This study aims at unveiling phonetic cue weighting of English word recognition by Korean learners of English using a web-based online perception experiment. The longer duration of a high front tense vowel than that of a lax counterpart is used as a cue by native English speakers and presumably as a cue by Korean learners of English. The longer duration of a vowel before voiced stops than that of an equivalent before voiceless stops serves as a cue by native Speakers of English and also probably by Korean learners of English. A web-based online experiment has been designed to examine how Korean learners of English cope with a mixture of fine grained phonetic cues. Results of the web-based online experiment reveal that duration is primarily and robustly used to distinguish a tense vowel before voiced stops and a lax vowel before voiceless stops. At the same time, spectral cues are also put to use, though to a lesser extent, to help make a distinction from a tense vowel before voiceless stops and a lax vowel before voiced stops. The study implies that learners of English try to utilize a complex mixture of acoustic cues to distinguish words.

The purpose of this paper is to examine the contraction of Korean vowel /wi(ㅟ) + ə(ㅓ)/ through experimental phonetic method and to suggest how the pattern should be reflected in the standard pronunciation of Korean and the rules of Korean orthography. It is observed that the contraction also occurs in ‘sakwiess-’ and ‘pakkwiess-,’ like the chains of other vowels. However, neither the standard pronunciation of Korean and the rules of Korean orthography deals with the chain of /wi(ㅟ) +ə(ㅓ)/ in ‘sakwiess-’ and ‘pakkwiess-.’ We compare the pronunciation lengths of data collected through experimental phonetic research methods to see if the contraction occurs in /wi(ㅟ) + ə((ㅓ)/, and the formant values of the contracted sound of /wi(ㅟ) + ə(ㅓ)/ to those of other contracted sounds, finding out how the contr(acted sound should be pronounced and marked in phonetic symbol. In conclusion, we suggest that /wi(ㅟ) + ə(ㅓ)/ should be specified as the contraction form /jə(여)/ in the standard pronunciation of Korean and the rules of Korean orthography, like the contractions of other vowels.

The purpose of this paper is to investigate the distributions and acoustic characteristics of /ɨi/ found in Seoul Corpus. The monophthongization of /ɨi/ occurs in 93.04% of a total of 2,370 tokens and in higher than 99% of the cases with onsets and of non-initial position in a word. However, only 31.82% of word-initial tokens are monophthongized. 94.40% of monoph- thongized /ɨi/ tokens are realized as [i], but in word-initial position, 61.74% of the monophthongized diphthong tokens are realized as [ɨ]. Based on acoustic properties, /ɨi/ in Korean is not off-glide [ɨj] but on-glide [ɰi]. The 165 diphthongs which are realized [ɰi] are classified under two patterns. The first type (97 tokens) is composed of on-glide and vowel. The second type (68 tokens) is composed of only on-glide transition. Acoustically the first type is longer than the second type in duration. Also, the first type begins with a more front position than the second type and moves to a position that is more back than the second type.

The purpose of this study is to investigate pronunciation deviations of German diphthongs for Korean learners residing in Daegu and Gyeongbuk regions. When Korean learners utter German diphthongs such as /a͜i/, /a͜u/ and /ɔ͜y/, this study is to analyze what phonetic features appear to be realized in segmental and suprasegmental perspectives and find out the reasons to eventually contribute to reducing Korean learners’ pronunciation deviations of German diphthongs. The results of the experiment are as follows. First, when Korean learners utter German diphthongs, they were realized mostly in two syllables. Second, as to the descent degree of intensity in a suprasegmental perspective, the difference in a case of intensity realization of /a͜i/ between Korean learners and Germen speakers was shown to be the biggest. Third, in terms of length (utterance duration), the biggest difference with German speakers was shown to be found when Korean learners uttering /a͜u/. Fourth, in a segmental perspective, the pronunciation deviation of /ɔ͜y/ was found to be the biggest. The reasons that these pronunciation deviations appeared may include the negative transference phenomenon of mother tongue that worked on deviations the most, and other correlations with lack of awareness of phonetic rules about the relations of German grapheme‐phoneme rules, phonetic features of German diphthongs,—for instance, features including a single syllable utterance, and/or the feature of intensity descent of syllables when consecutively connected to non‐syllables.

본 연구는 한국어와 아랍어의 모음의 (구어체 표준아랍어인 이집트 방언을 대조군으로 설정했다.) 대조를 바탕으로 학습자의 모음오류 원인과 유형을 분석하였다. 21개의 모음을 가진 한국어와 10개의 모음만을 표준발음을 인정하는 구어체 아랍어는 완벽한 대응 쌍을 이루기 어려웠다. 이런 이유로 인한 오류는 다음과 같이 나타났다. 모음 발음 중 /ㅓ/, /ㅜ/, /ㅗ/를 발음 하는데 정확한 구분을 두지 못했으며 이중모음이 없는 구어체 표준아랍어(이집트 방언)의 특성상 이중모음을 2개의 단모음으로 연이어 발음하는 오류가 나타남을 알 수 있었다.

≪모자이크 모음곡≫은 이상근이 1960년대 초 미국연수 이후 작곡한 것으로 서양현대음악 기법 의 본격적인 시도들과 함께 12음기법의 체화를 위한 도전으로 시작된 작품이다. 그의 자평에서 출 발한 본 논고는 이상근의 12음기법 사용과 작품의 특징을 ‘양식의 혼합’이라는 맥락에서 설명한다. ≪모자이크 모음곡≫에서 나타나는 양식의 혼합은 12음기법과 선율에 내재된 한국 전통 음악의 요 소 그리고 바로크 양식의 혼합으로 이해될 수 있다. 특히 12음기법의 수용에서 나타나는 상대적으 로 자유로운 기법의 사용, 음렬에서 발견되는 이상근 특유의 음정작업과 화성 유형들 또한 이 작품 에 깊게 배어 있는 이상근식 음악 양식의 혼합으로 풀이하였으며, 동시에 서양의 새로운 기법을 독 자적인 방식으로 표현하려 했던 노력의 산물로 평가하고 이를 이상근의 음악에 담겨 있는 한국음악 의 현대성으로 해석하였다.

There are four collections of Bach's chorale-based compositions for organ: the Little Organ Book, BWV 599-644; the Organ Chorale Preludes from the Leipzig Autograph, BWV 651-668; the Clavier Übung III, BWV 669-689; and the Six Chorales “von verschiedener Art”(the “Schübler-Chorales”), BWV 645-650. Among these four collections, in this article, “Schübler-Chorales” is excluded, because the organ pieces of this collection were arranged from the cantata-movements, which were written at the beginning of Leipzig Period (1724/1725). The other three collections, which were created for organ from the beginning, will be compared with one another by size, voice number and key of the pieces, and also, their decoration style of the chorale melody and the functional forms of accompaniment voices will be explored.