• 대한후두음성언어의학회지
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• 제16권1호
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• pp.68-75
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• 2005

The treatment of sulcus vocalis and vocal bowing has been commonly used Thyroplasty Type surgery or injection within vocal folds such as Teflon, silicone, collagen. However, and treatment has not been acquired satisfactory treatment effect. This study was conducted to demonstrate voice therapy effect using singer's vocal technique and respiratory training. 4 patients (1 male, 3 females) with sulcus vocalis or bowing, with or without scar were selected for this study and we compared with acoustic, aerodynamic measures and stroboscopy observation before and after voice therapy. The results showed that 1) case 1 (48yr, male) with sulcus vocalis decreased F0 (Fundamental Frequency), increase CQ(Close Quotient) and high degree of satisfaction but not improved voice quality after voice therapy. 2) case 2(19yrs, femal) with mild sulcus vocalis improved as normal voice quality after voice therapy. 3) case 3(38yrs, female) with functional bowing showed abnormalvocal contact before therapy whereas CQ was increased after voice therapy. 4) case 4(27yrs, female) with vocal atrophy and vocal bowing changed normal range of Fo and increased CQ after voice therapy. Even though contact area of both vocal folds was increased and lowered F0 after voice therapy, current outcomes revealed that normal voice quality was not regained. These results might signify that it was difficult that vocal folds couldn't be recovery of symmetry and viscoelastic property of mucosal wave through voice therapy. However, it was difficult for this study to maintain voice therapy so that evaluate effect of voice therapy for long-term. Further study will be needed to long-term follow-up for voice therapy with these patients.

• 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.

• Journal of information and communication convergence engineering
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• 제22권2호
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• pp.145-152
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• 2024

Closed quotient (CQ) represents the time ratio for which the vocal folds remain in contact during voice production. Because analyzing CQ values serves as an important reference point in vocal training for professional singers, these values have been measured mechanically or electrically by either inverse filtering of airflows captured by a circumferentially vented mask or post-processing of electroglottography waveforms. In this study, we introduced a novel algorithm to predict the CQ values only from audio signals. This has eliminated the need for mechanical or electrical measurement techniques. Our algorithm is based on a gated recurrent unit (GRU)-type neural network. To enhance the efficiency, we pre-processed an audio signal using the pitch feature extraction algorithm. Then, GRU-type neural networks were employed to extract the features. This was followed by a dense layer for the final prediction. The Results section reports the mean square error between the predicted and real CQ. It shows the capability of the proposed algorithm to predict CQ values.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2014년도 춘계 종합학술대회 논문집
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• pp.105-106
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• 2014

• 한국지능시스템학회논문지
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• 제19권6호
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• pp.773-778
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• 2009

본 논문에서는 인간의 감정 변화에 강인한 음성 인식 시스템을 구현하기 위하여 감정 변화의 영향을 최소화 하는 방법에 관한 연구를 수행하였다. 이를 위하여 우선 다양한 감정이 포함된 음성 데이터베이스를 사용하여 감정 변화에 따른 음성 신호의 변화를 관찰하였다. 감정이 포함되지 않은 평상의 음성으로 학습된 음성 인식 시스템에 감정이 포함된 인식 데이터가 입력되는 경우 감정에 따른 음성의 차이가 인식 시스템의 성능을 저하시킨다. 본 연구에서는 감정의 변화에 따라 화자의 성도 길이가 변화한다는 것과 이러한 변화는 음성 인식 시스템의 성능을 저하시키는 원인 중의 하나임을 관찰하였다. 본 연구에서는 이러한 음성의 변화를 감소시키는 방법으로 성도 길이 정규화 방법을 사용한 감정 변화에 강인한 음성 인식 시스템을 개발하였다. HMM을 사용한 단독음 인식 실험에서 제안된 학습 방법을 사용하면 감정 데이터의 오차가 기존방법보다 41.9% 감소되었다.

• 음성과학
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• 제7권2호
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• pp.113-126
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• 2000

A comparative phonetic analysis of Yodel singing and Belcanto singing by the electroglottographic(EGG) measurement was done in three singers. One professional tenor singer(SDI) who is also well trained in Yodel singing, another yodler(KWS) who is not so trained in Belcanto singing, and the other training tenor singer(CSK) who is not well trained both yodel and Belcanto singing. Closed quotient(CQ), speed quotient(SQ) and fundamental frequency (F0) at the initial modal part(I) , middle falsetto part(M), and final modal part(F) of the same phrase were measured by EGG machine and program(Kay model 4338). In the middle part, not only CQ but also SQ of the Yodel singing were much smaller than that of Belcanto singing in all three singers. However, accuracy of parameters in Belcanto singing of the yodler(KWS) and both Yodel singing and Belcanto singing of the training singer(CSK) were inferior to that of trained tenor singer(SDI). Possible advantages of utilizing Yodel singing training under the guidance of feedback control by the EGG for hyperfunctional voice disorders such as vocal nodules were discussed.

