냉장고 기계실의 고주파 소음 특성 분석을 통한 음질 개선

장준영,김태훈,탁언수,정의봉,안세진 한국소음진동공학회 2019 한국소음진동공학회 논문집 Vol.29 No.5

This paper provides an analysis of the characteristics of the noise of components that affect the sound quality of oil-less refrigerators and suggests ways to effectively improve the sound quality. As the sound quality of refrigerators is determined by the characteristics of the various components and the path through which the noise is transferred, it is necessary to first analyze the characteristics of the noise generated by the components. Therefore, after measuring the noise of each part, we conducted a contribution analysis of the sound quality of each noise source. As a result, the oil-less compressor was found to be the dominant part of the sound quality of the refrigerator, while the high-frequency noise of the compressor is the main cause of poor sound quality. Then, to improve the sound quality by reducing the high-frequency noise of the compressor, we changed the transfer path of the noise using sound-absorbing and -insulating material and predicted the effect of the sound quality through a pressure transmissibility test. As a result of verification from actual operation, the sound quality of the refrigerator was improved most by the reduction of the sharpness and criteria of declination when the absorbent was attached to the surrounding walls of the compressor. Finally, the overall SPL decreased by 2.95dBA, and the sound quality score was improved by 1.83.

소리의 접촉지대로서 <영화시대>와 재현의 정치

전우형 문학과영상학회 2019 문학과영상 Vol.20 No.3

This paper attempted to examine the process of sound rediscovered for the language of representation in the colonial Korean literature and art history and the invention of the politics of representation through sound. The rediscovery of sound, which has become a trace organ in modern literature, comes from the process of interaction between literature and film. This paper attempted to confirm that the process was not only a visual impairment in literature, but also a process of rediscovering sound from literature and reality as well as images. In the early 1930's, when the appreciation of Western talkie films was dominant, it was urgent to discover our words or sounds from literature to solve the problem of local specificities raised by talkie films. In this process, the film was focused on restoring and accumulating sound through the genres of vocal poetry, folk songs, poetry, and contemporary songs. This paper confirms this through the composition of the papers in the early publishing of the Film Age, which emerged during the transition to talkie film. It was clearly close to a control over the tendency of modern literature to lose sound and a new language of representation in the contact zone of literature, film, silent film and talkie film. If the restoration and accumulation of sound through pre modern and modern literature is related to the possibility of sound as the language of representation, the problem of writing and embodying sound in talkie films was the process of inventing the politics of representation through sound. What was noteworthy in the process of debate between pro and tendency film among socialist film discourses during this period was the question of what the film would say to the real public of colonial Korea. It was linked to this situation that the accumulation of sounds from literature in the early days of the Film Age and the imagination of sounds close to the screams of the masses were represented. The imagination of attempting to use the voice of the public as the language of representation in the wake of the emergence of talkie films carries out the politics of representation in that it was a desire for our film that we had never had in between the flood of Western cinema and Japanese control. 소리, 무성영화,This paper attempted to examine the process of sound rediscovered for the language of representation in the colonial Korean literature and art history and the invention of the politics of representation through sound. The rediscovery of sound, which has become a trace organ in modern literature, comes from the process of interaction between literature and film. This paper attempted to confirm that the process was not only a visual impairment in literature, but also a process of rediscovering sound from literature and reality as well as images. In the early 1930's, when the appreciation of Western talkie films was dominant, it was urgent to discover our words or sounds from literature to solve the problem of local specificities raised by talkie films. In this process, the film was focused on restoring and accumulating sound through the genres of vocal poetry, folk songs, poetry, and contemporary songs. This paper confirms this through the composition of the papers in the early publishing of the Film Age, which emerged during the transition to talkie film. It was clearly close to a control over the tendency of modern literature to lose sound and a new language of representation in the contact zone of literature, film, silent film and talkie film. If the restoration and accumulation of sound through pre modern and modern literature is related to the possibility of sound as the language of representation, the problem of writing and embodying sound in talkie films was the process of inventing the politics of representation through sound. What was noteworthy in the process of debate between pro and tendency film among socialist film discourses during this period was the question of what the film would say to the real public of colonial Korea. It was linked to this situation that the accumulation of sounds from literature in the early days of the Film Age and the imagination of sounds close to the screams of the masses were represented. The imagination of attempting to use the voice of the public as the language of representation in the wake of the emergence of talkie films carries out the politics of representation in that it was a desire for our film that we had never had in between the flood of Western cinema and Japanese control. 발성영화, 접촉지대, 『영화시대』, 경향영화, 재현의 정치학

