Subjective and acoustical data about vocal effectiveness in western opera: preliminary results
Identifieur interne : 000903 ( Hal/Checkpoint ); précédent : 000902; suivant : 000904Subjective and acoustical data about vocal effectiveness in western opera: preliminary results
Auteurs : Claire Pillot [France]Source :
Descripteurs français
Abstract
The notion of "vocal efficiency" is difficult to define. In order to contribute to this definition, several data were obtained: first the evaluation of glottal efficiency Eg using an acoustic analysis was obtained. Second, we run a study asking subjects to find synonyms of vocal effectiveness. Results showed the prevalence of the perceptual aspect over the communication and production aspects. This concept depends on the vocal use by persons. The subjects insist on the notion of carrying power without fatigue whatever the context. Some acoustic measurements of singing power Ratio, an acoustic correlate of this perceptual aspect, were conducted in opera pieces with and without pianistic accompaniement: the singing-formant, a well known perceptive correlate of vocal effectiveness, was always present whatever the condition. So it appears that the concept of vocal effectiveness has a polysemous definition regarding subject vocal perception (auditor), production (singer) and communication (the public).
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In order to contribute to this definition, several data were obtained: first the evaluation of glottal efficiency Eg using an acoustic analysis was obtained. Second, we run a study asking subjects to find synonyms of vocal effectiveness. Results showed the prevalence of the perceptual aspect over the communication and production aspects. This concept depends on the vocal use by persons. The subjects insist on the notion of carrying power without fatigue whatever the context. Some acoustic measurements of singing power Ratio, an acoustic correlate of this perceptual aspect, were conducted in opera pieces with and without pianistic accompaniement: the singing-formant, a well known perceptive correlate of vocal effectiveness, was always present whatever the condition. 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In order to contribute to this definition, several data were obtained: first the evaluation of glottal efficiency Eg using an acoustic analysis was obtained. Second, we run a study asking subjects to find synonyms of vocal effectiveness. Results showed the prevalence of the perceptual aspect over the communication and production aspects. This concept depends on the vocal use by persons. The subjects insist on the notion of carrying power without fatigue whatever the context. Some acoustic measurements of singing power Ratio, an acoustic correlate of this perceptual aspect, were conducted in opera pieces with and without pianistic accompaniement: the singing-formant, a well known perceptive correlate of vocal effectiveness, was always present whatever the condition. So it appears that the concept of vocal effectiveness has a polysemous definition regarding subject vocal perception (auditor), production (singer) and communication (the public).</abstract><abstract xml:lang="fr">La notion d' "efficacité vocale" est difficile à définir. Pour contribuer à préciser cette définition, plusieurs données ont été obtenues: en premier lieu, une évaluation de l'efficacité glottique Eg utilisant une analyse acoustique a été effectuée. En outre, nous avons demandé à des sujets de trouver des synonymes de l'efficacité vocale. Les résultats ont montré la prédominance de l'aspect perceptif sur les aspects de communication et de production. Ce concept dépend des sollicitations vocales des sujets interrogés. Ces sujets insistent sur la notion de portée sans fatigue quelque soit le contexte. Des mesures acoustiques du "rapport de puissance en chant", un corrélât acoustique de cet aspect perceptif, ont été effectuées dans des airs d'opéra avec et sans accompagnement de piano. Le formant du chanteur, un corrélât perceptif bien connu de l'efficacité vocale, était toujours présent avec ou sans accompagnement. Il apparaît donc que le concept d'efficacité vocale a une définition polysémique concernant la perception vocale du sujet en temps qu'auditeur, sa production en temps que chanteur, et la communication (public).</abstract></profileDesc></hal></record>Pour manipuler ce document sous Unix (Dilib)
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