Under controlled conditions, we assessed acoustically (long-term average spectra) and perceptually (singer survey, listener survey) six performances of an soprano, alto, tenor, and bass (SATB) choir (N = 27) as it sang the same musical excerpt on two portable riser units (standard riser step height, taller riser step height) with varied dimensions of largely horizontal space (close spacing, lateral spacing, circumambient spacing) between singers. Given previous research that suggested horizontally spread spacing between choristers contributes to chorister perceptions of more efficient vocal production and audience preferences for choral sound, we wondered: (1) if spectra analyses might point to a possible acoustical explanation for auditor preferences; and (2) if increasing the height of riser steps to add more vertical space between rows of singers would affect choir sound. Statistical analyses of spectra data acquired from an audience position microphone found significant differences (p < .001) in mean signal amplitudes among the various performances. The taller riser unit appeared to enhance modestly the contributions of horizontally spread lateral and circumambient singer spacing. These effects were most robust (c.2–4dB) in diffusion of higher frequency partials in the 2.4–3.7kHz range in and around the ‘singer’s formant’ frequency region on both riser units, and in 4.7–7.1kHz partials on the tall riser unit. All choristers (100%) thought horizontal singer spacing influenced choir sound; 92.59% of singers described this perceived influence as ‘moderate’ or ‘much.’ Most choristers (96.29%) thought riser step height influenced choral sound, with 62.95% of singers perceiving this influence as ‘moderate’ or ‘much.’ Singers thought spread spacing contributed to most comfortable vocal production, better hearing of self and ensemble, and best overall choir sound. Listener (N = 21) survey results indicated significant preference for the overall sound of the spread singer conditions in close versus spread comparisons.
The purpose of this investigation was to assess the potential effects of three singer gestures on performances of solo singers (N = 35). Each song ("Over the Rainbow" with low, circular arm gesture; "Singin' in the Rain" with pointing gesture; "Hawaiian Rainbows" with arched hand gesture) was sung seven times: Baseline (without singer gesture), five iterations of each song paired with a singer gesture, and a posttest (without singer gesture). This investigation measured acoustic (Fo, amplitude, formant frequency) and perceptual (expert panel ratings and participant perceptual questionnaire) differences of solo singers. Major findings indicated acoustic changes in intonation, timbre, and relative amplitude. Solo singers were more in tune when singing with gestures. Both the low, circular and arched hand gestures changed singer timbre indicated by lowered formant frequencies for the majority of participants. When performing with the low, circular and the pointing gestures, singers sang with increased amplitude, whereas, the arched hand gesture led to decreased amplitude. Expert ratings were highest for the posttest of low circular gestures and arched hand gestures, and the gestural iterations of pointing. The majority of participant comments related to intonation and timbre when using gestures. Results were discussed in terms of singing pedagogy, limitations of the study, and suggestions for further research.
The purpose of this study was to validate previous research that suggests using movement in conjunction with singing tasks can affect intonation and perception of the task. Singers ( N = 49) were video and audio recorded, using a motion capture system, while singing a phrase from a familiar song, first with no motion, and then while doing a low, circular arm gesture. Analysis of relationships between a circular singer arm gesture and changes in intonation indicated most singers (67.3%, n = 33) were closer to the target pitch when doing the low, circular gesture. Additionally, significant correlations were found between motion of the hand and face. Participant perceptions of singing with motion included “fuller tone” and “more breath” with the lower motion and singing without motion viewed as “easy” and “comfortable.” Results of this study suggest that singing with motion can affect intonation, other bodily movements, and perception of singing.
If singers, without prior prompting, mimicked a conductor's nonverbal behavior and if this mimicry changed their vocal sound in less than a second, then such a phenomenon could interest vocal music teachers as a time-efficient pedagogical strategy. We tested this claim ("What they see, you will get"), which appears in choral methods literature, by measuring visual and acoustic responses to one nonverbal conductor behavior in a particular singing context. Specifically, we sought to determine whether singers (N = 114) performing the first phrase of Mozart's motet, "Ave Verum Corpus," would mimic a conductor's rounded lip posture on two /u/ vowels. We also wondered whether conductor lip rounding affected these singers' tone quality. Visual measures (within-subjects photo comparisons and photo grid analyses) indicated that more than 90% of participants displayed more lip rounding on both /u/ vowels in the experimental condition as compared with baseline. Formant frequency profiles indicated that more than 90% of singers lowered all four examined formant frequencies each time the conductor rounded his lips. We discussed these converging visual and acoustic data in terms of the study's limitations, potential pedagogical implications of mimicry by vocal performers, and directions for future research.
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