사운드아트 담론의 출발: 그 개념의 불확실성, 폭넓은 역사, 실천적 양상에 관하여

김경화 한양대학교 음악연구소 2023 音樂論壇 Vol.49 No.-

Recently, when looking around art creation scene such as music, visual art or performance, sound work that expresses and delivers a certain meaning with the theme of sound, or sonic activity that induces the listener’s listening experience is often found. These sound-based art activities are broadly called ‘Sound Art’. Sound Art can be an artistic phenomenon that is booming more in this era when all kinds of things make sound and the importance of sound and listening activity is highlighted. With the development of digital technology and multimedia, the possibilities of expressing sound art are expanding without any limit. However, sound art is something that is still unfamiliar to the public, and it is also considered as a field that is difficult to understand even its concept. This study started from this awareness of the problem. This study goes through where the ambiguous concepts of sound art came from, and examines the debates and discourses of participants in the field, such as theorists, scholars, artists and curators, related to the definition of conceptual categories and meanings of sound art. Also, this paper study covers what kind of historical context this new field has by looking through historical works that have influenced in forming sound art. Finally, the characteristics of sound art and how they are distinguished from music, and various practical aspects are observed. Thus, this study can be a way to understand this new art phenomenon that reveals various perspectives, issues and even boundless artistic potential at the same time in this age.

Sound Absorption Properties of Sound Absorption Materials Using Zelkova serrata Leaves

배은지,고준호,염다혜,Kyung-Rok Won,공이근,변희섭 강원대학교 산림과학연구소 2024 Journal of Forest Science Vol.40 No.2

This study analyzes the characteristics of sound-absorbing materials made from forest by-products of the deciduous tree species Zelkova serrata (Z. serrata) by evaluating their sound absorption performance. Accordingly, sound-absorbing materials with varying sample thicknesses, leaf sizes, and drying conditions were fabricated. The sound absorption properties were measured using the impedance tube method via middle-type measurement tube (100 Hz-3,200 Hz). The sound absorption properties were evaluated using the average sound absorption coefficient (ASAC), which was calculated from the measured sound absorption coefficients at 250 Hz, 500 Hz, 1,000 Hz, and 2,000 Hz. The ASAC value significantly improved as the leaf size increased to 0.5×0.5 cm2, 1.0×1.0 cm2, and 2.0×2.0 cm2. The ASAC values under the two drying conditions were similar. There was no significant difference in ASAC according to the leaf size under the air-dried leaf condition, with a thickness of 2.50 cm. The highest ASAC value according to the sound-absorbing material thickness was 0.47 at a thickness of 2.50 cm and leaf size of 2.0×2.0 cm2 under the air-dried leaf condition. In addition, the variation in ASAC was 0.23, indicating that the sound absorption performance according to leaf thickness was more significant than the difference in absorption properties according to leaf size. A sound absorption coefficient (SAC) of 0.4 or higher was observed across the measurable frequency band (100 Hz-3,200 Hz). Furthermore, the SAC values with respect to leaf size and thickness were close to 1 in the high-frequency range above 2,000 Hz. Therefore, it is considered that sound-absorbing materials using Z. serrata leaves are advantageous in the field of absorbing noise in a high-frequency band of 2,000 Hz or more, and it is better to manufacture a thickness of 2.50 and 2.0×2.0 cm2.

