자기공진 무선전력전송 수신부용 이중 대역 CMOS 정류기 IC 설계

전지호,김창우 한국전자파학회 2019 한국전자파학회논문지 Vol.30 No.12

A dual-band(6.78/13.56 MHz) complementary metal-oxide-semiconductor(CMOS) rectifier integrated circuit(IC) for magnetic resonance wireless power transfer(MRWPT) systems is proposed in this study. The proposed rectifier is designed as a comparator-based active diode rectifier to minimize the losses caused by the threshold voltage of the metal-oxide-semiconductor field-effect transistor (MOSFET). The rectifier consists of two comparators: a self-biasing circuit block and cross-coupled PMOSFET s. The power conversion efficiency(PCE) of the rectifier was maximized by eliminating the reverse current of the comparator by controlling the on-off time of the active diode. The rectifier chip was fabricated following Samsung’s 65 nm CMOS process. The results of the simulation showed that the PCE of the rectifier at 6.78/13.56 MHz increased up to 95.5 %.

열영동 포집 방법을 이용한 층류 확산 화염내의 매연입자 크기측정

전지호,김상수 대한기계학회 1991 대한기계학회논문집 Vol.15 No.5

본 연구에서는 층류 확산화염내의 매연 분포에 관하여 좀 더 명확히 알아보고 자 화염의 높이방향 뿐만이 아니라 반경 방향으로도 매연을 열영동 포집하여 보았다. 한편, 화염 내에 삽입되는 Fig.1(a)와 같은 프로브에 매연 입자들이 열영동 현상에 의 하여 포집되려면 순간적인 돈도 구배가 필요하다. 따라서 화염내에서의 프로브 체류 시간을 조절할 수 있도록 Fig.1(b)와 같은 공압 장치(pneumatic device)를 만들어 실 험했다.

온칩 솔라 에너지 하베스팅을 위한 에너지 관리 시스템 설계

전지호,이덕환,박종태,유종근 대한전기학회 2010 대한전기학회 학술대회 논문집 Vol.2010 No.10

음악분석의 대상

전지호 서울대학교 서양음악연구소 2000 음악이론연구 Vol.5 No.-

There can be an objection against the musical analysis on a musical score on the ground that the musical sore is not music itself. It argues that music should be analysed through recording and probing it using computers. The author appraised the validity and the limit of this argument through investigating the concepts inherent in it. In order to avoid the ambiguity of the term 'music' used in the argument, it is necessary to discuss on the concepts of a musical work and the performance of it. It is also needed to examine the meaning and the aiming of musical analysis. From various scholais' opinions derived the author the fundamental purpose of musical analysis as 'acquiring the judgment to understand the musical work and further to evaluate it'. He also pointed that understanding of a musical work presupposes the proper musical space constructed and can be arrived at by constituting an ideal musical phenomenon of the particular work in that space. Roman Ingarden demonstrated that a musical work is 'a configuration beyond individuality and beyond time but at the same time with a pseudo-temporal structure,' and is ultimately a pure intentional object which has the quality of 'not-belonging-to-this-world'(das Nicht-zu-dieser-Welt-Geho¨rens). Despite of the fact that a musical work has its objective existence, it does not belong to this world, so it can not be an object of analysis. Only we can analyse the musical phenomenon which exists in our consciousness. Needless to say, a musical work is different from the performance of it. While Ingarden defined that a musical score is 'the system of imperative symbols which can be customarily settled utilizing any standard descriptive equipments', Suh-Usoc said that a musical score is either a referential sign or an expressive sign but much limited is the possibility that it could be an expressive one. The author pointed that at this very spot is required the musical analysis, and supported the musical analysis on a musical score, defining the musical analysis as 'the work for understanding and appraising of a musical work through finding out and supplementing the aspects that either the score or we ourselves or both lack in constructing the ideal musical phenomenon in our consciousness, that is, in making the musical score an expressive sign'. But the author did not deny the fact that, if the purpose of particular analyses is not 'understanding of a musical work', but, for example, finding out certain physical properties, 'the analysis of the recording of a particular performance using computers' as one of those analyses is agreeable, and some precious and valuable results can be attained through such an analysis.

