| 1. |
- Kahlin, Daniel, 1972-, et al.
(författare)
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The chorus effect revisited-experiments in frequency-domain analysis and simulation of ensemble sounds
- 1999
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Ingår i: Conference Proceedings of the EUROMICRO. - : IEEE. - 0769503217 ; , s. 75-80
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Konferensbidrag (refereegranskat)abstract
- The so-called ’chorus’ or ’ensemble’ effect is interesting both musically and perceptually. It is usually imitated in effect devices using slowly varying time shifts, giving the impression of rotating speakers rather than of an ensemble. M. Dolson (1983) found that the quasi-random amplitude modulation of beating partials alone can cue the perception of ensemble. The small changes in frequency, he found, are less salient perceptually. This suggests an alternative simulation of the chorus effect. Attempts were made to corroborate Dolson’s finding, and to simulate ensembles in the frequency domain by modulating only partial tone amplitudes, using three approaches: filter banks, real FFTs and complex FFTs. The exact partial envelopes of a choral sound were found to be elusive, partly because the sidebands of one partial will overlap its neighbours at higher frequencies. The outcome of these trials is discussed and illustrated with sound examples. © 1999 IEEE.
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| 2. |
- McAllister, Anita, et al.
(författare)
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Perturbation and hoarseness : a pilot study of six children's voices.
- 1996
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Ingår i: Journal of Voice. - 0892-1997 .- 1873-4588. ; 10:3
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Tidskriftsartikel (refereegranskat)abstract
- Fundamental frequency (FO) perturbation has been found to be useful as an acoustic correlate of the perception of dysphonia in adult voices. In a previous investigation, we showed that hoarseness in children's voices is a stable concept composed mainly of three predictors: hyperfunction, breathiness, and roughness. In the present investigation, the relation between FO perturbation and hoarseness as well as its predictors was analyzed in running speech of six children representing different degrees of hoarseness. Two perturbation measures were used: the standard deviation of the distribution of perturbation data and the mean of the absolute value of perturbation. The results revealed no clear relation.
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| 3. |
- Ternström, Sten, 1956-, et al.
(författare)
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Intonation preferences for major thirds with non-beating ensemble sounds
- 1996
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Ingår i: Proc. of Nordic Acoustical Meeting. - Helsinki. ; , s. 359-365
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Konferensbidrag (refereegranskat)abstract
- The frequency ratios, or intervals, of the twelve-tone scale can be mathematically dejned in several slightly diferent ways, each of which may be more or less appropriate in different musical contexts. For maximum mobility in musical key, instruments of our time with fixed tuning are typically tuned in equal temperament, except for performances of early music or avant-garde contemporary music. Some contend that pure intonation, being free of beats, is more natural, and would be preferred in instruments with variable tuning. The sound of choirs is such that beats are very unlikely to serve as cues for intonation. Choral performers have access to variable tuning, yet have not been shown to prefer pure intonation. The difference between alternative intonation schemes is largest for the major third interval. Choral directors and other musically expert subjects were asked to adjust to their preference the intonation of 20 major third intervals in synthetic ensemble sounds. The preferred size of the major third was 395.4 cents, with intra-subject averages ranging from 388 to 407 cents.
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| 4. |
- Ternström, Sten
(författare)
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Preferred self-to-other ratios in choir singing
- 1999
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Ingår i: Journal of the Acoustical Society of America. - : Acoustical Society of America (ASA). - 0001-4966 .- 1520-8524. ; 105:6, s. 3563-3574
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Tidskriftsartikel (refereegranskat)abstract
- Choir singers need to hear their own voice in an adequate self-to-other ratio (SOR) over the rest ofthe choir. Knowing singers’ preferences for SOR could facilitate the design of stages and of choral formations. In an experiment to study the preferred SOR, subjects sang sustained vowels together with synthesized choir sounds, whose loudness tracked that of their own voice. They could control the SOR simply by changing their distance to the microphone. At the most comfortable location, the SOR was measured. Experimental factors included unison and four-part tasks, three vowels and two levels of phonation frequency. The same experiment was run four times, using sopranos, altos, tenors, and basses, with stimulus tones adapted for each category. The preferred self-to-other ratios were found to be similar to SORs measured previously in actual performance, if a little higher. Preferences were quite narrow, typically +/-2 dB for each singer, but very different from singer to singer, with intrasubject means ranging from -1 to +15 dB. There was no significant difference between the unison and the four-part tasks, although this might have been caused by systematic differences in the stimulus sounds. Some effects of phonation frequency and vowel were significant, but interdependent and difficult to interpret. The results and their relevance to live choir singing are discussed.
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