Intonation Drift in A Capella Soprano, Alto, Tenor, Bass Quartet Singing With Key Modulation

Howard, David M.

doi:10.1016/j.jvoice.2005.12.005

Cited by 33 publications

(31 citation statements)

References 4 publications

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“…We conducted three Friedman tests with condition as blocks (N=3) and synchronization points as groups (N=57, only points with sufficient data available could be used) for three different tuning systems. Although we argued earlier that on the level of raw pitch height the deviations from either tuning system are not discernible, we cannot rule out that singers employ locally small pitch adjustments to maximize overall consonance of a chord, as for instance proposed by Howard (2007b). The Friedman tests are not significant for the Pythagorean tuning system (χ 2 = 5.660, p=0.056), (see Table IV).…”

Section: B Intonation Of Single Pitchesmentioning

confidence: 69%

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Influence of virtual room acoustics on choir singing.

Fischinger¹,

Frieler²,

Louhivuori³

2015

Psychomusicology: Music, Mind, and Brain

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Multitrack recordings of a mixed adult choir with 23 singers were collected in order to investigate the influence of varied room acoustical conditions on a choir's performance with regard to intonation, loudness, tempo, and timing precision. Headset microphones were used to record each chorister separately while the collected sound of all singers was presented via headphones exerting acoustic simulations of rooms with different reverberation times of 0.0 (bypass), 1.77 and 4.79 s according to three singing conditions. The choir was asked to sing "Locus Iste" by Anton Bruckner (1824-1896). Objective measures were obtained from single audio track analyses using the monophonic pitch tracker pYIN plugin for Sonic Visualiser. These revealed that intonation was barely affected by simulated room acoustics whereas tempo was notably slower and timing precision declined in the condition where participants sang in a comparatively large virtual room. Subjective judgments gathered by a questionnaire inquiring on the singers' experiences showed a clear preference for singing in the medium sized "Concertgebouw" (with reverberation time = 1.77 s), while the dry acoustical condition (bypass) was felt to be the best to sing in time. The significance of these results and their relationships to other musical and acoustical parameters are discussed.

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Section: B Intonation Of Single Pitchesmentioning

confidence: 69%

“…Furthermore, even if a tuning system is consistently employed by a choir there still could be an overall drift (Howard, 2007b;, i.e., a shifting of the reference pitch of the tuning system.…”

Section: A Tuning and Driftmentioning

confidence: 99%

Influence of virtual room acoustics on choir singing.

Fischinger¹,

Frieler²,

Louhivuori³

2015

Psychomusicology: Music, Mind, and Brain

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“…Recent studies conducted by David Howard analysed tuning in two different SATB ensembles: the complexities of polyphonic analysis associated with audio recordings (2)(3)(4) were avoided by applying acoustic analysis in conjunction with electrolaryngography (Lx) to extract the f o estimates from vocal fold contact information. Electrolaryngography, coupled with electroglottography (EGG), two non-invasive techniques that assess vocal fold vibration in vivo through electrodes placed externally on either side of the neck at the level of the larynx, allow measurement of performance data in solo and ensemble performances and are often employed in singing research (for a recent review, see (5)).…”

Section: Introductionmentioning

confidence: 99%

“…Based on previous evidence, it was hypothesized that the combination of electrolaryngography and acoustic analysis is a valuable tool for the analysis of synchronization in singing ensembles by tracking the f o profile, as this combination proved to be a successful method in studies analysing intonation in SATB quartets from f o estimates (2)(3)(4). It was also conjectured that the leader's onset might tend to precede those of the follower, as found by (17) in piano duos.…”

Section: Introductionmentioning

confidence: 99%

A new method of onset and offset detection in ensemble singing

D’Amario

Daffern

Bailes

2018

Logopedics Phoniatrics Vocology

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This paper presents a novel method combining electrolaryngography and acoustic analysis to detect the onset and offset of phonation as well as the beginning and ending of notes within a sung legato phrase, through the application of a peak-picking algorithm, TIMEX. The evaluation of the method applied to a set of singing duo recordings shows an overall performance of 78% within a tolerance window of 50 ms compared with manual annotations performed by three experts. Results seem very promising in light of the state-of-the-art techniques presented at MIREX in 2016 yielding an overall performance of around 60%. The new method was applied to a pilot study with two duets to analyse synchronization between singers during ensemble performances. Results from this investigation demonstrate bidirectional temporal adaptations between performers, and suggest that the precision and consistency of synchronization, and the tendency to precede or lag a co-performer might be affected by visual contact between singers and leader-follower relationships. The outcomes of this paper promise to be beneficial for future investigations of synchronization in singing ensembles. ARTICLE HISTORY

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“…to a non-equal temperament with commensurate ratios among notes in a chord [27]. A consequence is that pitch may drift when music changes key in some ways [28]. Performers can either stay in-tune or in-pitch; the latter requiring a pitch shift which has been commented on since the sixteenth century [29].…”

Section: Intonationmentioning

confidence: 99%

Analysing and Understanding the Singing Voice: Recent Progress and Open Questions

Kob¹,

Henrich²,

Herzel³

et al. 2011

CBIO

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Abstract:The breadth of expression in singing depends on fine control of physiology and acoustics. In this review, the basic concepts from speech acoustics, including the source-filter model, models of the glottal source and source-filter interactions, are described. The precise control, the extended pitch range, the timbre control and, in some cases, the uses of alternate phonation modes all merit further attention and explanation. Here we review features of the singing voice and the understanding that has been delivered by new measurement techniques. We describe the glottal mechanisms and the control of vocal tract resonances used in singing. We review linear and nonlinear components of the voice and the way in which they are measured and modelled and discuss the aero-acoustic models. We conclude with a list of open questions and active fields of research.

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Intonation Drift in A Capella Soprano, Alto, Tenor, Bass Quartet Singing With Key Modulation

Cited by 33 publications

References 4 publications

Influence of virtual room acoustics on choir singing.

Influence of virtual room acoustics on choir singing.

A new method of onset and offset detection in ensemble singing

Analysing and Understanding the Singing Voice: Recent Progress and Open Questions

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