Just intonation

Lindley, Mark

doi:10.1093/gmo/9781561592630.article.14564

Cited by 4 publications

(2 citation statements)

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“…Frequency ratio for an equal-tempered semitone In most experimental work on musical pitch, including this article, the equal-tempered semitone is subdivided into cents, one cent being one hundredth of an equal-tempered semitone, or the number that when multiplied by itself 1200 times equals the frequency ratio of one octave (2). Mathematically, this number is the 1200th root of 2 (Equation 5).…”

Section: Introductionmentioning

confidence: 99%

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

Howard

2007

Journal of Voice

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Section: Introductionmentioning

confidence: 99%

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

Howard

2007

Journal of Voice

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“…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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Singing together: Pitch accuracy and interaction in unaccompanied unison and duet singing

Dai

Dixon

2019

The Journal of the Acoustical Society of America

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We investigate singing interaction by analysis of the factors influencing pitch accuracy of unaccompanied duet singers. Eight pairs of singers sang two excerpts either in unison or two-part harmony. The experimental condition varied which singers could hear their partners. After semi-automatic pitch-tracking and manual checking, we calculated the pitch error and interval error, and tested the factors of influence using a one-way ANOVA. The results indicate that: 1) singing with the same vocal part is more accurate than singing with a different vocal part; 2) singing solo has less pitch error than singing with a partner; 3) pitch errors are correlated, as singers adjust their pitch to mitigate their partner's error and preserve harmonic intervals at the expense of melodic intervals and absolute pitch; 4) other factors influence the pitch accuracy, including: score pitch, score harmonic interval, score melodic interval, musical background, vocal part and individual differences.

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Just intonation

Cited by 4 publications

References 0 publications

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

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

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

Singing together: Pitch accuracy and interaction in unaccompanied unison and duet singing

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