The Effects of Three Physical and Vocal Warm-Up Procedures on Acoustic and Perceptual Measures of Choral Sound

Cook-Cunningham, Sheri L.; Grady, Melissa L.

doi:10.1016/j.jvoice.2017.04.003

Cited by 13 publications

(11 citation statements)

References 9 publications

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“…Most of the empirical research regarding singer movement has emphasized choral rehearsal contexts. Cook-Cunningham and Grady (2018; Grady & Cook-Cunningham, 2018, 2020) conducted multiple investigations of choral warm-up procedures that included singer movement. In two investigations, they tested the effects of vocal-only, physical-only, and vocal/physical combination warm-ups on acoustic and perceptual measures of choral sound ( N = 6 choirs).…”

Section: Singer Movement: Rehearsalmentioning

confidence: 99%

Effects of Three Common Choral Performance Movement Conditions on Acoustic and Perceptual Measures of Choral Sound

Grady

Gilliam

2020

Journal of Research in Music Education

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The purpose of this investigation was to examine the effects of three commonly observed choral singer performance conditions (no movement, slight swaying, full-body swaying) on acoustic and perceptual measures of choral sound. We audio recorded an established university choir ( N = 29 singers) performing a memorized piece while viewing the same conductor video and participating in one of the three performance conditions. We analyzed data through long-term average spectrum (LTAS), overall pitch deviation, and singer and listener (singer-listeners, expert-listeners) perceptions. LTAS results showed significant differences ( p < .001) in spectral energy between all three conditions. The full-body swaying condition averaged a noticeable difference of 2.50 dB across the spectrum when compared to the other two conditions. Pitch analysis indicated the least overall pitch deviation during the slight swaying condition (−27.67 cents) and the most pitch deviation during the no-movement condition (−58.31 cents). Results indicated singer and singer-listener preferences for the full-body swaying condition and expert-listener preferences for the slight swaying condition. We discuss results in terms of future research and practical application for choral music educators.

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Section: Singer Movement: Rehearsalmentioning

confidence: 99%

Effects of Three Common Choral Performance Movement Conditions on Acoustic and Perceptual Measures of Choral Sound

Grady

Gilliam

2020

Journal of Research in Music Education

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“…To analyze the qualitative data collected from open-ended survey questions, I disaggregated the comments into positive and negative categories (Cook-Cunningham & Grady, 2018; Grady, 2014a; Grady & Gilliam, 2020). Out of 63 total comments, singers wrote nine positive and eight negative comments about the RC, 13 positive and nine negative about the TC, and 17 positive and seven negative about the ACC.…”

Section: Resultsmentioning

confidence: 99%

“…For qualitative listener data, I disaggregated comments into positive and negative categories, then separated the comments into categories based on emergent themes (Cook-Cunningham & Grady, 2018; Grady, 2014a; Grady & Gilliam, 2020). Figure 2 displays the number of both positive and negative comments from expert listeners for each condition according to categories derived from previous research and practice on choral configurations; namely blend or balance, intonation, timbre or tone color, vibrato, and vocal technique (e.g., breath support, vocal freedom, resonance; Ekholm, 2000; Giardiniere, 1991; Goodwin, 1980; Jordan as cited in Noble, 2005; Killian & Basinger, 2007; Molnar, 1950; Phillips, 2016; Reid et al, 2007).…”

Section: Resultsmentioning

confidence: 99%

“…The extracted pitches were then compared with a reference tone set to the score-notated pitch (A4 = 440 Hz) by adjusting the tone to the recorded pitches. I calculated the difference between the reference tone and each of the six perceived pitches (first and last pitches of the three recordings made in each configuration) in cents, then subtracted the deviation of each final pitch from the deviation of each initial pitch for a total deviation in cents (Cook-Cunningham & Grady, 2018; Grady, 2014b; Grady & Cook-Cunningham, 2018; Grady & Gilliam, 2020). For reliability, another researcher with choral and vocal teaching experience repeated the same procedure.…”

Section: Methodsmentioning

confidence: 99%

“…Ternström (1999) claimed that an undesirable ratio of self-to-other (i.e., when a singer cannot adequately hear themselves or the rest of the ensemble) leads to intonation and tuning issues. Other researchers also discovered that various changes in the choral rehearsal environment may affect intonation, including changes in rehearsal or performance procedures (Brunkan, 2013, 2016; Cook-Cunningham & Grady, 2018; Grady, 2014b; Grady & Cook-Cunningham, 2018; Grady & Gilliam, 2020), venue acoustics (Ternström, 1999), and choral configuration (Daugherty, 2005; Ekholm, 2000; Ternström, 1999; Tocheff, 1990).…”

Section: Intrasection Singer Configurationmentioning

confidence: 99%

See 2 more Smart Citations

Effects of Three Common Choral Configurations on Acoustic and Perceptual Measures of a Soprano Section’s Sound

Gilliam

2020

Update: Applications of Research in Music Education

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The purpose of this study was to assess the effects of three choral configurations on a soprano section’s sound. The first configuration resembled a choir section without an assigned standing position, the second configuration grouped singers by timbre, and the third used acoustic-compatibility placement. Three conductors configured a university soprano section ( N = 13) who were audio-recorded singing in each configuration and answered questions about their perceptions. Audio recordings were analyzed acoustically using long-term average spectra and perceptually through pitch analysis and listener perceptions. Results indicated that participants sang with significantly increased spectral energy in the acoustic-compatibility configuration ( p < .001), and both singer and listener participants preferred intentional standing configurations over the random standing configuration. Findings from this study suggest that choral directors can use intentional configurations in conjunction with 2 ft intersinger spacing to improve singer comfort and overall sound.

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