Lay Listeners Can Evaluate the Pitch Accuracy of Operatic Voices

Larrouy-Maestri, Pauline; Morsomme, Dominique; Magis, David; Poeppel, David

doi:10.1525/mp.2017.34.4.489

Cited by 7 publications

(6 citation statements)

References 18 publications

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“…According to our exploratory study, other features such as a tense phonation (reflecting high muscular activity), a wide faucal distance (reflecting a wide pharynx, lift of the soft palate and a low larynx), and a bright timbre (reflecting efficient use of resonance cavities), might also be associated with singing perception. Note that the association of spectral characteristics with singing is not surprising since they are particularly favored (if not specifically trained) in classical singing (Miller, 1986 , 1996 ; Mitchell et al, 2003 ; Isherwood, 2013 ) and since listeners, even without formal training in music, are sensitive to such features (Larrouy-Maestri et al, 2017 ).…”

Section: Discussionmentioning

confidence: 99%

Vocal Features of Song and Speech: Insights from Schoenberg's Pierrot Lunaire

Merrill

Larrouy-Maestri

2017

Front. Psychol.

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Similarities and differences between speech and song are often examined. However, the perceptual definition of these two types of vocalization is challenging. Indeed, the prototypical characteristics of speech or song support top-down processes, which influence listeners' perception of acoustic information. In order to examine vocal features associated with speaking and singing, we propose an innovative approach designed to facilitate bottom-up mechanisms in perceiving vocalizations by using material situated between speech and song: Speechsong. 25 participants were asked to evaluate 20 performances of a speechsong composition by Arnold Schoenberg, “Pierrot lunaire” op. 21 from 1912, evaluating 20 features of vocal-articulatory expression. Raters provided reliable judgments concerning the vocal features used by the performers and did not show strong appeal or specific expectations in reference to Schoenberg's piece. By examining the relationship between the vocal features and the impression of song or speech, the results confirm the importance of pitch (height, contour, range), but also point to the relevance of register, timbre, tension and faucal distance. Besides highlighting vocal features associated with speech and song, this study supports the relevance of the present approach of focusing on a theoretical middle category in order to better understand vocal expression in song and speech.

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Section: Discussionmentioning

confidence: 99%

Vocal Features of Song and Speech: Insights from Schoenberg's Pierrot Lunaire

Merrill

Larrouy-Maestri

2017

Front. Psychol.

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“…Indeed, when music training and musical ability are considered jointly, associations between training and nonmusical abilities often disappear ( Correia et al, 2022a ; Swaminathan & Schellenberg, 2020 ; Swaminathan et al, 2017 , 2018 ). Third, some musical capacities are achieved simply by engaging in music-related activities, such as listening to music (e.g., Bigand & Poulin-Charronnat, 2006 ; Larrouy-Maestri et al, 2017 ), or through untutored learning experiences (e.g., Green, 2002 ; Veblen, 2012 ).…”

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Individual differences in musical ability among adults with no music training

Correia

Vinzenci

Vanzella

et al. 2022

Quarterly Journal of Experimental Psychology

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Good musical abilities are typically considered to be a consequence of music training, such that they are studied in samples of formally trained individuals. Here, we asked what predicts musical abilities in the absence of music training. Participants with no formal music training ( N = 190) completed the Goldsmiths Musical Sophistication Index, measures of personality and cognitive ability, and the Musical Ear Test (MET). The MET is an objective test of musical abilities that provides a Total score and separate scores for its two subtests (Melody and Rhythm), which require listeners to determine whether standard and comparison auditory sequences are identical. MET scores had no associations with personality traits. They correlated positively, however, with informal musical experience and cognitive abilities. Informal musical experience was a better predictor of Melody than of Rhythm scores. Some participants (12%) had Total scores higher than the mean from a sample of musically trained individuals (⩾6 years of formal training), tested previously by Correia et al. Untrained participants with particularly good musical abilities (top 25%, n = 51) scored higher than trained participants on the Rhythm subtest and similarly on the Melody subtest. High-ability untrained participants were also similar to trained ones in cognitive ability, but lower in the personality trait openness-to-experience. These results imply that formal music training is not required to achieve musician-like performance on tests of musical and cognitive abilities. They also suggest that informal music practice and music-related predispositions should be considered in studies of musical expertise.

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“…The definition of correctness outlined here might not be adequate for highly trained voices, such as operatic voices. Indeed, such an acoustic signal is highly complex (Larrouy-Maestri, Magis, & Morsomme, 2014a) and the notion of pitch accuracy is not only based on pitch deviations between tones but relies on the association of several parameters such as energy distribution and vibrato (Larrouy-Maestri, Magis, & Morsomme, 2014b; Larrouy-Maestri, Morsomme, Magis, & Poeppel, 2017). In addition, specific tones might be purposely mistuned for expressive purpose (Sundberg et al, 2013).…”

Section: Discussionmentioning

confidence: 99%

“I know it when I hear it”

Larrouy-Maestri

2018

Music & Science

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Listeners regularly judge the accuracy of musical performances. However, as is true for several types of judgments (e.g., beauty or obscenity), estimating the correctness of melodies is not based on a precise definition of the object/performance but rather follows arguments such as "I know it when I hear it". In order to clarify the definition of correctness in melodies, participants identified parametrically manipulated sung melodies as in-tune or out-of-tune, using the method of limits procedure (Experiment 1). Listeners' tolerance with regard to mistuning was compared across melodies (Experiment 2). The potential roots of correctness perception were investigated by testing the effect of familiarity, the influence of formal musical training (Experiment 3), and the task repetition effect (Experiment 4). The results highlight a surprisingly small tolerance with regard to mistuning (half of a quarter tone), whatever the melodic context, large individual differences, but high consistency over time. This high sensitivity was mainly modulated by musical training as well as by previous exposure. In addition to defining the boundary between in-and out-of-tune melodies, this study supports the implicit development of the normative notion of "correctness" as a category that might drive listeners' appreciation of artistic performances.

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Lay Listeners Can Evaluate the Pitch Accuracy of Operatic Voices

Cited by 7 publications

References 18 publications

Vocal Features of Song and Speech: Insights from Schoenberg's Pierrot Lunaire

Vocal Features of Song and Speech: Insights from Schoenberg's Pierrot Lunaire

Individual differences in musical ability among adults with no music training

“I know it when I hear it”

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