| 1. |
- Rossing, T D, et al.
(författare)
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Acoustic comparison of soprano solo and choir singing.
- 1987
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Ingår i: Journal of the Acoustical Society of America. - : Acoustical Society of America (ASA). - 0001-4966 .- 1520-8524. ; 82:3, s. 830-836
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Tidskriftsartikel (refereegranskat)abstract
- Five soprano singers were recorded while singing similar texts in both choir and solo modes of performance. A comparison of long-term-average spectra of similar passages in both modes indicates that subjects used different tactics to achieve somewhat higher concentrations of energy in the 2- to 4-kHz range when singing in the solo mode. It is likely that this effect resulted, at least in part, from a slight change of the voice source from choir to solo singing. The subjects used slightly more vibrato when singing in the solo mode.
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| 2. |
- Rossing, T D, et al.
(författare)
-
Acoustic comparison of voice use in solo and choir singing.
- 1986
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Ingår i: Journal of the Acoustical Society of America. - : American Institute of Physics (AIP). - 0001-4966 .- 1520-8524. ; 79:6, s. 1975-1981
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Tidskriftsartikel (refereegranskat)abstract
- An experiment was carried out in which eight bass/baritone singers were recorded while singing in both choral and solo modes. Together with their own voice, they heard the sound of the rest of the choir and a piano accompaniment, respectively. The recordings were analyzed in several ways, including computation of long-time-average spectra for each passage, analysis of the sound levels in the frequency ranges corresponding to the fundamental and the "singer's formant," and a comparison of the sung levels with the levels heard by the singers. Matching pairs of vowels in the two modes were inverse filtered to determine the voice source spectra and formant frequencies for comparison. Differences in both phonation and articulation between the two modes were observed. Subjects generally sang with more power in the singer's formant region in the solo mode and with more power in the fundamental region in the choral mode. Most singers used a reduced frequency distance between the third and fifth formants for increasing the power in the singer's formant range, while the difference in the fundamental was mostly a voice source effect. In a choral singing mode, subjects usually adjusted their voice levels to the levels they heard from the other singers, whereas in a solo singing mode the level sung depended much less on the level of an accompaniment.
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| 3. |
- Ternström, Sten, 1956-, et al.
(författare)
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Intonation precision of choir singers
- 1988
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Ingår i: Journal of the Acoustical Society of America. - : Acoustical Society of America (ASA). - 0001-4966 .- 1520-8524. ; 84:1, s. 59-69
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Tidskriftsartikel (refereegranskat)
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| 4. |
- Ternström, Sten, 1956-, et al.
(författare)
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Synthesizing choir singing
- 1988
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Ingår i: Journal of Voice. - 0892-1997 .- 1873-4588. ; 1:4, s. 332-335
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Tidskriftsartikel (refereegranskat)abstract
- Analysis by synthesis is a method that has been successfully applied in many areas of scientific research. In speech research, it has proven to be an excellent tool for identifying perceptually relevant acoustical properties of sounds. This paper reports on some first attempts at synthesizing choir singing, the aim being to elucidate the importance of factors such as the frequency scatter in the fundamental and the formants. The presentation relies heavily on sound examples.
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| 5. |
- Ternström, Sten, 1956-, et al.
(författare)
-
Monteverdi’s vespers. A case study in music synthesis
- 1988
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Ingår i: STL-QPSR. ; 29:2-3, s. 093-105
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- The article describes the methods used in synthesizing a performance of the first movement of Monteverdi's Vespers from 1610. The synthesis combines results from studies of singing voice acoustics, ensemble acoustics, and rules for music performance. The emphasis is on the synthesis of choir sounds.
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