Tonal Group Research Articles

정악곡 세령산을 활용한 국악 창작 수업 개발 - 개러지 밴드를 통한 실음 학습을 중심으로 -

The purpose of this study is to develop a Korean traditional music creation class program using Jeongak. Yeongsanhoesang, a representative piece of Korean traditional music that has been completed through a long period of transmission, has a variety of creative techniques and is highly utilized in creative classes. In this study, Seryeongsan was selected from the Yeongsanhoesang as a sanction song for the 5th to 6th graders of elementary school, and a class was developed to learn basic notation systems such as Yulmyeong(pitch names) and Jeongganbo, and to create music through tonal group learning and melody construction learning. In addition, for realistic music learning, a digital medium called the GarageBand was used so that the results of creative learning could be realized into actual music. This study is meaningful in expanding the scope of Korean traditional music creation classes and enhancing the applicability of actual music-oriented Korean traditional music learning using digital media by suggesting educational application of creative classes for Jeongak pieces, which was mainly used as music for appreciation.

Using L1 tone and intonation categories to investigate patterns in nonnative tone identification

Many languages utilise lexical tone, a feature which assigns meaning to words through variations in pitch contours. In some (but not all) cases, prior tone language experience can facilitate the learning of a nonnative tone language. Regardless, multiple sessions of tone training can improve nonnative tone perception for both tone and nontone L1 listeners. However, the influence of L1 tone and intonation categories on nonnative tone learning is underexplored. Across five sessions of tone training, listeners of nontonal English (n = 25), tonal Mandarin (n = 23), and tonal Vietnamese (n = 25) learned tones from an artificial language. While all groups improved in tone identification and tone word learning by session five (p < .001), Mandarin listeners outperformed the other groups overall (identification, p < .001; word learning, p < .05). Tone experience was a main effect only in word learning (p < .05). Tone- and language-specific identification patterns were also observed. The low level tone was easier for all listeners to perceive, while the tonal groups also showed greater accuracy for the mid level tone. Contrastingly, Mandarin listeners were hindered by their single L1 falling tone category when attempting to identify two distinct nonnative falling tones.

