• The Journal of the Acoustical Society of Korea
• /
• v.14 no.4
• /
• pp.89-95
• /
• 1995

The waveform coding technique has concerned with simply preserving the waveform shape of speech signal through a redundancy reduction process. In the case of speech synthesis, the waveform coding with high sound quality is mainly used to the synthesis by analysis. However, since the parameters of this coding are not classified into either excitation or vocal tract parameters, it is difficult to applying the waveform coding to the synthesis by rule. In order to apply the waveform coding to the synthesis by rule, the pitch alteration technique is required in prosody control. In this paper, we propose a new pitch alteration method that can change the pitch period in waveform coding by scaling the time-axis and compensating the spectrum. This is relevant to the time-frequency domain method were the phase components of the waveform is preserved with a little spectrum distortion of 2.5 % and less for 50% pitch change.

• The Journal of the Acoustical Society of Korea
• /
• v.10 no.1
• /
• pp.20-29
• /
• 1991

A fundamental assumption in conventional linear predictive coding (LPC) analysis procedure is that the input to an all-pole vocal tract filter is white process. In the case of periodic inputs, however, a pitch bias error is introduced into the conventional LP coefficient. Multi-pulse (MP) LP analysis can reduce this bias, provided that an estimate of the excitation is available. Since the prediction error of conventional LP analysis can be modeled as the sum of an MP excitation sequence and a random noise sequence, we can view extracting MP sequences from the prediction error as a classical detection and estimation problem. In this paper, we propose an algorithm in which the locations and amplitudes of the MP sequences are first obtained by applying a likelihood ratio test (LRT) to the prediction error, and LP coefficients free of pitch bias are then obtained from the MP sequences. To verify the performance enhancement, we iterate the above procedure with adaptive threshold at each step.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
• /
• v.28 no.2
• /
• pp.123-127
• /
• 2017

Background and Objectives : Contact granuloma is granulation tissue that occurs mainly in the vocal process of arytenoid cartilage. Among several etiological factors, gastric acid reflux is known to be an important cause. The aim of this study was to evaluate clinical characteristics of contact granuloma and analyze the effectiveness of proton pump inhibitor in the treatment of contact granuloma. Materials and Methods : We retrospectively reviewed the medical records of 40 patients who were treated with proton pump inhibitor (PPI) for contact granuloma from January 2011 to December 2015. Reflux finding score (RFS), reflux symptom index (RSI) and size of granuloma were evaluated before and after treatment serially to assess the effectiveness of proton pump inhibitor. Results : Of 40 patients, 25 patients (62.5%) and 10 patients (25%) showed improvement and partial improvement of granuloma, respectively. Five patients showed no response. The mean times of partial improvement and improvement were $2.08{\pm}2.23$ months and $4.60{\pm}2.77$ months, respectively and mean duration of PPI treatment was $6.8{\pm}5.2$ months. Conclusion : Proton pump inhibitors is effective in the treatment of contact granuloma.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.7 no.5
• /
• pp.907-912
• /
• 2006

Pre-emphasizing the speech compensates for falloff at high frequencies. The most common form of pre-emphasis is y(n)=s(n)-A${\cdot}$s(n-1), where A typically lies between 0.9 and 1.0 in voiced signal. And, this value reflects the degree of pre-emphasis and equals R(1)/R(0) in conventional method. This paper proposes a new flattening method to compensate the weaked high frequency components that occur by vocal cord characteristic. We used QMF(Quardrature Mirror Filter) to minimize the output signal distortion. After using the QMF to compensate high frequency components, flattening process is followed by R(1)/R(0) at each frame. Experimental results show that the proposed method flattened the weaked high frequency components effectively than auto correlation method. Therefore, the flattening algorithm will apply in speech signal processing like speech recognition, speech analysis and synthesis.

• Journal of the Speleological Society of Korea
• /
• no.95
• /
• pp.35-49
• /
• 2009