초소형 S-대역 PCM/FM 텔레메트리 송신기 설계 및 제작

전지호,박주은,김성민,민세홍,이종혁,김복기 한국항공우주학회 2022 韓國航空宇宙學會誌 Vol.50 No.11

In this paper, we propose an ultra compact S-Band PCM/FM telemetry transmitter. The equipment is compact, so it can be applied to a limited space and capable of stable data transmission was designed and manufactured even with specifications set differently for each operating environment and system. RF direct conversion structure is used for the miniaturization of equipment, an RF transmission board, Power distribution board, and a signal processing board were implemented on a single PCB, so that the function of the transmitter could be performed with a minimum device. According to the target specification, variable output of 1~10W and variable data rate of 390kbps~12.5Mbps is possible in S-Band(2,200~2,400MHz) without degradation of performance. To verify the performance of the equipment, the RF performance test and BER measurement test were performed after the equipment was manufactured. It was confirmed that the OBW, null-to-null bandwidth, 1st IMD, Spurious emission, Phase noise specification of the PCM/FM modulated signal which is presented by the IRIG standard were satisfied, and we can confirm the data received using the transmitter inspection equipment were transmitted normally without distortion. 본 논문에서는 초소형 S-대역 PCM/FM 텔레메트리 송신기를 제안한다. 크기의 소형화로 한정적인 공간에 적용이 가능하며 운용 환경 및 시스템마다 다르게 설정되는 규격에도 안정적인 데이터 송신이 가능한 장비를 설계 및 제작하였다. 장비의 소형화를 위하여 RF 직접변환 구조를 적용하였으며, 최소한의 소자로 송신기의 역할을 수행할 수 있도록 1장의 인쇄회로기판에 RF송신반, 전원분배반, 신호처리반을 구현하였다. 목표한 규격대로 성능의 저하 없이 S-대역(2,200~2,400MHz)에서 1~10W의 출력 가변이 가능하고 390kbps~12.5Mbps의 Data Rate 설정이 가능하도록 설계 및 제작을 진행하였다. 설계 검증을 위하여 장비를 제작한 후 RF 성능 시험 및 비트오류율 측정 시험을 진행하였다. 본 장비는 IRIG (Inter-Range Instrumentation Group) 표준이 제시하는 PCM/FM 변조 신호의 OBW(Occupied Bandwidth), null-to- null 대역폭, 1st IMD(Inter Modulation Distortion), Spurious Emission, Phase Noise 특성이 만족함을 확인하였으며, 송신기 점검 장비를 이용하여 본 장비가 전달받은 Data를 왜곡 없이 정상적으로 송신함을 확인하였다.

Development of High Heat Dissipation Composite Using Al₂O₃, MgO and Carbon Nano Materials

전지호,윤관한 한국고분자학회 2023 한국고분자학회 학술대회 연구논문 초록집 Vol.48 No.1

나만의 직녀에게

전지호 샘터사 2003 월간 샘터 Vol.34 No.3

음악현상의 공간성에 대한 연구

전지호 서울대학교 서양음악연구소 1992 음악이론연구 Vol.1 No.-

A study on the spatiality of music phenomena may be the study on the musical space. From comparatively recent times, scholars have concerned themselves with the study on the musical space. So they have different opinions from each other yet. One of the main reasons which makes their opinions different is the difference between the concepts of space. There are two main concepts of space: one is absolute and the other relative. The former is the concept of the absolute space, that is which thinks of the existence of the absolute space as the material substance, the latter is which thinks space as the system of the relations in which the non-distributable essences, namely the "monads" exist. However, there can be another concepts of space: outer space and inner space. The former is the space which exists outside of the ego, and the latter is the space which is percepted by the ego and is formed in the consciousness of the ego with specific order. And one of the reasons which makes it difficult to study on the spatiality of music phonomena is the fact that the word "music" is used in so various meanings. So the observation on the concept of music phenomenon is needed. Joseph Smith says that phenomena are not only those things that are to be found in nature or in physical fact but the bodily essence of things as they manifest themselves to human consciousness in perception. And the author quoted Roman Ingarden's seperation of musical works from the musical performance to deduce the concept of music phenomenon from it. Ingarden says musical work is created by the creative work of the composer and when it is played by a performer, the intersubjective essence of the work is revealed by the listener, and the musical work exists as a pure intentional object of specific kind with the intersubjective essence. So the author asserts that the music phenomenon is that which reveals itself in the inner space as a whole with intersubjective essence intentionally constituted by the order of the listener's inner space when the musical work is played by the performer. So the musical space is a sort of inner space in which the music phenomenon reveals itself as a whole with the intersubjective essence. The author chose the line which constitutes the musical space to speak of the spatiality of music phenomenon. And he showed that the constitutional elements of the musical space are those of music phenomenon and they are the qualities of tones, and said that the constitutional axes of the musical space are the ideal lines which present the amounts of the qualities of tones. And he presented an n-dimensional space which is a sort of the inner space as a model of the musical space. And he also pointed that the musical space as an n-dimensional inner space can be a topological space provided that some pertinent neighborhood as the common part of the orders of the inner space could be found. He also said that there should be the inconsistency in describing the musical space with the terms of the ordinary space because the terms of musical space are not yet established. As the consequence of this study, the author concluded that the musical space is an n-dimensional inner space in which the musical phenomenon as an intentional object reveals itself as a whole with the intersubjective essences, and this musical space has the possibility of becoming a topological space.

