Performing Lieder: Expert Perspectives and Comparison of Vibrato and Singer's Formant With Opera Singers.
Identifieur interne : 000146 ( Main/Exploration ); précédent : 000145; suivant : 000147Performing Lieder: Expert Perspectives and Comparison of Vibrato and Singer's Formant With Opera Singers.
Auteurs : Lynette Johnson-Read [Australie] ; Anthony Chmiel [Australie] ; Emery Schubert [Australie] ; Joe Wolfe [Australie]Source :
- Journal of voice : official journal of the Voice Foundation ; 2015.
Abstract
This article reports three studies about performance of lieder, and in particular in comparison with opera performance. In study 1, 21 participants with experience in music performance and teaching completed a survey concerning various characteristics of lieder performance. The results showed that there was consensus between the literature and the assessment of an expert panel-that a "natural" and "unoperatic" vibrato was favored, and that diction, text, and variation of tone are all important aspects of lieder performance. Two acoustic analyses were conducted to investigate genre-specific differences of the singer's formant and vibrato parameters. The first analysis (study 2) used 18 single quasi-unaccompanied notes from commercial recordings of two lieder, and, for comparison, 20 single unaccompanied notes from an opera. Vibrato rate was statistically identical between the two genres at ~6.4 Hz; however, lieder featured a longer delay in vibrato onset. Vibrato extent was smaller for lieder (~112 cents) compared with opera (~138 cents). The singer's formant, which is generally associated with opera, was at times observed in the lieder recordings; however, this was at an overall significantly weaker intensity than in the opera recordings. The results were replicated in study 3, where recordings using only singers who performed in both lied and opera were analyzed. This direct comparison used 45 lieder notes and 55 opera notes and also investigated three different methods of analyzing the singer's formant. A number of consistencies and inconsistencies were identified between acoustic parameters reported in studies 2 and 3, and the beliefs of singing teachers and scholars in the literature and study 1.
DOI: 10.1016/j.jvoice.2014.10.020
PubMed: 25873544
Affiliations:
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Electronic address: e.schubert@unsw.edu.au.</nlm:affiliation><country xml:lang="fr">Australie</country><wicri:regionArea>Empirical Musicology Group, School of the Arts and Media, The University of New South Wales, Sydney, New South Wales</wicri:regionArea><wicri:noRegion>New South Wales</wicri:noRegion></affiliation></author><author><name sortKey="Wolfe, Joe" sort="Wolfe, Joe" uniqKey="Wolfe J" first="Joe" last="Wolfe">Joe Wolfe</name><affiliation wicri:level="1"><nlm:affiliation>Acoustics Group, School of Physics, The University of New South Wales, Sydney, New South Wales, Australia.</nlm:affiliation><country xml:lang="fr">Australie</country><wicri:regionArea>Acoustics Group, School of Physics, The University of New South Wales, Sydney, New South Wales</wicri:regionArea><wicri:noRegion>New South Wales</wicri:noRegion></affiliation></author></analytic><series><title level="j">Journal of voice : official journal of the Voice Foundation</title><idno type="e-ISSN">1873-4588</idno><imprint><date when="2015" type="published">2015</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">This article reports three studies about performance of lieder, and in particular in comparison with opera performance. In study 1, 21 participants with experience in music performance and teaching completed a survey concerning various characteristics of lieder performance. The results showed that there was consensus between the literature and the assessment of an expert panel-that a "natural" and "unoperatic" vibrato was favored, and that diction, text, and variation of tone are all important aspects of lieder performance. Two acoustic analyses were conducted to investigate genre-specific differences of the singer's formant and vibrato parameters. The first analysis (study 2) used 18 single quasi-unaccompanied notes from commercial recordings of two lieder, and, for comparison, 20 single unaccompanied notes from an opera. Vibrato rate was statistically identical between the two genres at ~6.4 Hz; however, lieder featured a longer delay in vibrato onset. Vibrato extent was smaller for lieder (~112 cents) compared with opera (~138 cents). The singer's formant, which is generally associated with opera, was at times observed in the lieder recordings; however, this was at an overall significantly weaker intensity than in the opera recordings. The results were replicated in study 3, where recordings using only singers who performed in both lied and opera were analyzed. This direct comparison used 45 lieder notes and 55 opera notes and also investigated three different methods of analyzing the singer's formant. A number of consistencies and inconsistencies were identified between acoustic parameters reported in studies 2 and 3, and the beliefs of singing teachers and scholars in the literature and study 1.</div></front></TEI><affiliations><list><country><li>Australie</li></country></list><tree><country name="Australie"><noRegion><name sortKey="Johnson Read, Lynette" sort="Johnson Read, Lynette" uniqKey="Johnson Read L" first="Lynette" last="Johnson-Read">Lynette Johnson-Read</name></noRegion><name sortKey="Chmiel, Anthony" sort="Chmiel, Anthony" uniqKey="Chmiel A" first="Anthony" last="Chmiel">Anthony Chmiel</name><name sortKey="Schubert, Emery" sort="Schubert, Emery" uniqKey="Schubert E" first="Emery" last="Schubert">Emery Schubert</name><name sortKey="Wolfe, Joe" sort="Wolfe, Joe" uniqKey="Wolfe J" first="Joe" last="Wolfe">Joe Wolfe</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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