진작(眞勺) 일(一)ㆍ이(二)ㆍ삼(三)>의 선율구조－‘음보’에 따른 ‘음군’의 분석을 중심으로－

진작(眞勺) 일(一)ㆍ이(二)ㆍ삼(三)>의 선율구조－‘음보’에 따른 ‘음군’의 분석을 중심으로－

진작(眞勺) 일(一)ㆍ이(二)ㆍ삼(三)의 선율구조－‘음보’에 따른 ‘음군’의 분석을 중심으로－

『대악후보』의 <진작 1>ㆍ<진작 2>ㆍ<진작 3>ㆍ<진작 4>는 모두 <진작>이라는 곡명으로 파생된 악곡들이다. <진작>은 고려시대와 조선시대에 걸쳐 다른 악곡의 파생에도 여러 방식으로 영향을 주었다. 따라서 본 연구는 <진작 1ㆍ2ㆍ3>의 선율구조를 분석하고, 서로 간의 파생 방법을 밝혀보기 위해 진행되었다. 이는 <진작>과 관련된 다른 악곡들의 파생 방법을 밝혀내기 위해서도 중요한 과정이 될 것이다. 또한, 우리말 가사로 된 <진작>의 선율에 대한 연구는 우리말 노래가 가지고 있는 선율의 특징을 명확히 밝혀내기 위해서도 꼭 필요하다. 성악곡의 선율구조는 가사의 구조와 밀접하게 관련되어 있는데, 특히 가사의 음보는 호흡의 균형으로 이루어지는 율격적 토막이기 때문에 선율의 구조와 직접적으로 관련되어 있을 것이다. 가곡의 ‘초두이두식’ 악구 또한 음보의 단위와 관련되어 있어 본 연구에서는 <진작>의 음보 단위를 중심으로 선율구조를 분석하였다. 선율구조의 분석 방법으로는 악곡의 세부 구조와 전체 구조를 한눈에 파악하기에 적합한 오용록의 ‘음군’ 이론을 선택하였다. 그 결과 기본적으로 하나의 음보는 하나의 음군을 가지되, 각 시행의 마지막 음보는 하행 종지를 위해 여러 개의 음군을 가지고 있었다. 또한, <진작 1ㆍ2ㆍ3>에 사용된 음군은 선율 구조의 중심 역할을 하는 ‘주요음군’과 주요음군을 이어주는 역할을 하는 ‘보조음군’으로 나눌 수 있었다. <진작 1ㆍ2ㆍ3>의 ‘주요음군’은 ‘궁-상2’와 ‘하2-궁’로 나타났는데, 이는 ‘궁’을 중심으로 4도 위아래의 음으로 구성되어 있어, <진작>의 선율구조를 ‘궁’을 중심으로 하는 4도 위아래의 구조로 설명할 수 있게 되었다. <진작 1>은 복잡한 ‘보조음군’을 ‘주요음군’ 사이에 삽입하여 가장 복잡한 음군을 사용하고 있었고, <진작 2>는 <진작 1>보다 덜 복잡한 음군으로 되어 있었으며, <진작 3>은 가장 간단한 음군으로 되어 있었다. 또한, <진작 3>의 경우 부분적으로 <진작 1ㆍ2>의 ‘하2-궁’의 음군이 4도 높은 ‘궁-상2’의 음군으로 변주되어 있어, 그동안 밝혀지지 않았던 <진작 3>의 변주방식을 밝힐 수 있었다. 결국, <진작 1ㆍ2ㆍ3>은 같은 ‘주요음군’으로 되어있지만, ‘보조음군’의 사용 방식, ‘주요음군’의 변주를 통해 서로 다른 구조를 갖게 되었음을 밝혔다.

The effect of L1 tonal status on the acquisition of L2 Mandarin tones

This study examines the second language (L2) Mandarin tone acquisition by two tonal groups of learners (Thai and Yoruba speakers). In the study, the two groups of learners read a passage and the tones in their readings were analyzed. The analysis of the tone productions focused on tone error patterns and locations that tone errors occurred. The analysis of tone errors showed that overall the Thai learners produced L2 Mandarin tones better than the Yoruba learners, due to their larger tone inventory size and/or tonal similarity with Mandarin tones. Another finding in this study is that the two learner groups shared some similar patterns in their L2 tone production, arguably due to the L2 learners' tendency to place narrow focus at the PW‐initial position.

Oh Yong-nok and the Tonal Group: Its Practical Use and Value

Oh Yong-nok and the Tonal Group: Its Practical Use and Value

Acoustic analysis of phonation and tone interactions in Mazatec.

Jalapa de Diaz Mazatec is unusual in contrasting three phonation types (breathy, modal, and laryngealized) and three tone heights: low, mid, and high, including tone contours. Using the acoustic measures H1-H2, H1-A2, and cepstral peak prominence (CPP), previous research has shown that the three phonation types on mid tones are best distinguished at the beginning of the vowel, with each phonation gradually tending toward breathiness [Blankenship (2002)]. The present study extends previous findings by investigating tone and phonation interactions in over 650 Mazatec words and for a large range of acoustic measures. The speech samples, from the UCLA Phonetics Archive, were produced by six female and eight male speakers and vary across the three phonation types and two tonal groups (non-low and low). Using the voice analysis program VOICESAUCE [Shue et al. (2009)], acoustic measures such as harmonic amplitudes, F0, energy, CPP, formants, and bandwidths were extracted. The results generally support previous findings. Several measures also show effects of tone on phonation. In addition, how the phonation types and tone groups differ in timing and the effect of preceding consonants on phonation were investigated. Results show that preceding aspiration changes the timing and degree of phonation. [Work supported by NSF.]

