• Speech Sciences
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• v.4 no.2
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• pp.115-139
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• 1998

The aim of this study is to develop an the assessment program for the singing voice which is based on the physiological and acoustic methods. 22 sopranos, 6 mezzo sopranos, 4 tenors and 4 baritones participated to these experiments. The results measured by Visi-Pitch, spectrograph, and strobo-scope can be summarized as follows: (1) The maximum phonation time of singers must over 14 second higher with one deep inspiration (2) The parts classified by vocal range using Visi-Pitch: soprano between 167Hz $\sim$1,190Hz, mezzo soprano between 146Hz$\sim$956Hz, tenor between 75Hz$\sim$503Hz and baritone between 73 Hz and 385 Hz. (3) Longitudinal glottal size of singers decreases depending on the high-low pitch variation while lattitudinal glottal size increases depending on high-low pitch variation. (4) Well-trained singers show over 5 times the vibrato rate of untrained singers and regular pitch variation during measured periods. Vibrato's intensity do not over 3 dB. (5) Singer's formant indicates professional voice depending on the each parts: 3,207 Hz for soprano, 3,057 Hz for mezzo soprano, 2,754 Hz for tenor and 2,560 Hz for baritone.. (6) $F_1$ of singing voice is higher than that of speech while $F_2\;and\;F_3$ of singing voice are lower than those of speech.

• Speech Sciences
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• v.9 no.4
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• pp.15-25
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• 2002

It's not easy to produce very high tones during singing for not only untrained ordinary people but also even trained singers. To get high singing tones from the low tones, some trained singers used to use a distinguished singing technique, Passaggio (vocal register transition). The purpose of this study is to compare several voice parameters variation between when to sing with using the passaggio technique and to sing without using it. We selected 18 male singers (tenor 8, baritone 10), who had more than 7 years of experience and were well trained in passaggio technique. Simultaneous measurements of fundamental frequency (F0), mean flow rate (MFR), intensity (I), and subglottal pressure (Psub) were performed using the phonatory function analyzer (Nagashima). For the tenor, target tones /a/ were presented: 1) easy phonation: $B_{2}$, 2) high tone without passaggio: F$#_{3}$ 3) high tone with passaggio: F$#_{3}$. For the baritone, target tones /a/ were presented: 1) easy phonation: G$#_{3}$, 2) high tone without passaggio: D$#_{3}$, 3) high tone with passaggio: D$#_{3}$. F0 of the target tones between non-passaggio group and passaggio group was almost the same in both tenor and baritone groups. Intensity of the non-passaggio and passaggio vocalization was much louder than that of easy phonation and pasaggio was louder than non-passaggio vocalization (especially statistically significant in baritone singers). MFR of the passaggio vocalization was greater than non-passaggio vocalization in both tenor and baritone group, but statistically significant only in baritone. Psub of the passaggio vocalization was greater than that of the non-passaggio vocalization in both tenor and baritone group, but statistically not significant in tenor.

• Journal of the Korean Society of Costume
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• v.29
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• pp.183-196
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• 1996

Study on the Apparel Advertising Strategy and Popular Music Singer. From the 1990s popular musics begin to reflect modern fashion. Especially those dance musics such as Rap or Reggae captivate teenagers through the mass media. So middle-low price causal cloth-ing companies hire the most popular singers as their role model. this marketing strategy succeeds to increas their sales and now many companies compete to engage famous singers,. in western countries where the music and the fashion have interacted for some times famouse singers express their personalities through the clothes they wear. The consumers try to imitate them by puchasing smiliar clothsing. And it makes the apparel company to produce more goods. However if those companies continue to be shiortsighted in terms of increasing sales in the shortrun with out their personality and differentiation brand concept. they will only instigate the teenager's consumptionand they'll fail to create their own fashion-style.