레오 까락스 영화의 사운드 영역 확장에 대한 연구

이상인(Lee, Sang-In) 한국영상제작기술학회 2014 영상기술연구 Vol.- No.20

Many people tend to think of sound as simply an accompaniment to the real basis of cinema, the moving images. But sound bristles with as many creative possibilities as editing. Many filmmakers have exploited the expansion of the range of the filmic sound through using creative ways. Leos Carax is the one of the key directors who has experiments filmic sounds in diverse ways. In his early three works, 〈Boy meets Girl〉(1984), 〈Mauvais Sang〉(1986), 〈Les Amants Du Pont-Neuf〉(1991), Carax uses with various interior monologues, off sounds, asynchronous sounds, silence to express unusual attitude to cinema and human being. It is very remarkable cinematic method which he used selection and combining of desired sound. Carax uses sounds that are recognizable to us but which come at carefully chosen moments. Through his control of what sounds we hear, what qualities these sounds have, and what relationships exist among those sounds and between sound and image, he has made this technique an important factor in controlling our attention throughout the films.

수음실 잔향시간 변화에 따른 중량 충격음 레벨 특성

정정호(Jeong Ho Jeong),이병권(Byung Kwon Lee),연준오(Jun Oh Yeon),전진용(Jin Yong Jeon) 한국소음진동공학회 2014 한국소음진동공학회 논문집 Vol.24 No.4

Floor impact sound in high-rise apartment building became one of social problems. A lot of civil complaints on floor impact sound occur continuously and the number of disputes between neighbors in small and aged apartment buildings is increasing. Interests on heavy-weight impact sound pressure level measurement and evaluation method is increased. Previous study reported that heavy-weight impact sound level was changed by the sound field condition of receiving reverberation chamber. In this study, heavy-weight impact sound pressure level change by the receiving sound field condition was measured in standard test facility and mock-up test room. These two experimental conditions were designed to simulate averaged living room of common apartment units. By the change of sound absorption power in receiving room, heavy-weight impact sound pressure level in most of frequency bands were changed in standard test facility and mock-up room. Normalized maximum sound pressure level regulated in ISO 16032 showed wider range of heavy/soft impact sound pressure level. Heavy/soft impact sound pressure level change was became smaller by the application of standardized maximum sound pressure level and ISO/CD 10140-3 Amd 2 method. In the case of standardized maximum sound pressure level, absolute sound pressure level changed. From these results, receiving sound field correction method regulated in ISO/CD 10140-3 Amd 2 is needed for the precision measurement and evaluation of heavy-weight impact sound.

