• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.11 no.2
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• pp.161-166
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• 2000

Background and Objectives : Vocal fold hemorrhage occur by blood accumulation in Reinke's space by vocal trauma. It is mostly asymptomatic, but in some cases it may cause severe dysphonia. It is often seen in patients who use their voice professionally. However, recent changes of life style affected the phonation in general population. We studied to know what are the causes and what are the major factors to affect the vocal fold hemorrhages. Materials and Methods : 19 subjects were evaluated by using of questionaire and laryngoscopic examinations. We evaluated the factors to lead the change in voice directly, underlying causes, occupations and laryngeal findings. Results : The direct causes of the vocal fold hemorrhages were clearing throat, talking, coughing and singing. Reflux laryngitis and upper respiratory infection were the underlying diseases. Vocal fold hemorrhages were developed during the menstruation in 5 patients. Accompanying functional voice disorders were seen in 13 patients, such as, vocal fold nodule, nodule with varix, vocal polyp, Reinke's edema. Patients with reflux laryngitis had the habits of clearing throat as the direct cause of the vocal fold hemorrhages and had hyperkinetic functional voice disorders. Voice abuse was the direct cause of the vocal fold hemorrhages in patients who was in the period of the menstruation. The most common site of the hemorrhage was at the membranous portion of the vocal folds. Conclusions : Authors thought the forceful laryngeal activity was the cause of the vocal fold hemorrhages. And reflux laryngitis and menstruation was the risk factors of the vocal fold hemorrhages.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.17 no.2
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• pp.115-126
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• 2006

Background and Objectives : Training of breath support and laryngeal muscles control are important components in the development of the singing voice. The purpose of this study is to compare characteristics of respiratory and phonatory control on pitch, loudness, register change with untrained males and trained male singers. Materials and Methods : The 11 untrained males and 11 trained male singers participated. Closed Quotient(CQ), fundamental frequency (fo) and relative volume contribution of the rib cage (in percentage rib cage, % RC) and relative volume contribution of abdomen (in percentage abdomen, % AB) were measured during various pitch, loudness, register tasks using /a/ vowel phonation : Legato, staccato with C3-D3-E3-F3-G3 notes and crescendo and decrescendo with C3 note as well as modal register with C3 and falsetto register with C4 note using an integrated analysis system of Respiration, EGG and Voice. Results : (1) When pitch increased with legato task, loudness also increased in untrained male group but maintained in trained male singers. CQ was also increased both untrained and trained male singers but it was not significantly different ($p>.05$). The abdomen contribution to lung volume were significantly predominant both in inhalation and exhalation in trained males singers ($p<.05$). (2) When pitch increased with staccato task, CQ was not significantly different in untrained but significantly different in trained male singers. The respiratory function of male singers were characterized by significantly predominant abdomen contribution to lung volume in exhalation except for inhalation ($p<.05$) (3) When loudness increased with crescendo, fo was significantly increased with increasing CQ in untrained males but fo was relatively consistent with increasing CQ in trained male singers. The respiratory function of male singers were characterized by significantly predominant abdomen contribution to lung volume in exhalation except for inhalation ($p<.05$). (4) Most male singers were able to change register from modal to falsetto register, but untrained males were not. Thus, CQ was significantly different between modal and falsetto register in trained male singers ($p<.05$). The respiratory function of male singers were characterized by significantly predominant abdomen contribution to lung volume in exhalation except for inhalation ($p<.05$). Conclusion : Male singers were superior to untrained males in coordination of respiratory and phonatory control on pitch, loudness, register change. Implication are offered regarding how the results might be applied to the voice therapy as well as singing training.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.157-166
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• 2021

The purpose of this study is to understand the characteristics of contemporary vocalization and songs in order to learn various vocal methods in musical vocal classes and apply them to students. Musical vocalization methods change and evolve according to the demands of the times. Today, the characteristics of contemporary musicals cannot be limited to anyone genre, and the genre of music as well as the style of work are derived from several genres and coexist. 'The Girl in 14G,' the subject of this study, is a song that appeared in the album of Kristin Chenoweth, a famous American musical actress who uses various vocal techniques. Jeanine Tesori composed this song with various vocal techniques such as Classical, Jazz, Belting, and Mixed Voice to express New York's representative music genres of Broadway Musical, Metropolitan Opera and East Village Jazz. The development of the song consists of a difficult process in which one actor has to act across three different characters in three musical styles and singing methods. Singing 'The Girl in 14G' requires a lot of effort and practice as it is necessary to acquire various vocal techniques, which makes it a good text for students and actors in the educational perspective. As a result, this study confirmed that this song is a representative piece with a solid musical and dramatic composition and is a good example that shows the convergence characteristics of contemporary musical vocal techniques.