• 한국지능시스템학회논문지
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• 제20권5호
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• pp.683-687
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• 2010

본 논문에서는 인간의 감정 변화에 강인한 음성 인식 시스템을 구현하기 위하여 음성 변환 방법 중의 한가지인 주파수 와핑 방법을 사용한 연구를 수행하였다. 이러한 목표를 위하여 다양한 감정이 포함된 음성 데이터베이스를 사용하여 감정의 변화에 따라 음성의 스펙트럼이 변화한다는 것과 이러한 변화는 음성 인식 시스템의 성능을 저하시키는 원인 중의 하나임을 관찰하였다. 본 논문에서는 이러한 음성의 변화를 감소시키는 방법으로 주파수 와핑을 학습 과정에 사용하는 방법을 제안하여 감정 변화에 강인한 음성 인식 시스템을 구현하였고 성도 길이 정규화 방법을 사용한 방법과 성능을 비교하였다. HMM을 사용한 단독음 인식 실험에서 제안된 학습 방법은 사용하면 감정이 포함된 데이터에 대한 인식 오차가 기존 방법보다 감소되었다.

• 대한후두음성언어의학회지
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• 제7권1호
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• pp.43-49
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• 1996

In this study, remote articulation training system which connects the hearing disabled trainee and the speech therapist via B-ISDN is introduced. The hearing disabled does not have the hearing feedback of his own pronuciation, and the chance of watching his speech organs movement trajectory will offer him the self-training of articulation. So the system has two purposes of self articulation training and trainer's on-line checking in remote place. We estimate the vocal tract articultory movements from the speech signal using inverse modelling and display the movement trajectoy on the sideview of human face graphically. The trajectories of trainees articulation is displayed along with the reference trajectories, so the trainee can control his articulating to make the two trajectories overlapped. For on-line communication and ckecking training record the system has the function of video conferencing and tranferring articulatory data.

• 한국엔터테인먼트산업학회논문지
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• 제15권3호
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• pp.127-139
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• 2021

본 연구는 현대 뮤지컬 양식에 나타난 다양한 음악 장르를 시연하기 위해, 대표적인 뮤지컬 노래 장르를 선택하고 노래를 위한 발성스케일의 적용을 제시하였다. 뮤지컬 음악 장르는 뮤지컬 양식의 변화에 따라 1900년대 초반을 뮤지컬 초기, 1940-1960년대를 뮤지컬 중기, 또는 뮤지컬의 황금기, 1970년대 이후를 현대 뮤지컬로 나위면서 다양하게 등장한다. 뮤지컬 양식사의 변화에 따라 음악이 장르와 노래의 창법도 다변화 되었다. 이를 위해 본 연구에서는 대단위 분류로써 뮤지컬의 대표적인 장르로 <클래식 브로드웨이(Classic Broadway), 컨템퍼러리 브로드웨이(Contemporary Broadway), 재즈/블루스(Jazz/Blues), 팝/록(Pop/Rock)>을 선정하고, 소단위 분류로써 음악 장르를 대표할 수 있는 작품 5개와 대표 노래 5개를 선정하였다. 각 음악 장르를 대표하는 노래를 창법은 크게 <오페라의 유령>의 레짓, <인어공주>의 팝, <지저스 크라이스트 수퍼스타>의 락, <헤어스프레이>의 재즈/블루스, <해밀턴>의 힙합과 랩으로 나누어 발성 스케일을 제시하였다. 연구의 분석을 통해 뮤지컬 역사에 나타난 시대적 요구에 따라 다양한 음악이 뮤지컬의 재료로 사용되었으며, 이에 따라 다양한 창법이 필요하다는 것을 확인 할 수 있었다. 본 연구에서는 대표적인 5장르와 5작품을 선정하여 분석의 범위를 제한하였지만, 후속 연구를 통해 확대하고자 한다. 향후 이를 바탕으로 뮤지컬 보컬 교육의 다양성과 발성법을 연구하는 다각적인 후속 연구가 이루어지길 기대한다.