A Longitudinal Study Investigating Synchronization in a Singing Quintet

D’Amario, Sara; Daffern, Helena; Bailes, Freya

doi:10.1016/j.jvoice.2018.06.011

Cited by 6 publications

(21 citation statements)

References 25 publications

(36 reference statements)

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“…This piece was also used in a parallel study investigating the developmental aspects of synchronization in the same singing quintet. 26 The original Bach chorale was arranged avoiding repeated notes and limiting semitones, to facilitate tuning analysis based on f o tracking (see Section Analysis). Tuning for each note can be potentially difficult to calculate in the f o signal when melodies move chromatically, since the expected vibrato range for classical singers might span a semitone and therefore it would be difficult to detect each note.…”

Section: Methodsmentioning

confidence: 99%

“…During the lab session, the quintet stood in a semi-circle of approximately 3m in diameter, in FIGURE 1. Piece from a previous study 26 , showing the major and minor thirds, highlighted with arrows and brackets respectively, that were selected for the analysis of vertical tuning. The full data set of notes was used for the analysis of horizontal tuning.…”

Section: Methodsmentioning

confidence: 99%

“…Lx is a non-invasive, widely used method for the analysis of the singing voice. 27 It has been recently used to investigate several aspects of singing ensemble performances, such as synchronization, 26,28,29 blending, 30 and tuning, 5,6 as it allows the identification of the individual contribution of each singer. Each Lx was attached to a preamplifier (ART CleanBox Pro) to reduce noise and interference over long cable runs.…”

Section: Apparatusmentioning

confidence: 99%

“…D'Amario et al 26 Singers were invited to rehearse the more complex piece for 10 minutes, and performed three repetitions pre-rehearsal and post-rehearsal, as with the clear homophonic piece. The order of recording and rehearsing the two pieces was randomized within rehearsals.…”

Section: E15mentioning

confidence: 99%

“…In two performances of the same piece from the prior study, sung by a different quartet comprising music students, it was found that the singers drifted beyond the just intonation prediction and a long way far from equal temperament. 6 Using the choral synthesis system described in Howard et al, 7 the tuning of student singers was analyzed as they replaced either the alto or soprano line of ''Exercise 3'' when listening to the other three parts tuned either in equal temperament or just intonation over headphones. 8 Singers produced less stable pitches across tones and were more ''out of tune'' when tuning with the justly tuned rather than the equally tempered version of the synthesis, implying that the singers in this study tended towards equal temperament.…”

Section: Introductionmentioning

confidence: 99%

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A Longitudinal Study of Intonation in an a cappella Singing Quintet

et al. 2020

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Tuning of each singer was closer to equal temperament than just intonation, but the size of major thirds was slightly closer to just intonation, and minor thirds closer to equal temperament. These findings were consistent within and between rehearsals, and across repetitions. Tuning was highlighted as an important feature of rehearsal during the study term, and a range of strategies were adopted to solve tuning related issues. This study provides a novel holistic assessment of tuning strategies within a singing ensemble, furthering understanding of performance practices as well as revealing the complex approach needed for future research in this area. These findings are particularly important for directors and singers to tailor rehearsal strategies that address tuning in singing ensembles, showing that approaches need to be context driven rather than based on theoretical ideal.

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Section: Methodsmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 99%

Section: Apparatusmentioning

confidence: 99%

Section: E15mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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A Longitudinal Study of Intonation in an a cappella Singing Quintet

et al. 2020

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Interperformer coordination in piano-singing duo performances: phrase structure and empathy impact

D’Amario

Schmidbauer

Roesch

et al. 2023

Psychological Research

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Musicians’ body motion plays a fundamental role in ensemble playing, by supporting sound production, communication, and expressivity. This research investigates how Western classical musicians’ head motion during ensemble performances relates to a piece’s phrase structure and musicians’ empathic perspective taking (EPT) profile. Twenty-four advanced piano and singing students took part in the study, and their EPT score was pre-assessed using the Interpersonal Reactivity Index. High and low EPT duos were formed, and musicians were paired with a co-performer from the same and the other EPT group. Musicians rehearsed Fauré’s Automne and Schumann’s Die Kartenlegerin, and performed the pieces one time before and three times after rehearsal. Motion capture data of the musicians’ front head, audio, and MIDI recordings of the performances were collected and analysed. Similarity in musicians’ head motion and tendency to lead/lag their co-performer were computed by extracting, respectively, power and phase difference of the cross-wavelet transforms of the velocity curves of each paired marker. Results demonstrate that the power of interperformer coordination corresponds to the piece’s phrase levels and that singer’s EPT can impact the leader-follower relationships between musicians, depending on piece and take number. In the Fauré piece, the higher the singer’s EPT score, the higher the tendency for the singer to lead and pianist to follow in take 3, and the lower the tendency for the singer to lead and pianist to follow in take 2. These results contribute to a further understanding of the mechanisms underpinning social interactions, by revealing the complexity of the association between empathy and body motion in ensembles in promoting and diffusing leadership between musicians.

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