Acoustic and perceptual measures of SATB choir performances on two types of portable choral riser units in three singer-spacing conditions

Abstract

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.

Effects of Three Common Choral Performance Movement Conditions on Acoustic and Perceptual Measures of Choral Sound

“…Singers were laterally spaced using dowel rods measuring 0.61 m (24 in.) so that intersinger distance remained consistent (Daugherty, 1999(Daugherty, , 2003Daugherty et al, 2013Daugherty et al, , 2019. We projected a conductor video, of the choir's usual conductor demonstrating a pattern and tempo similar to that of the previous performance, on the back wall of the recital hall as to not impede microphone placement.…”

Effects of Three Common Choral Configurations on Acoustic and Perceptual Measures of a Soprano Section’s Sound

“…Daugherty concluded that singer spacing may have a greater effect on choral sound than formation (e.g., mixed vs. sectional). In experiments with both auditioned and nonauditioned high school and university ensembles, he consistently found that both singers and listeners preferred spread spacing of at least 2 ft between singers over close spacing of one inch (Daugherty, 1999(Daugherty, , 2003Daugherty et al, 2013;Daugherty et al, 2019). Adams (2019a) concluded that both large and chamber university ensembles also preferred spread spacing (2 ft) over moderate (1 ft) or close Update 39 2(1 in.)…”

The Developing Female Chorister Voice: Case-Study Evidence of Musical Development

“…For individual singers, the change in overall spectral shape in the frequency region above 2.4 kHz, the timbral region, will relate to the extent to which that individual's singing voice will stand out within the overall choral sound and the degree to which that singer can blend in with other voices. The physical position of individual members of the choir relative to other members can have a significant effect on the overall voice line and therefore the total acoustic output from the choir [35,36]. Attention paid to this aspect through voice matching and physical placement of individual singers provides a practical means of taking advantage of this effect in practice.…”