논문지
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• 제11권2호
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• pp.235-242
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• 2010

음악제작에 쓰이는 음성합성엔진은 악기 소리와 음색의 합성에 머물던 과거의 신디사이저와는 달리, 인간의 목소리를 각 음소에 따라 샘플화하여 탑재함과 동시에 각 음소의 연결을 주파수 영역 내에서 자연스럽게 처리함으로써 실제 사람이 노래하는 것과 같은 수준까지 도달하게 되었다. 사용자들은 이러한 음성합성엔진을 음악제작에 국한하여 쓰지 않고 캐릭터를 활용한 콘서트, 영상제작, 음반, 모바일 서비스 등 2차 창작물로 새로운 음악의 형태를 창조하며 문화적 패러다임을 바꾸어 나가고 있다. 현재 음성합성엔진 기술은 악보 편집기를 통하여 사용자가 원하는 음과 가사, 그리고 음악적 표현 파라미터를 입력한 뒤, 실제 가성 샘플을 데이터베이스에서 가져와 합성엔진에서 발음들을 조합, 연결하여 노래하는 것을 가능하게 한다. 이러한 컴퓨터음악 기술의 발전으로 인해 파생된 새로운 음악 형태들은 문화적으로 큰 반향을 불러일으키고 있다. 이에 따라 본 논문은 구체적 활용 사례를 살펴보고 합성기술을 탐색함으로써, 사용자들이 음성합성엔진을 이해하고 습득하는 데 기여함과 동시에 그들의 다양한 음악제작에 도움이 되고자 한다.

• 말소리와 음성과학
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• 제7권3호
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• pp.139-149
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• 2015

This paper aims to analyze pronunciation variations of loanwords produced by Korean and improve the performance of pronunciation modeling of loanwords in Korean by using syllable-based segmentation and phonological knowledge. The loanword text corpus used for our experiment consists of 14.5k words extracted from the frequently used words in set-top box, music, and point-of-interest (POI) domains. At first, pronunciations of loanwords in Korean are obtained by manual transcriptions, which are used as target pronunciations. The target pronunciations are compared with the standard pronunciation using confusion matrices for analysis of pronunciation variation patterns of loanwords. Based on the confusion matrices, three salient pronunciation variations of loanwords are identified such as tensification of fricative [s] and derounding of rounded vowel [ɥi] and [$w{\varepsilon}$]. In addition, a syllable-based segmentation method considering phonological knowledge is proposed for loanword pronunciation modeling. Performance of the baseline and the proposed method is measured using phone error rate (PER)/word error rate (WER) and F-score at various context spans. Experimental results show that the proposed method outperforms the baseline. We also observe that performance degrades when training and test sets come from different domains, which implies that loanword pronunciations are influenced by data domains. It is noteworthy that pronunciation modeling for loanwords is enhanced by reflecting phonological knowledge. The loanword pronunciation modeling in Korean proposed in this paper can be used for automatic speech recognition of application interface such as navigation systems and set-top boxes and for computer-assisted pronunciation training for Korean learners of English.