• Phonetics and Speech Sciences
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• v.10 no.2
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• pp.1-6
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• 2018

The current study aimed to investigate the transfer of English word stress rules to the production of Korean trisyllabic words by L1 English learners of Korean. It compared English and Korean speakers' productions of seven Korean words from the corpus L2KSC (Rhee et al., 2005). To this end, it analyzed the syllable duration, intensity, and pitch. The results showed that English and Korean speakers' pronunciations differed markedly in duration and intensity. English learners produced word-initial syllables of greater intensity than Korean speakers, while Korean speakers produced word-final syllables of longer duration than English learners. However, these differences between the two speaker groups were not related to the expected L1 transfer. The tonal patterns produced by English and Korean speakers were similar, reflecting L1 English speakers' learning of the L2 Korean prosodic system.

• Speech Sciences
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• v.8 no.1
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• pp.93-111
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• 2001

This study investigates the contribution of vocalic information following the release of an initial stop to the identification of the three-way stop contrast (aspirated, lax, and tense) in Korean. Recent studies showed that there is a strong interaction between consonant types and tone. The findings raise questions concerning Korean listeners' use of tonal (or vocalic F0) variation in differentiation initial tense, lax, and aspirated stops. The above issues are addressed in the present study using a cross-splicing methodology. The overall results show that low vocalic F0 provided the most salient information for lax stops; tense and aspirated stop identification depended on a combination of VOT, F0, and H1-H2 characteristics. The perceptual dominance of F0 over VOT for lax stops is consistent with the size of the F0 difference in utterance-initial position, as well as their prominent role in Korean intonational phonology.

• Korean Linguistics
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• v.65
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• pp.211-236
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• 2014

The aim of this study is to investigate categorical characteristics of 'mak' and their discourse functions through analyzed the prosodic features of 'mak'. The previous studies of 'mak' focused on grammatical or semantic characteristics, but this study focuses on the prosodic features of 'mak' based on speech data. As a result, adverb 'mak' and discourse marker 'mak' are distinguished from prosodic boundary, duration, pause and sort of number tonal patterns. Functions of discourse marker 'mak' is as follows: Maintenance of utterance, Attention, Delay, Expression negative manner. These functions have salient prosodic features related to their functions. Consequently prosodic features are important to analyze categorical characteristics and to establish functions of 'mak'.

• Phonetics and Speech Sciences
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• v.8 no.4
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• pp.31-38
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• 2016

The purpose of the current study was to examine the acquisition of the second language prosody by Korean learners of English. Specifically, this study investigated Korean learners' patterns of prosodic phrasing and their use of edge tones (i.e., phrase accents and boundary tones) in English, and then compared the patterns with those of native English speakers. Eight Korean learners and 8 native speakers of English read 5 different English passages. Both groups' patterns of tones and prosodic phrasing were analyzed using the Mainstream American English Tones and Break Indices (MAE_ToBI) transcription conventions. The results indicated that the Korean learners chunked their speech into prosodic phrases more frequently than the native speakers did. This frequent prosodic phrasing pattern was especially noticeable in sentence-internal prosodic phrases, often where there was no punctuation mark. Tonal analyses revealed that the Korean learners put significantly more High phrase accents (H-) on their sentence-internal intermediate phrase boundaries than the native speakers of English. In addition, compared with the native speakers, the Korean learners used significantly more High boundary tones (both H-H% and L-H%) for the sentence-internal intonational phrases, while they used similar proportion of High boundary tones for the sentence-final intonational phrases. Overall, the results suggested that Korean learners of English successfully acquired the meanings and functions of prosodic phrasing and edge tones in English as well as that they are able to efficiently use these prosodic features to convey their own discourse intention.

• Proceedings of the KSPS conference
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• 2007.05a
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• pp.3-23
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• 2007

King Sejong the Great, his students in Jip-hyeun-jeon school and Choe Sejin, their successor of the sixteenth century, indicated Middle Korean had three distinctive pitches, low, high, and rising (phyeong-, geo-, sang-sheong). Thanks to $Hun-min-jeng-{\emptyset}eum$ as well as its Annotation and side-dots literatures in fifteenth and sixteenth centuries, we can compare Middle Korean with Hamgyeong dialect, Gyeongsang dialect, and extant tone dialects with joint preservers of what was probably the tonal system of unitary mother Korean language. What is most remarkable about middle Korean phonetic work is its manifest superiority in conception and execution as anything produced in the present day linguistic scholarship. But at this stage in linguistics, prior to the technology and equipment needed for the scientific analysis of sound waves, auditory description was the only possible frame for an accurate and systematic classification. And auditory phonetics still remains fundamental in pitch description, even though modern acoustic categories may supplement and supersede auditory ones in tonological analysis. Auditory phonetics, however, has serious shortcoming that its theory and practice are too subject to be developed into the present century science. With joint researchers, I am developping a new pitch scale. It is a semiautomatic auditory grade pitch analysis program. The result of our labor will give a significant breakthrough to upgrade our component in linguistics.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.131-138
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• 2019

The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can't express it. The artistic effect conveys the information content that the story itself can't convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People's subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.