• Proceedings of the KSPS conference
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• 2007.05a
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• pp.261-264
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• 2007

Five males trained singers (age:25.0${\pm}$1.4years, career:6.8${\pm}$1.1 years) and five female trained singers (age:22.0${\pm}$1.0years, career:5.8${\pm}$1.2 years) participated in this study. SaO2(Oxi Hemoglobin saturation) measured by Oxy-Pulse meter and PAC02 (Pressure Alveolar Co2) measured by Quick et CO2 are compared with pre and post vocal training. As the result, PAC02 was lower than normal range (36-40mmHg) after vocal training, leading to Hypocapnia. This causes headache and dizziness

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.22 no.2
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• pp.111-114
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• 2011

All singers can often develop voice trouble secondary to vocal abuse and overuse, but it is well known that traditional Korean singer (pansori) develop voice disorders more frequently than western style sunger. While laryngological concern for voice disorders arising in professional singers has received some attention, empirically motivated investigations of the underlying acoustic features of the singing voice have been relatively limited. Since all singers have a good knowledge of the voice and voice training, they would hardly give consent for treatment to a doctor unless he understood their desire to maximize their voice quality. The components of this report are composed of breathing, basic ekement, and vocalization, essencial fact, for getting a perfect voice for pansori. The breathing is based on hypogastric breathing. The main functions of breathing are energy and power of utterence, tempo of rhythm and seperating paragraph and controlling feelings according to dramatic situation. Vocalization is based on general vocalization. Main uses of it are maintaining singer's tone and harmony of cosmetic dual force.

• (The) Research of the performance art and culture
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• no.32
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• pp.243-267
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• 2016

Deonum preexisted prior to it being named. Of course, the object designated as deonum at that time is not the same as the object designated as deonum at this time. There have been historical transitions in the definitions of the term deonum. This paper traced the term deonum to its origin from another angle. On closer inspection about the possible use as the everyday language and the technical language in the field of arts except for pansori, the term deonum was essentially a word for a tune. Deonum was in the same category as deureum, a great word in the Korean traditional music. But the definition of deonum as a tune used in the early part of the former period of eight master singers or before that gradually disappeared for a long time. When the term deonum as an everyday language first entered the field of pansori, it meaned characteristic tune singed by master singers. As pansori develop artistically, the term deonum changed into the word refers to the sori part, and this example become common in the former period of eight master singers. Most sori part acknowledged as a deonum in the former period of eight master singers was a deonum as a creative repertories, the master singer's creative work, but a deonum as a popular repertories, the master singer's specialty, began to be acknowledged as a deonum after the latter period of eight master singers. The differentiation between the definitions of deonum as a sori part occured. And most sori part acknowledged as a deonum after the modern era of five master singers have belonged to a deonum as a specialty. In this context, it was confirmed that Cheong Nosik wrote Joseonchanggeuksa, with carefully considering the historical change of definitions of deonum. This book includes three definitions of deonum, a deonum as a tune, a deonum as a creative work, and deonum as a specialty.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.2 no.1
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• pp.15-19
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• 1986

Our report refers to occidental vocal techniques from Greece until today. It is remarkable that even with poor anatomy knowledge, there were advices on styles given from very early periods, for both church and secular singing. During the 18th century, the names of "vox pectoris", "vox guturris" and "vox capitis" appear, nominations that somehow remain nowadays with great confusion about source of sound production and results of resonance. Vocal occidental styles developed different kinds of requirements from the singers, that had to adapt their vocal Possibilities to them. The same happened with "pop" song. Nowadays, all kinds of singers must have a conscious knowledge of its voice management to prevent vocal disturbances. We consider that the technique is the same, even when the singer has to sing Wagner, Debussy, Sconberg, Piazzola or Gershwin. The big changes occured at resonance levels, and because these different use of the vocal resonators the effects are quite different. In summary, the big differences on classical the effects are quite different. In summary, the big differences on classical and pop song are done on the different use of the resonators and its effects on the vocal tract. "Pop" singers, men and women, should be taught to use both registers, "modal" and "falsetto" to be able to reach the complete range of their songs without any harm to their larynxes. In our opinion, a good singing technique means that it could be adapted to every stylistic need. The same technique is adapted to the popular singer as well. The main difference lays on the use of resonators, pretty strong in the classic singer, weaken in the popular singer, on the volume and on the total extension of the voice. Breathing control, effortless emission and the use of "passage" at the right point should be taught to all singers, regardless of their style. (omitted)

• (The) Research of the performance art and culture
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• no.32
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• pp.171-208
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• 2016