Ever since the beginning of time, caves not only have offered a place to live for humans but they have also been used as cultural spaces. That is, in the event of making some sounds in a location within the cave, the sound that is created is greatly magnified and sounds out as if it is being amplified from a giant megaphone. This, as we well know it, is known as the resonance effect. Here, the cave itself appears to function as a massive wind instrument. Especially in cases like the Altamira Cave (Spain) where cave paintings were found, the point where the cave drawings were found has commonalities in that it is a wide space and that it is usually discovered together with flutes and drums that are made with mammoth bones. We need to focus on this point. We can infer from these facts that the prehistoric people have carried out cultural activities along with their incantation rituals within those caves. In the meantime, amongst the Korean traditional arts, in the case of pansori which is a representative vocal genre, there have been examples where caves were used as practicing locations for those people who are training to perfect their singing. This is known as toguldoggong(土窟獨功) which literally means 'obtaining one's own art by oneself in the earth cave by practicing incessantly'. This process along with pokpodoggong (瀑布獨功) (same as above except that the location is by the waterfall) is the final training stage in order to become a recognized virtuoso on the part of the apprentice. This could be compared to the final annealing and finishing process of producing a metalwork. This has been a long tradition followed by most Korean traditional artists in order to perfect their sound which is harmonious with nature within natural surroundings. By honing in on this point, I have come to think about this matter repeatedly while coaching the university students in vocal singing. In short, I came to the conclusion that "the making of natural sounds will be obtained naturally within natural surroundings like caves!" Consequently, The Society for Studying Cave Sounds was inaugurated on January 1992 along with some of my students. We made use of times like vacations to go around exploring caves all over Jeju and carried out investigations of sounds along with cave exploration on an experimental basis. After 5 years, in September of 1997, we were able to host the first ever cave concert domestically at the Whale Nostril Cave(東岸鯨窟) on Wu-do. After that, we have been hosting the cave concert once every year. We have achieved a record of a total of 14 cave concerts until 2009 of this year. Out of these, 2 were held in Seokhwaeam Cave in Kangwon Province, another two were held in Manjang Cave which is a lava cave, and the remaining 10 were held in the Whale Nostril Cave of Wu-do. Along with that, I have carried out a special recording for the production of a cave music CD in May of 1999. This paper was written and organized by using the main materials that were derived from the experiences of using caves as concert halls in the past. It is hoped that this cave concert will offer a very unique experience to tourists who come to Jeju every year and give them the best possible superior natural sound effect that only Jeju caves can offer.

• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.603-647
• /
• 2018

During the Japanese colonial era, Chosun Central Young Men's Christian Association Hall, Gyeongseong Public Hall, or Bumingwan was used as multipurpose space where various performances or events were held. Although traditional music performed in each of the places did influence the remaining of traditional music in existence as well as the vitalization of traditional musicians' activity, since these places were mostly for Western music or other genres, no research has been carried out to study the performance of traditional music there in detail. The purpose of this study is to understand the aspects of performing traditional music in multipurpose places mentioned above. Reviewing newspaper materials of the time, this author has examined the aspects of performing traditional music in each of those places in terms of the forms of performances performance programs performers as well as performing groups the aspects of development. First, this researcher considered in what forms traditional music was performed in each of the places mostly. About performance programs, this author divided them into instrumental music, vocal music court music, and folk music. Regarding performers, this study divided them into instrumental music and vocal music professional performers and unprofessional performers male and female master singers and gisaeng and figured out the importance of each of them in different places. Also, concerning the appearance of performers and performing groups, this researcher studied how it was associated with the space, and about the aspects of performance, how it was developed in different periods was examined. In that process, this author has learned that the aspects of performing traditional music in the space were significantly influenced by the characteristics of each space and has clearly and concretely understood performing programs as well as the aspects of performers and groups' activity. With this research as an opportunity, this author expects that research will be actively conducted on the performance of traditional music in each of the places that have not been studied yet and it can contribute to figuring out the development or trends of performing traditional music during the Japanese colonial era.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
• /
• v.14 no.2
• /
• pp.110-116
• /
• 2003

Background and Objectives : Laryngeal cancer discrimination using voice signals is a non-invasive method that can carry out the examination rapidly and simply without giving discomfort to the patients. n appropriate analysis parameters and classifiers are developed, this method can be used effectively in various applications including telemedicine. This study examines voice analysis parameters used for laryngeal disease discrimination to help discriminate laryngeal diseases by voice signal analysis. The study also estimates the laryngeal cancer discrimination activity of the Gaussian mixture model (GMM) classifier based on the statistical modelling of voice analysis parameters. Materials and Methods : The Multi-dimensional voice program (MDVP) parameters, which have been widely used for the analysis of laryngeal cancer voice, sometimes fail to analyze the voice of a laryngeal cancer patient whose cycle is seriously damaged. Accordingly, it is necessary to develop a new method that enables an analysis of high reliability for the voice signals that cannot be analyzed by the MDVP. To conduct the experiments of laryngeal cancer discrimination, the authors used three types of voices collected at the Department of Otorhinorlaryngology, Pusan National University Hospital. 50 normal males voice data, 50 voices of males with benign laryngeal diseases and 105 voices of males laryngeal cancer. In addition, the experiment also included 11 voices data of males with laryngeal cancer that cannot be analyzed by the MDVP, Only monosyllabic vowel /a/ was used as voice data. Since there were only 11 voices of laryngeal cancer patients that cannot be analyzed by the MDVP, those voices were used only for discrimination. This study examined the linear predictive cepstral coefficients (LPCC) and the met-frequency cepstral coefficients (MFCC) that are the two major cepstrum analysis methods in the area of acoustic recognition. Results : The results showed that this met frequency scaling process was effective in acoustic recognition but not useful for laryngeal cancer discrimination. Accordingly, the linear frequency cepstral coefficients (LFCC) that excluded the met frequency scaling from the MFCC was introduced. The LFCC showed more excellent discrimination activity rather than the MFCC in predictability of laryngeal cancer. Conclusion : In conclusion, the parameters applied in this study could discriminate accurately even the terminal laryngeal cancer whose periodicity is disturbed. Also it is thought that future studies on various classification algorithms and parameters representing pathophysiology of vocal cords will make it possible to discriminate benign laryngeal diseases as well, in addition to laryngeal cancer.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
• /
• v.27 no.2
• /
• pp.108-113
• /
• 2016