• Phonetics and Speech Sciences
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• v.11 no.1
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• pp.51-61
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• 2019

The purpose of this study was to develop a smartphone based voice therapy program for patients with voice disorders. Contents of voice therapy were collected through analysis of mobile contents related to voice therapy in Korea, experts and users' demand survey, and the program was developed using Android Studio. Content needed for voice therapy was collected through analysis of mobile contents related to voice therapy. The user satisfaction evaluation for application was conducted for five patient with functional voice disorders. The results showed that the mobile contents related to voice therapy in Korea were mostly related to breathing, followed by voice and singing, but only 13 applications were practically practiced for voice therapy. Expert and user demand surveys showed that the patients and therapists both had a high need for content that could provide voice training in places other than the treatment room. Based on this analysis, 'Home Voice Trainer', an smartphone based voice therapy program, was developed. Home Voice Trainer is an application for voice therapy and management based on Android smartphones. It is designed to train voice therapy activities at home that have been trained offline. In addition, the records of voice training of patients were managed online so that patients can maintain voice improvement through continuous voice consulting even after the end of voice therapy. User evaluations show that patients are satisfied with the difficulty and content of voice therapy programs provided by home voice trainers, but lack of a portion of user interface, such as the portion of home button and interface between screens. Further study suggests the clinical application of home voice trainer to the patients with voice disorders. It is expected that the development study and the clinical application of smart contents related to voice therapy will be actively conducted.

• Phonetics and Speech Sciences
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• v.9 no.4
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• pp.107-114
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• 2017

The purpose of the current study was to compare selected acoustic and electroglottographic measures (closed quotient, pitch, and loudness) among vowel phonation, traditional voiced lip trill ($VLT_T$), modified voiced lip trill methods ($VLT_M$). A total of 21 participants without voice complaints produced 4-second long samples using each phonation method. Results indicated that mean closed quotient of $VLT_M$ was higher than that of vowel phonation and $VLT_T$, while its range and standard deviation measures were higher than those of vowel phonation. Mean, range, standard deviation, maximum of pitch measures of $VLT_M$ were higher than those of vowel phonation. Lastly, mean and maximum loudness of the $VLT_M$ were higher than $VLT_T$. In conclusion, the current data indicate the possibility to use the $VLT_M$ as a training method for singing or a strategy to facilitate generalization effect of voice therapy. Current results also reflect the necessity for further study pertaining to the long-term effect of the $VLT_M$ training method. Clinical implications are discussed.

• The Journal of the Korea Contents Association
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• v.11 no.10
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• pp.380-387
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• 2011

This study was to investigate the effects of music-combined respiration and oral motor training on the voice of healthy elderly. 27 women attending a senior center in Seoul participated and were randomly assigned to the experimental (n = 16) and the control group (n = 11). Subjects attended music program(25 minutes per session) once a week for 4 weeks. For both groups, Fundamental Frequency (F0), Maximum Phonation Time (MPT) and Sequential Motion Rates (SMR) were measured using the Praat speech analysis program before and after the training. The results showed statistical significance in scores of intensity, F0, MPT, and SMR in the experimental group while only intensity was statistically significant in the control group. Considering that, the increasing life expectancy and growing number of older adults, their quality of life has been important. So this study suggests that the respiration and oral motor training would be effectively incorporated into training and services for this population.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.15 no.2
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• pp.122-127
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• 2004

Background and Objectives : Many studies have described and analyzed singer's formant and it has been shown that the epilaryngeal tube in the human airway is responsible for vocal ring, or the singer's formant. A similar phenomenon produced by trained singers in their speech led some authors to examine the speaker's ring. This study was designed to analyze the speaking voice of the singers and speaker's ring. Baterials and Methods : Ten tenors, fifteen baritones, fifteen sopranos and ten mezzo sopranos attending the music college, department of vocal music were chosen for this study. Fifteen male and fifteen female untrained normal speakers were chosen for control group. Each subject was asked to produce a sample of a sustained spoken vowel /ah/ sound for at least five seconds and read sentence 'Kaeul'. The sound data was analyzed using the Fast Fourier Transform(FFT) - based power spectrum, Long term average(LTA) power spectrum using the FFT algorithm of the Computerized Speech Lab(CSL, Kay elemetrics, Model 4300B, USA). Statistical analysis was performed using the Mann-Whitney test of the Statistical Package for Social Sciences(SPSS). Results : For LTA Power spectrum of/ah/ sound, a significant increase was seen in the 2,500-3,500Hz region(p<0.01) in four trained singer group compared with untrained speaker group, and a significant increase in the 9,000-10,000Hz region(p<0.01) in soparano group. Similarly, in sentence 'Kaeul', there was a significant increase in energy in the tenor, baritone, mezzo soprano group compared with the untrained speaker group in the 2,500-3,500Hz region(p<0.01), and a significant increase in all frequency region(p<0.01) in the soprano group. Conclusions : The LTA power spectrum suggests that trained singers group show more energy concentration in the 'singer's formant' region in the speaking voice, and authors believe this region to be the 'speaker's ring'. Further research is needed on the effect of singing training on the resonance of the speaking voice.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.659-671
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• 2013

