Acoustic Analysis of the Interaction of Choral Arrangements, Musical Selection, and Microphone Location

Morris, Richard J.; Mustafa, Ashley J.; McCrea, Christopher R.; Fowler, Linda P.; Aspaas, Christopher

doi:10.1016/j.jvoice.2006.04.006

Cited by 7 publications

(3 citation statements)

References 10 publications

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“…Some studies have employed long-term average spectra (LTAS) data to assess acoustical differences between various choir sectional and mixed formations (Aspaas, McCrea, Morris, & Fowler, 2004; Morris, Mustafa, McCrea, Fowler, & Aspaas, 2007) and between different dynamic levels of choir singing (Morris, Ternström, LoVetri, & Berkun, 2010). No study to date, however, has used LTAS data to assess potential acoustical differences between uniform chorister spacing conditions.…”

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confidence: 99%

Acoustic and perceptual measures of SATB choir performances on two types of portable choral riser units in three singer-spacing conditions

Daugherty

Manternach

Brunkan

2012

International Journal of Music Education

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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.

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mentioning

confidence: 99%

Acoustic and perceptual measures of SATB choir performances on two types of portable choral riser units in three singer-spacing conditions

Daugherty

Manternach

Brunkan

2012

International Journal of Music Education

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“…Encontramos investigaciones que se concentran en la preferencia del sonido global (Lambson 1961;Killian 1985;Tocheff 1990;Daugherty 1999Daugherty , 2003Morris et al 2006); otras se basan en la técnica vocal empleada (Rossing et al 1986(Rossing et al , 1987Ekholm 2000), en la percepción del canto (Bregman 1990;Sundberg 1999), en técnicas de análisis de la voz (Basinger 2006), en el ratio entre cantantes (Ternstrom 1994), o en la respuesta estética y emocional a la música (Madsen y Geringer 1990;Howard et al 2000;Davis 2003;Lychner 2008;Iwai y Adachi 2008).…”

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Percepción interna y externa de la distribución de las voces en un coro gospel

Pele

Payri

2013

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“…Because of the complexity of choral sound, we used long-term average spectrum (LTAS) analyses, which create an average of acoustic energy over a given period. Researchers have utilized this analysis technique when examining changes in choral sound related to conductor gesture (Grady, 2014), choral formation (Aspaas, McCrea, Morris, & Fowler, 2004; Morris, Mustafa, McCrea, Fowler, & Aspaas, 2007), vocal registers and dynamic levels (Morris, Ternström, LoVetri, & Berkun, 2010), and chorister spacing (Daugherty et al, 2012). LTAS analyses revealed statistically significant differences in spectral energy across the entire spectrum (0–10 kHz) and in the area where human hearing is most sensitive (approximately 2 to 4 kHz; Fletcher & Munson, 1933).…”

mentioning

confidence: 99%

Effects of Straw Phonation and Neutral Vowel Protocols on the Choral Sound of Two Matched Women’s Choirs

Manternach

Schloneger

Maxfield

2018

Journal of Research in Music Education

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Many choral teacher-conductors and voice professionals utilize semioccluded vocal tract (SOVT) exercises (e.g., lip trills, straw phonation) in their classrooms or studios. Research with individual singers has indicated that these techniques may increase “vocal economy,” boosting acoustic output while reducing singer effort. Recently, researchers have investigated these phenomena in choral settings, finding that choirs have maintained or increased spectral energy after straw phonation. Most chorister participants have perceived improved choral sound and vocal efficiency after the protocols. These investigations, however, have used one-group pretest-posttest designs. Therefore, results could reflect a “masterclass effect.” The purpose of this study was to compare acoustic output and listener perceptions of pre- and posttest measurements of two matched women’s choirs who engaged in (a) a straw phonation protocol or (b) an identical protocol performed on a neutral, unoccluded vowel (“ah”). Results indicated that both groups sang with more spectral energy after the protocols, and a majority of expert listeners noted these increases. However, the straw group’s increase was more than 1 dB SPL greater across the entire spectrum (0–10 kHz). Choral teacher-conductors and music teacher educators may wish to use straw phonation exercises to increase choral output and reduce vocal effort.

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Acoustic Analysis of the Interaction of Choral Arrangements, Musical Selection, and Microphone Location

Cited by 7 publications

References 10 publications

Acoustic and perceptual measures of SATB choir performances on two types of portable choral riser units in three singer-spacing conditions

Acoustic and perceptual measures of SATB choir performances on two types of portable choral riser units in three singer-spacing conditions

Percepción interna y externa de la distribución de las voces en un coro gospel

Effects of Straw Phonation and Neutral Vowel Protocols on the Choral Sound of Two Matched Women’s Choirs

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