음악 현상학이란 무엇인가 ?

전지호 한국음악학회 1988 한국음악학회논문집 음악연구 Vol.6 No.1

Before trying to answer the question, "What is phenomenology of music ? ", we should answer the other one, "What is phenomenology ? ". This is a question which has to be asked over and over again, not unlike the question, "What is philosophy ? ", In the avant-propos to La Phenomenologie de la Perception, Merleau-Ponty lists several definitions of phenomenology. Thus he mentions that phenomenology is the study of essence, a thinking that has spawned the ontological-existential dimension, a phenomenology 'for us.' In this sense, the phenomenology of music may be a study of essence of music for us, In this article, the author made a survey on the overall movements of phenomenology of music, Firstly, he investigated the theory of "akumenology" by Josef Smith, and in so doing, he endeavored to bracket (epoche) the non-phenomenological elements in our musical thoughts, e. g. the dichotomies of soul/body, or theory/practice, and the visual metaphor, etc., through the phenomenological reduction, and to manifest the essence of music itself which is closely related with us, human being, Secondly, the author tried to make clear the temporal character of music by observing concepts of time of phenomenologicians, Husserl, Heidegger, and Merleau-Ponty. And also the spatial character of music. In this context, the ontology of works of music occurs up naturally, so he introduced Roman Ingarden, a Polish philosopher, whose main issue is, as it were, "das Nicht-zu-dieser-Welt-Gehoerens" of works of music. Finally, he tapped the possibility on the connection of phenomenology of music with other related studies, in particular with the semiology of music. Consequently, this article does not mean to draw any conclusion on certain problems, but only to introduce opinions of many philosophers on them. It is due not only to the author's lack of capability, but also to the fact that the phenomenology of music has not yet established itself.

음악과 연결주의 : 컴퓨터 음악의 새로운 개념 The New Concept of Computer Music

전지호 한국음악학회 1995 한국음악학회논문집 음악연구 Vol.12 No.1

As one of our highest expressions of thought and creativity, music has always been a difficult realm to capture, model, and study. The problem it poses have vexed a variety of scholars using traditional approaches from psychology and artificial intelligence. But the connectionist paradigm, now beginning to provide insights into many realms of human behavior, offers a new and unified viewpoint from which to investigate the subtleties of musical experience. Connectionist systems employ "brain-style" computation, capitalizing on the emergent power of a large collection of individually simple interconnected processors operating and co-operating in a parallel distributed fashion. Models of many aspects of musical behavior require the learning, constraint satisfaction, feature abstraction, and intelligent generalization properties that connectionist approaches embody, at the same time demanding further advancement of these techniques. This article includes a brief survey on the history of computer music and connectionism, an introduction to connectionism and the traditional back-propagation principle, and a simple musical example to clarify how a neural network performer a certain task in a fahion resembling human judgements. In our country, many a musician does not have much interest in computer music, partly because the concept of von Neuman architecture has a serious limit in capturing, modelling the sounds (and finally the music) of acoustic instruments (involving human voices). This article introduces a fascinating alternative, connectionism which in principle does not have such a limit. But another reason that makes the computer hard to approach for musicians is that musicians are not (does not even want to be) familiar to the basic principles and concepts on which any operation of a computer is based. But to know them is significant and essential to the use of computer and to the development of computer music. This article is also meant to be an endeavour to let the musicians be aware of the importance and significance of those principles and concepts.