사운드 설치 작품의 의미 축조와 현상학적 이해 - <까마귀의 살해>를 중심으로

박영주 ( Park Young-ju ),이수진 ( Lee Soojin ) 한국기호학회 2017 기호학연구 Vol.50 No.-

19세기 중반부터 시작된 사운드 테크놀로지의 발전은 아주 오랜시간동안 시각 기호와 문자에 기반을 두었던 문화 패러다임에 변화를 가져왔다. 레코드, 테이프, CD, MP3 등 사운드 저장매체의 변화는 청취의 시공간적 자유와 원음의 현장성을 보장하는 방향으로 발전했다고 요약할 수 있다. 반면 스피커로 대변되는 사운드 재생기술의 발전은 청취자의 지각 및 인터랙션과 밀접하게 연관된다. 뿐만 아니라 아날로그에서 디지털로의 전환은 창작의 유연성을 가중시키는데 일조하였다. 사실 문화예술 영역에서 지배적인 감각으로 자리한 시각에 비해 청각은 여전히 부수적인 역할에 머무르고 있으나, 인공지능 기술과 사물 인터넷, 음성인식 기술이 융합되면서 주요 매개 감각으로 청각이 대두되는 시기를 맞이하고 있다. 이러한 시대적 맥락에서, 청각이 독립적으로 사용되면서 보조적인 수단이 아닌 중심 역할을 하는 작품에 주목하고자 한다. 자넷 카디프(Janet Cardiff)의 사운드 설치 작품 < 까마귀의 살해(The Murder of Crows) >(2012)는 시각 기표는 모두 배제한채, 전방위적으로 배치된 98개의 스피커를 통해, 다양한 사운드의 겹침과 사라짐, 음량변화, 울림 등을 전달하고 있다. 음향, 음악, 음성의 중첩은 시공간의 깊이를 만들고, 픽션 세상을 축조하며, 소리로 가득 찬 공간 속에서 관객은 현장감을 경험하게 된다. <까마귀의 살해>를 통해, 사운드 기표들이 어떤 의미작용을 하는지, 관객의 지각에 어떻게 영향을 주는지, 인지적 참여는 어떻게 일어나는지 살펴보고자 한다. The development of sound technology, which began in the mid-19th century, has changed the cultural paradigm that has long been based on visual signs and texts. It can be summarized that the change of the sound storage medium such as record, tape, CD, and MP3 developed in the direction of guaranteeing the spatial-temporal freedom of listening and the presence of original sound. On the other hand, the development of sound reproduction technology represented by speakers is closely related to the perception and interaction of listeners. In addition, the transition from analog to digital has helped to increase the creative flexibility. In fact, while the hearing is still a secondary role compared to a vision, which is the dominant sense in the field of culture and art, with the convergence of artificial intelligence technology, internet network and voice recognition technology, the hearing is currently emerging as one of the major mediating senses. In this context, we would like to pay attention to works in which the hearing sense plays a central role, not auxiliary means, by being used independently. Janet Cardiff`s sound installation work, The Murder of Crows(2012), while excluding all visual signifiers, conveys the overlapping and disappearance of various sounds, the volume change, and its resonance through the 98 speakers arranged in all directions. The structure of the piece tries to connect juxtapositions that we experience in the dream world. One soundscape moves into another with an electronic dreamscape composition shifting into sound effects such as factory noises, crashing waves or birds wings and then into a guitar and strings composition then into a choir sequence and marching band. The overlap of sound, music, and voice creates the depth of time and space, constructs the fiction world, and the audience experiences a sense of presence in the space filled with sound. Through The Murder of Crows, we will examine the signification of the sound signifier, how they affect the perception of the audience, and how cognitive participation occurs.

