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權奇澤 동양대학교 1996 동양대학교 논문집 Vol.2 No.1
This paper examines the ability of fuzzy neural networks to the approximate realization of fuzzy if-then rules. Fuzzy neural networks in this paper are characterized by fuzzy weights and fuzzy biases. This means that the weights and biases are given by fuzzy numbers instead of real numbers. First, the input-output relation of a three-layer feedforward fuzzy neural network is defined for fuzzy input vectors by the extension principle of Zadeh. Next, a cost function is defined for the level sets of fuzzy actual outputs and fuzzy target outputs. A learning algorithm is derived from the cost function in a similar manner as the back-propagation algorithm. Last, using a numerical example, the fuzzy neural networks with fuzzy weights and fuzzy biases are compared with other fuzzy neural networks with crisp weights and crisp biases designed for handling fuzzy input-output data.
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권기택,배철수 한국통신학회 1996 韓國通信學會論文誌 Vol.21 No.8
본 연구에서는 구간 벡터의 비선형 사상의 근사를 행하기 위한 4가지 신경회로망의 학습 알고리즘을 제안한다. 제안된 방법에 있어서, 신경회로망의 학습에 이용되는 입출력 데이터 쌓은 구간으로 구성되어 있다. 첫번째 방법은 전처리된 학습용 데이터 상을 통상의 역전파 알고리즘에 직접 응용하는 것이고, 두번째 방법은 두 개의 역전파 알고리즘을 이용하는 것이다. 세번째 방법은 구간 입출력 데이터를 처리할 수 있는 역전파 알고리즘으로 확장한 것이다. 마지막 방법은 구간 결합강도 및 구간 역치를 가진 신경회로망으로 확장한 것이다. 제안된 이 방법들은 컴퓨터 시뮬레이션에 의해 서로 비교 평가된다. This paper proposes four approaches for approximately realizing nonlinear mappling of interval vectors by neural networks. In the proposed approaches, training data for the learning of neural networks are the paris of interval input vectors and interval target output vectors. The first approach is a direct application of the standard BP (Back-Propagation) algorithm with a pre-processed training data. The second approach is an application of the two BP algorithms. The third approach is an extension of the BP algorithm to the case of interval input-output data. The last approach is an extension of the third approach to neural network with interval weights and interval biases. These approaches are compared with one another by computer simulations.
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Debussy와 印象主義 : An Aesthetic Wiew of His Compositional Works 作品에 대한 美學的 小考
權基澤 漢陽大學校 音樂硏究所 1985 音樂論壇 Vol.2 No.-
The character of impressionism in music can briefly be expressed as emotional feeling with extreme refinement in which sensationalism is generated and carried out with consistency. One contextual problem in music lies in the confusion brought on by literary titles assigned to compositions which like those of the romantic period bear a resemblance. That is to say, the musical tones can exist in straight-forward descriptive figures; however, the narrative meanings or emotional expressions are not meant as a direct depiction, but rather as a suggestive presentation evoking a sensual purity. The world as depicted by Debussy is light and shadow, minutely-detailed shimmers of light and fragrance; as a whole, they arouse a spinning reptuous aura, neither excessive nor dynamically molded into large compositional constructs. In connection with Monet, Monet, Renoir, etc., the representatives of impressionist art painting and with Varlaine, ?? , etc., symbolism writers of a stylistic movement in poem composition, Debussy was part in the emergence of a new type of thought in music. The manner of this new thought in music in such that the essence is based on suggestion. The works of Debussy, in a stylistic manner which had not been seen formerly, bear marks of the composer's individuality and originality in seeking to attain the aim of imagery that conveys calmness and serenity. Among the compositional techniques innovatively employed include an abundant usage of parallel chordal harmony, Gergorian church modes, pentatonic whole-tone scale, etc. Moreover, the enhancement of desired tone-color was attained through ettective orchestration for his sensitive image-evoking compositional works. For Debussy, music can be thought of as a reflection of the external world in a variety of impression-like forms. The impression of the external world is not a sharp representation of reality; rather, the impression is more like an outline based on suggestive, non-blant blurs and shadings. With this artistic aesthetic and attitude of creative originality, former rules and principles of harmony and melody used in the previous period were banished in favor of new and distinctive compositional techniques which had been made under the name of the impressionistic school.
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권기택 동양대학교 2000 동양대학교 논문집 Vol.6 No.1
This paper propose a stock price prediction system using neural networks. First, an architecture of neural networks is shown. The neural network maps input vectors to target output. A cost function is defined using the output from the neural networks and the corresponding target output. A learning algorithm is derived from the cost function. Next, the standard back-propagation algorithm is applied to the stock price prediction. Last, the proposed stock price prediction system is demonstrated by computer simulations.
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고전파 이후의 양식적 고찰 : 피아노 작품을 중심으로 With a Focus on Piano Works
권기택 한국음악학회 1985 한국음악학회논문집 음악연구 Vol.4 No.1
The piano, outstanding as a unique instrument for its harmonic and melodic capacity is thoroughly utilized in performance mediums such as solo, concerto, as well as accompaniment. In other words, because independently, the piano has the capacity to express voluminously in the execution of parts, its practical usage is wide. Even today, the piano can be regarded the most broadly used among instruments. Because of the special distinctive characteristics of the piano, piano music has continued to penetrate and develop through every period up to the present day based upon many varied styles and techniques. Following the techniques of the Classical school, when making stylistic consideration, are generally three period divisions of the then current representative works (e.g. the Romantic, Impressionistic and Modern periods). In the future, whatever the direction of music, the music of the world will continue to captivate as the mutual relationship of line and color capable of entering the center of music; the logical flow, contrast, and subtle melodic movements are vibrantly vivid in the imprint of sound.
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