Female folk song singers do not necessarily recognize the indigenous elements, which are, however, naturally reflected in the narration in the context. Singers of Taebaek Ararei recognize the dialect, the tone and the song when performing. Traditional Ararei had been performed by singers in the village of slash-and-burn field in Hwangji. Cheolam and Jangseong do not have their own traditional songs sing they are mining regions but had adopted songs from other areas including Gyeonggbuk, which still remain as alternative versions. Many elements of Jeongseon Arari and Samcheok Menari are in the narration and the songs. In terms of the context, alternative versions of Ararei are old Arirang melodies from slash-and-burn fields and were confirmed to be a very old form of oral folk songs in Gangwondo. Female singers of 3 generations, Hwaok Mun, Geumsu Kim and Hyojeong Kim, who keep the tradition and identity of Taebaek Ararei, show the integration of the past, present and future of Ararei. The Ararei Preservation Society continuously organizes singers' performances and maintains the tradition. The singer Hwaok Mun was born in Taecheon, Pyeongannamdo and moved to south at 5 and lived in Hajang, Samcheok and then moved to Jangseong and lived in Jaemungok. She is a mother of 6 children and has been a farmer for most of her life. She currently resides in Mungokdong and would sing Ararei at village feasts or events. She says she learned the song naturally because Ararei was sung very often in the past around Taebaek area. She is a typical native Arirang singer. The singer Geumsu Kim is a daughter of Hwaok Mun and leads the Taebaek Ararei Preservation Society to study, maintain and introduce the sound of Taebaek(Taebaek Arirang). She introduces Miner Arirang and Taebaek Ararei to the society members and the local residents. The singer Hyojeong Kim is a granddaughter of Hwaok Mun and follows the tradition of her grandmother and mother while adopting more modern Arirang contents.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.12 no.1
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• pp.39-45
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• 2001

Background and Objectives : A post-pubescent male classical singer has lower vocal register than a female classical singer. Countertenors who can produce higher vocal register like female classical singers with their falsetto voice and head resonance are recently active. The general purpose of this study is to analyze voice of countertenors and to determine the differences with those of classical singers. Materials and Methods : Four countertenors in Korea were examined using a videostrobos-copy and their voice were analyzed using aerodynamic, acoustic and voice range profile methods. Results and Conclusion : Countertenors could produce elevated fundamental frequency, voice intensity and mean air flow rate using large pulmonary capacity and head voiced falsetto. It means the presence of greater energy in countertenor is due to the more efficient conversion of the air flow to acoustic energy. But, they had unstable amplitude perturbation per each vocal cycle. The results indicated that countertenor is the acoustic products of different laryngeal mechanism with other classical register and it can be recognized as one of the registers of male classical singers.

• International journal of advanced smart convergence
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• v.6 no.2
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• pp.59-64
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• 2017

There are three sorts of voices of female vocalists: soprano, mezzo-soprano, and contralto according to the transliteration. Among them, the soprano has the highest vocal range. Since the voice is generated through the human vocal tract based on the voice generation model, it is greatly influenced by the vocal tract. The structure of vocal organs differs from person to person, and the formants characteristic of vocalization differ accordingly. The formant characteristic refers to a characteristic in which a specific frequency band appears distinctly due to resonance occurring in each vocal tract in the vocal process. Formant characteristics include personality that occurs in the throat, jaw, lips, and teeth, as well as phonological properties of phonemes. The first formant is the throat, the second formant is the jaw, the third formant and the fourth formant are caused by the resonance phenomenon in the lips and the teeth. Among them, pronunciation is influenced not only by phonological information but also by jaws, lips and teeth. When the mouth is small or the jaw is stiff when pronouncing, pronunciation becomes unclear. Therefore, the higher the accuracy of the pronunciation characteristics, the more clearly the formant characteristics appear in the grammar spectrum. However, many soprano singers can not open their mouths because their jaws, lips, teeth, and facial muscles are rigid to maintain high tones when singing, which makes the pronunciation unclear and thus the formant characteristics become unclear. In this paper, in order to confirm the accuracy of the pronunciation characteristics of soprano singers, the experimental group was selected as the soprano singers A, B, C, D, E of Korea and analyzed the grammar spectrum and conducted the MOS test for pronunciation recognition. As a result, soprano singer B showed a clear recognition from F1 to F5 and MOS test result showed the highest recognition rate with 4.6 points. Soprano singers A, C, and D appear from F1 to F3, but it was difficult to find formants above 2kHz. Finally, the soprano singer E had difficulty in finding the formant as a whole, and MOS test showed the lowest recognition rate at 2.1 points. Therefore, we confirmed that the soprano singer B, which exhibits the most distinct formant characteristics in the grammar spectrum, has the best pronunciation accuracy.