다양한 소리의 객체를 담은 영화 사운드

김은혜(Kim, Eun-Hye),이원덕(Lee, Won-Duck) 동국대학교 영상미디어센터 2017 씨네포럼 Vol.0 No.27

영화 속 사운드는 영상의 리얼리티를 돕기도 하고 감정을 증폭시킨다. 또한, 청각적 표현으로 인해 영상의 움직임은 가속화 되고 심도 깊은 표현이 가능해진다. 이렇듯 영상과 사운드는 수직적, 수평적인 관계를 속에서 상호작용을 한다. 영화 속에는 다양한 종류의 사운드와 음악이 쓰이는데 그 범위는 생각보다 넓다. 리얼 사운드, 20세기 음악에서 시도된 여러 가지 사조를 포함한 난해한 소리에서 부터 비선율적인 음악, 소음, 타악기적인 소리 등, 다양한 소리의 객체(sound object)들은 영화 사운드 표현의 중요한 대상이 된다. 소음이나 그 동안 흔히 사용되지 않았던 소리들이 소리의 객체로 등장한 것은 구체음악의 영향이라 할 수 있다. 구체음악의 등장은 음 소재의 확장에 있어서 일대 변혁을 가져오게 되었고, 다양한 음 소재의 사용으로 영화 속 음악과 음향의 경계는 불확실하게 된다. 이러한 다양한 청각적 표현들은 영화의 내러티브를 더 섬세하고 객관적으로 묘사할 수 있는 수단이 된다. 영화 〈밀정〉은 일제하 암울하고 불안정한 시대의 이야기이다. 등장인물간의 갈등과 서로를 믿지 못하는 불신, 불확실한 시대적 배경을 영화의 사운드 역시 불분명한 표현으로 일관하고 있다. 타악기적인 음색의 지속적인 사용, 불협화음의 등장, 비 선율적인 음악의 사용으로 인해, 음악인지 음향인지 혹은 엠비언스 인지 구분하는 것이 무의미하다. 불확실한 시대상이 서사에 표현에만 한정된 것이 아니라 영화의 모티브는 사운드 연출에 적용되었다. Sounds in a film not only adds reality to the film but amplifies emotions like love, rage and sorrow. The auditive expressions accelerates the motion of the video and enables a profound expression. The video and sound interacts within the vertical and horizontal relationship. A film uses a wide range of sound and music. Different kinds of sound objects are an important object in sound expression, including the real sound, complex sounds of the various trends tried in the 20th century and the unmelodic music, noise or percussion sound. The unusual sound like noise became the sound object under the influence of concrete music. The advance of concrete music brought a revolution to expansion of sound materials which blurred the boundary between music and sound in a film. These diverse auditive expressions allows a film to describe the narrative in more delicate and objective way. The film The Age of Shadows is a story of the unstable age under Japanese imperialism. The vague film sound describe the conflict and distrust between the characters and the unclear background of the age. The continuous percussion sound, disoonance and unmelodic music makes it meaningless to determine whether it is music, sound or ambience. The motive, instead of the unclear background of the age limited only to the narrative expression, is applied to the sound direction.

New tonality design for non-stationary signal and its application to sound quality for gear whine sound

Kim, Eui-Youl,Shin, Tae Jin,Lee, Sang Kwon SAGE Publications 2013 Proceedings of the Institution of Mechanical Engin Vol.227 No.3

<P>The sound quality for the axle-gear whine sound in a sports utility vehicle was investigated in terms of psychoacoustics. Aure’s tonality was considered as the sound metric for the expression of the tonality of gear whine sound in a previous research. However, it did not prove possible to use Aure’s tonality successfully as a sound metric for the tonal impression. Aure’s tonality did not express well the tonal impression of the gear whine sound as the whine sound is a non-stationary signal with both frequency and amplitude modulation. In this study, the new method for the tonality evaluation for a non-stationary signal is presented. It is developed based on the prominence ratio, tonality impression function and lower threshold level. It improves the accuracy and reliability of the sound quality index being used for the sound quality evaluation of the axle-gear whine sound.</P>

소리특성과 생리적 반응을 이용한 편성물의 소리디자인 시스템(I) -위편성물의 소리특성과 역학적 특성-

조길수,김춘정,Cho, Gil-Soo,Kim, Chung-Jeong 한국섬유공학회 2006 한국섬유공학회지 Vol.43 No.5

This research aimed to analyze the mechanical properties and sound characteristics of weft knitted fabrics for establishing database of sound design system for knitted fabrics. The specimens consisted of 27 weft knitted fabrics. Mechanical properties of the knitted fabrics were measured with Kawabata evaluation system (KES). The frictional sounds of specimens were recorded by a sound generator and transformed into sound spectrum by FFT. The level pressure of total sound (LPT), level range ($\Delta$f), and frequency difference ($\Delta$f) were calculated from the sound spectra obtained in the FFT analysis. Zwicker's psychoacoustic parameters such as loudness(Z), sharpness(Z), roughness(Z), and fluctuation strength(Z) were calculated. The weft knitted fabrics have similar values of roughness(Z) and fluctuation strength(Z). Polyester fabrics with low elongation at maximum load (EM) and high coefficient of friction(MIU) showed the loudest and the sharpest frictional sound. The lyocell fabrics with low bending properties (B, 2HB) and thickness showed the most quiet and softest frictional sounds. Bending properties, surface properties, thickness and weight in weft knitted fabrics showed high relationship with the physical and psychoacoustic properties of frictional sound.