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    あ ぁ か が さ ざ た だ な は ば ぱ ま や ゃ ら わ ゎ ん い ぃ き ぎ し じ ち ぢ に ひ び ぴ み り う ぅ く ぐ す ず つ づ っ ぬ ふ ぶ ぷ む ゆ ゅ る え ぇ け げ せ ぜ て で ね へ べ ぺ め れ お ぉ こ ご そ ぞ と ど の ほ ぼ ぽ も よ ょ ろ を
    ア ァ カ サ ザ タ ダ ナ ハ バ パ マ ヤ ャ ラ ワ ヮ ン イ ィ キ ギ シ ジ チ ヂ ニ ヒ ビ ピ ミ リ ウ ゥ ク グ ス ズ ツ ヅ ッ ヌ フ ブ プ ム ユ ュ ル エ ェ ケ ゲ セ ゼ テ デ ヘ ベ ペ メ レ オ ォ コ ゴ ソ ゾ ト ド ノ ホ ボ ポ モ ヨ ョ ロ ヲ ―

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    • 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
    • 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
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    Α Β Γ Δ Ε Ζ Η Θ Ι Κ Λ Μ Ν Ξ Ο Π Ρ Σ Τ Υ Φ Χ Ψ Ω α β γ δ ε ζ η θ ι κ λ μ ν ξ ο π ρ σ τ υ φ χ ψ ω
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    Ä Ö Ü ä ö ü ß
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    ‘ ’ “ ” 〔 〕 〈 〉 「 」 『 』 【 】 ＂ （ ） ［ ］ ｛ ｝
    ± × ÷ ≠ ≤ ≥ ∞ ∴ ♂ ♀ ∠ ⊥ ⌒ ∂ ∇ ≡ ≒ ≪ ≫ √ ∽ ∝ ∵ ∫ ∬ ∈ ∋ ⊆ ⊇ ⊂ ⊃ ∪ ∩ ∧ ∨ ￢ ⇒ ⇔ ∀ ∃ ∮ ∑ ∏ ＋ － ＜ ＝ ＞
    、 。 · ‥ … ¨ 〃 ― ∥ ＼ ∼ ´ ～ ˇ ˘ ˝ ˚ ˙ ¸ ˛ ¡ ¿ ː ！ ＇ ， ． ／ ： ； ？ ＾ ＿ ｀ ｜
    ½ ⅓ ⅔ ¼ ¾ ⅛ ⅜ ⅝ ⅞ ¹ ² ³ ⁴ ⁿ ₁ ₂ ₃ ₄
    Æ Ð Ħ IJ Ł Ø Œ Þ Ŧ Ŋ æ đ ð ħ ı ij ĸ ŀ ł ø œ ß þ ŧ ŋ ʼn
    А Б В Г Д Е Ё Ж З И Й К Л М Н О П Р С Т У Ф Х Ц Ч Ш Щ Ъ Ы Ь Э Ю Я а б в г д е ё ж з и й к л м н о п р с т у ф х ц ч ш щ ъ ы ь э ю я
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    § ※ ☆ ★ ○ ● ◎ ◇ ◆ □ ■ △ ▽ → ← ↑ ↓ ↔ 〓 ◁ ◀ ▷ ▶ ♤ ♠ ♡ ♥ ♧ ♣ ⊙ ◈ ▣ ◐ ◑ ▒ ▤ ▥ ▨ ▧ ▦ ▩ ♨ ☏ ☎ ☜ ☞ † ‡ ↕ ↗ ↙ ↖ ↘ ♭ ♩ ♪ ♬ ㉿ ㈜ № ㏇ ™ ㏂ ㏘ ℡ ＃ ＆ ＊ ＠ ª º
    ⅰ ⅱ ⅲ ⅳ ⅴ ⅵ ⅶ ⅷ ⅸ ⅹ Ⅰ Ⅱ Ⅲ Ⅳ Ⅴ Ⅵ Ⅶ Ⅷ Ⅸ Ⅹ
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    KCI등재

    K-pop, 음악제작에서 악기구성에 따른 음량 표준화를 위한 연구 -K-pop 발라드 장르를 중심으로- = A Study on the Standardization of Loudness According to Instrumentation in K-pop Music Production -Focusing on the Ballad Genre-

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    https://www.riss.kr/link?id=A109980796

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

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    한국어
    This study addresses the issue of inconsistent audio quality in the production of K-pop ballads, which arises from a lack of standardized guidelines for mixing music. To that end, this paper quantitatively analyzes the tracks from four representative ballads performed by Kim Dong Ryul, IU, Gummy, and Sung Si Kyung, examining how changes in instrumentation and vocals in the song form affect loudness units relative to full scale (LUFS) and frequency response. The analysis reveals that the dynamic design of K-pop ballads can be classified into two main types: stable-gradual, as heard in the ballads of Kim Dong Ryul and Sung Si Kyung, which pursues musical perfection through a controlled and incremental build-up; and dramatic-contrast, exemplified in ballads by IU and Gummy, maximizing the narrative through extreme dynamic contrast and vocal energy. A common finding across all samples was that vocal performance is a key variable influencing loudness, often more significantly than the addition of instruments. Based on these findings, this study proposes practical audio design strategies for producing consistently high-quality music, including vocal-centric dynamic design, strategic instrumental layering, and the effective use of sections with reduced intensity.
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    This study addresses the issue of inconsistent audio quality in the production of K-pop ballads, which arises from a lack of standardized guidelines for mixing music. To that end, this paper quantitatively analyzes the tracks from four representative ...

    This study addresses the issue of inconsistent audio quality in the production of K-pop ballads, which arises from a lack of standardized guidelines for mixing music. To that end, this paper quantitatively analyzes the tracks from four representative ballads performed by Kim Dong Ryul, IU, Gummy, and Sung Si Kyung, examining how changes in instrumentation and vocals in the song form affect loudness units relative to full scale (LUFS) and frequency response. The analysis reveals that the dynamic design of K-pop ballads can be classified into two main types: stable-gradual, as heard in the ballads of Kim Dong Ryul and Sung Si Kyung, which pursues musical perfection through a controlled and incremental build-up; and dramatic-contrast, exemplified in ballads by IU and Gummy, maximizing the narrative through extreme dynamic contrast and vocal energy. A common finding across all samples was that vocal performance is a key variable influencing loudness, often more significantly than the addition of instruments. Based on these findings, this study proposes practical audio design strategies for producing consistently high-quality music, including vocal-centric dynamic design, strategic instrumental layering, and the effective use of sections with reduced intensity.

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