Through Korean traditional opera (changgeuk) Medea, composer Hwang Ho-jun showed eclectic music idiom by 1) writing music (jakchang) on manuscript paper and score, 2) introducing the "song-through" format, 3) including various solo melodies, 4) maximizing the effect created by a singing narrator (dochang) with the chorus master and a mixed chorus, 5) seeking an interplay of tension and release by using both discord and chord, 6) achieving the effect of kil-bakkum, the Korean traditional method of modulation, through modulation and borrowed chord of Western music. In Medea, instrumentalists adopted suseong-banju (Korean traditional accompaniment) which does not spoil the voice of singers. Hwang adopted song for the way how singers express various hidden sides of play among song, aniri (narration) and balim (gesture) and introduced the Sung-through format in which the play is comprised entirely of song. In Medea, oral sounds expressing wail, lament, cheer, sneer and scream are often used and various solo melodies appear that fit for personalities of characters, clearly showing what bunchang (singers' singing songs divided according to characters) is all about. And discord and chord are effectively used according to the development and mood of play. Hwang also achieved successfully the effect of kil-bakkum by abandoning the traditional modulation method and boldly introducing modulation and borrowed chord of Western music.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.377-386
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• 2016

The purpose of this study was to compare the vocal range between the older and young adults depending on the absence and presence of pitch cues. Participants were 44 older adults aged from 60 to 85 years and 59 college students aged from 19 to 25 years. Each participant was instructed to vocalize for examining the possible highest pitch to the lowest pitch in two conditions; with and without pitch cues. Without pitch cues, the maximum and minimum pitch of male participants was higher in the older adults than in the young adults group, while the minimum pitch of females was lower in the older adults group than in the young adults group. When presented with pitch cues, young adults could expand their vocal range, but the older adults showed no significant changes in produced vocal ranges. The results indicate that the range of voice in older adults may be affected by aging and these results can be beneficial when selecting the appropriate range of song for singing activities with older adults.

• Journal of Sasang Constitutional Medicine
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• v.18 no.1
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• pp.30-40
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• 2006

1. Objectives The present study purposed to examine the contents and the principles of music therapy according to Oriental medicine theories in order to prove that music therapy is not a new research area but its principle is found in the long tradition of Oriental medicine. 2. Methods We investigate the possibility of music therapy based on Oriental medicine theories and examine the meanings of music therapy from the viewpoint of Oriental medicine. 3. Conclusions and discussions (1) The principles of music therapy are the principle of homogeneity, catharsis and balance. (2) When one’s mind changes, there are naturally occurred sounds, which are called Oseong (五聲: the oriental five voices exhalation, laughing, singing, wailing and groaning), and the notes defined by arranging the Oseong according to the principle of Ohaeng (五行: the oriental five phases wood, fire, earth, metal, water) are Oheum (五音: the oriental five musical notes Gakeum, Chieum, Gungeum, Sangeum and Wooeum.). If Eum (musical notes) is classified into Ohaeng, it can be divided into Gakeum, Chieum, Gungeum, Sangeum and Wooeum. (3) Change of Sinji (神志: consciousness) induces change of Gigi (氣機: function of Gi), which can change the character of voices. Oseong controls the functions of Ojang (五臟: the oriental five viscera) by ruling one’s Jeongji (情志: emotion). It can reduce the damage of the viscera caused by excessive vent of emotion resulted from unconscious expression of Oseong - Hoseong (呼聲: exhalation), Soseong (笑聲: laughing), Gaseong (歌聲: singing), Gokseong (哭聲: wailing) and Sinseong (呻聲: groaning). (4) Yijeongseungjeong (以情勝情: Control emotion with emotion) therapies, which suppresses an emotion by stimulating another, include Noseungsabeop (怒勝思法: Control anxiety with anger), Heeseungbibeop (喜勝悲法: Control sorrow with joyfulness), (思勝恐法: Control fear with anxiety), Biseungnobeop (悲勝愁法: Control anger with sorrow) and Gongseungheebeop (恐勝喜法: Control joyfulness with fear). (5) Seongeum (聲音: voices and musical notes) can be applied to a stimulation method that not only harmonizes the rhythm of living organs but also controls the occurrence of diseases caused by mutual Pyeonseongpyeonsoi (偏盛偏衰: relative preponderance and weakness) through direct induction of the strength and weakness of Gi function of the oriental five viscera in a human body according to the individual character. Sounds preferred by the patient, the material of an instrument selected by the patient, the character of rhythm and music expressed by the patient and the sound or voice uttered frequently by the patient can be considered in diagnosis and treatments for the patient’s body and mind.