Background and Objectives : After thyroidectomy, many patients experience problems report such things as reduced voice range and vocal fatigue, swallowing problems without superior and recurrent laryngeal nerve injury. The purpose of this study was to evaluate voice and swallowing problems before and after thyroid surgery without laryngeal nerve injury. Materials and Methods : Ninety-three patients who underwent thyroidectomy without laryngeal nerve injury and completed the follow-up evaluations were studied between June 2013 and December 2015. Each evaluation was performed preoperatively, as well as 1 week, 1 month postoperatively. Analysis was performed including voice handicap index (VHI), dysphagia handicap index (DHI), and acoustic voice analysis. Results : Patients show significant variation of parameters in the fundamental frequency (F), maximal phonation time (MPT), shimmer, jitter and soft phonation index (SPI) early after operation, and most of them showed recovery of parameters after 1month of operation. Perceptive complaint of voice and swallowing also showed significant decreased after operation (p<0.005). After 1month of operation, MPT, highest frequency and frequency ranges still showed significant decreased parameters. Comparing acoustic and perceptive parameters of total thyroidectomy and lobectomy, there was no significant changes between them except highest frequency (p=0.042). Conclusion : The results from both subjective and objective evaluations show voice and swallowing disturbance after thyroidectomy even in the absence of laryngeal nerve and provide patients information about the recovery process after surgery. Highest frequency parameter showed most significant changes after operation.

• Cartoon and Animation Studies
• /
• s.39
• /
• pp.261-295
• /
• 2015

Cyber singer appeared in the late 1990s has disappeared briefly appeared. although a few attempts in the 2000s, it did not show significant successes. cyber singer was born thanks to the technical development of the IT industry and the emergence of an idol training system in the music industry. It was developed by Vocaloid 'Seeyou' starting from 'Adam'. cyber singer that differenatiated typical digital characters in a cartoon or game may be subject to idolize to the music as a medium. They also feature forming a plurality of fandom. therefore, such attempts and repeated failures, this could be considered a fashion, but it flew content creation and ongoing attempts to take advantage of the new media, such as Vocaloid can see that there are expectations for a true Cyber-born singer. Early-Cyber singer is made only resemble human appearance, but 'Sciart' and 'Seeyou' has been evolving to becoming more like the human capabilities. in this paper, stylized cyber singer had disappeared in the past in the process of developing the technology to evolve into own artificial life does not end in failure cases, gradually led to a change in public perceptions of the image look looking machine was an attempt in that sense. With the direction of the evolution of the mechanical function to obtain a human, fun and human exchanges and mutual feelings. And it is equipped with an artificial life form that evolved with it only in appearance and function. in order to support this logic, I refer to the study of the coevolution of man and machine at every Bruce Mazlish. And, I have analyzed the evolution of cyber singer Bruce research from the perspective of the development process since the late 1990s, the planning of the eight singers who have appeared and design of the cyber character and important voices to be evaluated as a singer (vocal). The machine has been evolving coevolution with humans. cyber singer ambivalent development targets are recognized, but strive to become the new artificial creatures of horror idea of human desire and death continues. therefore, the new Cyber-organisms are likely to be the same style as 'Seeyou'. because, cartoon forms and whirring voice may not be in the form of a signifier is the real human desires, but this is because the contemporary public's desire to be desired and the technical development of this type can be created at the point where the cross-signifier.

• (The) Research of the performance art and culture
• /
• no.33
• /
• pp.59-95
• /
• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.