• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.16 no.1
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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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• v.24 no.3
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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.

• Korean Journal of Audiology
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• v.24 no.3
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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.

• Proceedings of the Korea Contents Association Conference
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• 2014.06a
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• pp.105-106
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• 2014

• Journal of the Korean Institute of Intelligent Systems
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• v.19 no.6
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• pp.773-778
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• 2009

This paper studied the training methods less affected by the emotional variation for the development of the robust speech recognition system. For this purpose, the effect of emotional variations on the speech signal were studied using speech database containing various emotions. The performance of the speech recognition system trained by using the speech signal containing no emotion is deteriorated if the test speech signal contains the emotions because of the emotional difference between the test and training data. In this study, it is observed that vocal tract length of the speaker is affected by the emotional variation and this effect is one of the reasons that makes the performance of the speech recognition system worse. In this paper, vocal tract normalization method is used to develop the robust speech recognition system for emotional variations. Experimental results from the isolated word recognition using HMM showed that the vocal tract normalization method reduced the error rate of the conventional recognition system by 41.9% when emotional test data was used.

• Speech Sciences
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• v.7 no.2
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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.

• Journal of the Korean Institute of Intelligent Systems
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• v.20 no.5
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• pp.683-687
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• 2010

This paper studied some methods which use frequency warping method that is the one of the speech transformation method to develope the robust speech recognition system for the emotional variation. For this purpose, the effect of emotional variations on the speech signal were studied using speech database containing various emotions and it is observed that speech spectrum is affected by the emotional variation and this effect is one of the reasons that makes the performance of the speech recognition system worse. In this paper, new training method that uses frequency warping in training process is presented to reduce the effect of emotional variation and the speech recognition system based on vocal tract length normalization method is developed to be compared with proposed system. Experimental results from the isolated word recognition using HMM showed that new training method reduced the error rate of the conventional recognition system using speech signal containing various emotions.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.7 no.1
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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.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.127-139
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• 2021

This study selected representative musical song genres and suggested the application of vocal scales to demonstrate the various musical genres that appear in the modern musical style. Various genres of music and singing methods appeared according to the change in musical style throughout the early period (the early 1990s), the Golden Age (1940s to1960s), and the contemporary period (1970s to present) of musical theatre. To this end, this study selected Classic Broadway, Contemporary Broadway, Jazz/Blues, and Pop/Rock as representative musical genres as primary categories. In addition, five musicals and five songs that can represent the musical genres were selected as secondary categories. This study then divided the singing styles into Legit from , Pop from , Rock from , Jazz/Blues from , and Hip Hop/Rap from and suggested vocal scales. The analysis of this study demonstrated how various music was used as a material for musicals responding to the needs of the times in musical history and how important it is to develop various singing styles. While this study selected five representative genres and musicals to limit the scope of analysis, it intends to expand the scope through follow-up research. Based on this, it is anticipated that various further research will be conducted to study the diversity of musical vocal education and vocal techniques.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.91-102
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• 2020

The purpose of this study is to analyze musical songs from an academic perspective by applying vocal techniques that can express songs in depth in three dimensions. Singing a musical song cannot be completed with just the musical part, rather, it should be accompanied by the analysis of various aspects such as the emotional state of the scenes and the characters. To this end, this study performed a multi-dimensional analysis of fields such as theatrical structure, lyrics, musical structure, and dynamics. In addition, the study explored and applied Estill Voice Training(EVT) that actors can best express songs with the emotions of the theater and music. EVT categorizes voice into six tones: speech, sob/cry, falsetto, twang, opera, and belting. In this study, in addition to these six sounds, the positions of vocal cords and larynx were also applied to seek ways to effectively express songs using "Gar Nichts" from the musical "Elisabeth" as a case study. "Gar Nichts" is a song sung by the protagonist Elisabeth, which expresses the self and the conflict at the peak of pain. Musically, this song requires various sound and voice-changing techniques to cover the range of "G#3-Gb5." As a result, it was confirmed that in order to embody the emotions of the characters and the songs in depth, the analysis of scenes and characters as well as various singing techniques need to be applied in harmony.