가야금산조의 音群－김죽파류 진양조 1장을 중심으로－

가야금산조의 音群－김죽파류 진양조 1장을 중심으로－

Size-constraints on intonation groups in speech: Evidence of an independent syllable-count principle

This poster examines size-limits on intonation (F0) contours in spontaneous speech and presents the results of an experiment on a syllable-count principle, which is seen to constitute, irrespective of syntax, a factor restricting the length of F0 groups. Studies of various languages indicate a general tendency to restrict stress-groups in speech to four syllables or less. In languages were stress is not lexically coded (e.g., French), syntax is not a sufficient predictor of stress. The object was to determine whether these aspects of stress patterning also apply to tonal groups. Statistics are lacking with respect to the extent of F0 contours in speech. Pitch-extracting software was used to analyze the speech of 15 native speakers of French (20 minutes each). Initial results suggest an eight-syllable limit on tonal groups. Based on these statistics an experiment was conducted where 40 Ss read and repeated visually presented sentences containing major syntactic divisions (phrase boundaries) at different locations. There are two central findings: (1) phrase boundaries placed at different points in the sentence did not serve to predict tonal grouping; (2) even when the sentence structure offered the possibility of creating large tonal groups, Ss did not create contours exceeding an eight-syllable limit.

Exploring the elementary harmonic forces in the tonal system

To study the elementary expectations that arise in the perception of tonal music, an exploratory study was performed in which subjects heard a sequence of four chords (to induce a key or tonality) followed by one tone (1 of the 12 tones within an octave), and indicated which tone they expected to be the next tone. Responses were divided into three groups: a random, a fifth, and a tonal group. The expectations in the tonal group are of main interest, as they seem to originate from a tonal representation. In this representation the tonic attracts almost all tones, although to different degrees, while the dominant and the mediant function as centripetal centers that attract only nearby tones. A preliminary model for the formation of elementary expectations based on a 3-level mental representation of the tones in a key is proposed, The predictive capability of the model is compared to that of existing models.

LPC spectral moments for clustering acoustic transients

Spectral moments (mean and coefficients of variation, skewness, and kurtosis) are assessed for 40 samples from 10 groups of acoustic transient signals differing in harmonic structure, duration, and degree of spectral overlap. Discriminant analysis involving moments based on linear predictive coding (LPC) resulted in a higher recognition rate for pulsed-tone sounds (87%) that were more like human speech than for pure-tone sounds (70%). By contrast, classification based on moments calculated from the discrete Fourier transform (DFT) yielded 85% recognition for both groups. Cluster analyses indicated that LPC-based moments were more characteristic of relationships among the 10 sound groups and especially the two tonal groups, though results were somewhat dependent on LPC model order. >

Detection of temporal gaps within and between perceptual tonal groups

Two experiments were conducted to explore the hypothesis that tones widely separated in frequency are processed in separate communication channels. Listeners attempted to detect brief temporal gaps between items in a simple tonal sequence of two high tones followed by two low tones. Temporal resolution within both the high and low groups was near perfect; between-group detection scores were significantly lower. Results are interpreted as evidence for a processing time delay when shifts of focal attention occur between perceptual structures organized within the frequency domain.

Auditory Discrimination and Sleep Deprivation

Eight subjects were given an auditory discrimination test at four separate times each day (3 a.m., 8 a.m., 4 p.m., 11 p.m.) for a four-day period in which they were deprived of sleep. The test was a tape recording of 72 groups of sounds. Each group consisted of three successive tonal bursts which were presented binaurally. The third tone in each group was identical to either the first or second tone, the unmatched tone differing in varying amounts of frequency, intensity, or duration from the identical tones. The subject had to indicate which of the first two tones matched the third. Four values of frequency (1000 cps, 1010 cps, 1020 cps, 1030 cps), intensity (70 db, 73 db, 76 db, 79 db), and duration (1.0 sec, 1.3 sec, 1.6 sec, 1.9 sec) were used in constructing the tonal groups. Compared to test data obtained under nondeprivation conditions, losses in discrimination were most prominent at 8 a.m. and 4 p.m. on each deprivation day. In contrast, the 11 p.m. tests showed relatively smaller impairments across the period of deprivation.

The Phonetic Structure and Tone Behaviour in Hagu (Commonly Known as the Amoy Dialect) and Their Relation To Certain Questions in Chinese Linguistics

AbstractSumming up, we may say that the behaviour of tone in Hagu is a most remarkable linguistic phenomenon. It serves, first of all, to distinguish words of different meanings. Then it figures as a means to bring out emphasis and contrast. Then by an ingenious working of tonal laws, it is able to organize syllables of widely different tones into smooth tonal groups, each gathering around its tonic. Finally the tonic lays the foundation for the analysis of syntactical relations. Such, in a few words, is the function of tones in Hagu.