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.

No abstract

This study was designed to examine the effect of five conductor preparatory gestures on indirect measurements of individual singers' (N = 60) head and shoulder movements at two junctures as they sang a familiar melody. To inform music teacher preparation, the preparatory gestures were chosen to test various recommendations made by choral conducting instructors. Among primary results: (a) participant head movement significantly increased when the conductor modeled upward head movement; (b) participant shoulder movement significantly increased when the conductor modeled upward shoulder movement; (c) participant shoulder movement increased during a downward moving gesture as compared to an upward moving gesture; and (d) participant head and shoulder measurements differed between the initial breath and the internal breath taken in the melody. These results were discussed in terms of choral conducting pedagogy and music teacher preparation.

No abstract

This field-based case study documented students’ ( N = 256) voice use and voice health perceptions during a 3-day all-state high school chorus event through daily surveys, phonation duration data, analysis of rehearsal voice use behaviors, and field notes. Among the primary results are the following: (a) First and final day survey comparisons indicated significant declining changes in 5 of 7 voice health indicator statements and in self-perceptions of singing voice quality, yet (b) most students (78.8%) believed they had taken good care of their voices; (c) self-reported sleep hours decreased significantly; (d) vocal fold contact time measured with two students ranged from 15% to 38% during rehearsal periods, 1% to 27% during on-site non-rehearsal times, and 3% to 17% during measured pre- and post-event activities, but (e) overall percentages of vocal fold contact varied little between regular rehearsal and on-site non-rehearsal events (female: 19.37% rehearsal, 20.11% non-rehearsal; male: 22.89% rehearsal, 20.54% non-rehearsal); (f) rehearsal voice rest time (63%) exceeded voice use time (37%); (g) students sat in close proximity to other choristers for approximately 73% of rehearsal time; and (h) the two compositions ranked highest relative to demands on adolescent voices consumed 61% of rehearsal time.