Singing in different performance spaces: The effect of room acoustics on vibrato and pitch inaccuracy

Abstract

Previous literature suggests that musical performers may be influenced to some extent by the acoustic environment in which they sing or play. This study investigates the influence of room acoustics on singers' voice production, by analyzing consecutive sung performances of classically trained students in five different performance spaces. The analyzed voice parameters were vibrato rate, extent, and pitch inaccuracy. Nine classically trained student-singers performed the same aria unaccompanied on a variable starting pitch that was consistent between spaces. Variance in vibrato rate and pitch inaccuracy was primarily explained by individual differences between singers. Conversely, the variance attributable to the rooms for the parameter of vibrato extent was larger compared to the variance attributable to the performers. Vibrato extent tended to increase with room clarity (C80) and was inversely associated with early decay time (EDT). Additionally, pitch inaccuracy showed a significant negative association with room support (STv). Singers seem to adjust their vocal production when performing in different acoustic environments. Likewise, the degree to which a singer can hear themself on stage may influence pitch accuracy.

Cognitive Load Associated with Speaking Clearly in Reverberant Rooms

“…For instance, Hodoshima, Arai, and Kurisu discovered that speech produced in reverberant conditions was more intelligible than speech in quiet settings 34 . Similarly, research on singers by Bottalico, Łastowiecka, Glasner, & Redman demonstrated that room acoustics signi cantly in uence vibrato rate, extent, and pitch inaccuracy 35 , indicating that singers modify their vocal production in response to different performance spaces. These ndings illustrate the adaptive nature of vocal production to acoustic environments.…”

Voice, music and acoustic spaces at the Royal Abbey of Fontevraud

“…Unlike the traditional approach (e.g. [1] and references within), we did not assess musical quality with recordings, but only through the self-perception of the singers and their recollection of it. Note also that they did not link pitch accuracy to support, as in 1, but to resonances, that is, to reverberation.…”

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“…Both soloists and choristers routinely adjust their vocal techniques and loudness of singing to differing acoustic environments to become acclimated to variations, and if need be, adjust their performance to their physical environment (Ternstrom, 1991;Bottalico, Lastowiecka, Glasner & Redman, 2022). Taking into consideration the significance of room acoustics for voice sounding, and the fact that such an acoustic parameter as the length of reverberation time may change if the area of absorbing surfaces is increased, it must be understood that the conditions between a rehearsal and a concert are quite different.…”

“…The changes in voice production, which take place in different acoustic environments with various reverberation times, have attracted the attention of several researchers (Ternstrom, 1991;Fischinger, Frieler & Louhivouri, 2015;Bottalico, Lastowiecka, Glasner & Redman, 2022).…”