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

Abstract

The purpose of this investigation was to examine the effects of three commonly observed choral singer performance conditions (no movement, slight swaying, full-body swaying) on acoustic and perceptual measures of choral sound. We audio recorded an established university choir ( N = 29 singers) performing a memorized piece while viewing the same conductor video and participating in one of the three performance conditions. We analyzed data through long-term average spectrum (LTAS), overall pitch deviation, and singer and listener (singer-listeners, expert-listeners) perceptions. LTAS results showed significant differences ( p < .001) in spectral energy between all three conditions. The full-body swaying condition averaged a noticeable difference of 2.50 dB across the spectrum when compared to the other two conditions. Pitch analysis indicated the least overall pitch deviation during the slight swaying condition (−27.67 cents) and the most pitch deviation during the no-movement condition (−58.31 cents). Results indicated singer and singer-listener preferences for the full-body swaying condition and expert-listener preferences for the slight swaying condition. We discuss results in terms of future research and practical application for choral music educators.

Listeners’ Perceptions of Choral Performances With Static and Expressive Movement

“…More recently, Grady and Gilliam (2020) examined the effects of three choral singer performance conditions (no movement, slight swaying, full-body swaying) on acoustic and perceptual measures of choral sound. In addition to acoustical measures of intonation and long-term average spectrum, they explored singer and listener perceptions of overall sound.…”

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

“…To analyze the qualitative data collected from open-ended survey questions, I disaggregated the comments into positive and negative categories (Cook-Cunningham & Grady, 2018; Grady, 2014a; Grady & Gilliam, 2020). Out of 63 total comments, singers wrote nine positive and eight negative comments about the RC, 13 positive and nine negative about the TC, and 17 positive and seven negative about the ACC.…”

“…For qualitative listener data, I disaggregated comments into positive and negative categories, then separated the comments into categories based on emergent themes (Cook-Cunningham & Grady, 2018; Grady, 2014a; Grady & Gilliam, 2020). Figure 2 displays the number of both positive and negative comments from expert listeners for each condition according to categories derived from previous research and practice on choral configurations; namely blend or balance, intonation, timbre or tone color, vibrato, and vocal technique (e.g., breath support, vocal freedom, resonance; Ekholm, 2000; Giardiniere, 1991; Goodwin, 1980; Jordan as cited in Noble, 2005; Killian & Basinger, 2007; Molnar, 1950; Phillips, 2016; Reid et al, 2007).…”

“…The extracted pitches were then compared with a reference tone set to the score-notated pitch (A4 = 440 Hz) by adjusting the tone to the recorded pitches. I calculated the difference between the reference tone and each of the six perceived pitches (first and last pitches of the three recordings made in each configuration) in cents, then subtracted the deviation of each final pitch from the deviation of each initial pitch for a total deviation in cents (Cook-Cunningham & Grady, 2018; Grady, 2014b; Grady & Cook-Cunningham, 2018; Grady & Gilliam, 2020). For reliability, another researcher with choral and vocal teaching experience repeated the same procedure.…”

“…Ternström (1999) claimed that an undesirable ratio of self-to-other (i.e., when a singer cannot adequately hear themselves or the rest of the ensemble) leads to intonation and tuning issues. Other researchers also discovered that various changes in the choral rehearsal environment may affect intonation, including changes in rehearsal or performance procedures (Brunkan, 2013, 2016; Cook-Cunningham & Grady, 2018; Grady, 2014b; Grady & Cook-Cunningham, 2018; Grady & Gilliam, 2020), venue acoustics (Ternström, 1999), and choral configuration (Daugherty, 2005; Ekholm, 2000; Ternström, 1999; Tocheff, 1990).…”