Singer's preferred acoustic condition in performance in an opera house and self-perception of the singer's voice
Identifieur interne : 002260 ( Main/Merge ); précédent : 002259; suivant : 002261Singer's preferred acoustic condition in performance in an opera house and self-perception of the singer's voice
Auteurs : Dennis Noson [États-Unis, Japon] ; Kosuke Kato ; Yoichi AndoSource :
- The Journal of the Acoustical Society of America [ 0001-4966 ] ; 2001-05-04.
Descripteurs français
- Pascal (Inist)
English descriptors
- KwdEn :
Abstract
Solo singers have been shown to over estimate the relative sound pressure level of a delayed, external reproduction of their own voice, singing single syllables, which, in turn, appears to influence the preferred delay of simulated stage reflections [Noson, Ph.D. thesis, Kobe University, 2003]. Bone conduction is thought to be one factor separating singer versus instrumental performer judgments of stage acoustics. Using a parameter derived from the vocal signal autocorrelation function (ACF envelope), the changes in singer preference for delayed reflections is primarily explained by the ACF parameter, rather than internal bone conduction. An auditory model of a singer's preferred reflection delay is proposed, combining the effects of acoustical environment (reflection amplitude), bone conduction, and performer vocal overestimate, which may be applied to the acoustic design of reflecting elements in both upstage and forestage environments of opera stages. For example, soloists who characteristically underestimate external voice levels (or overestimate their own voice) should be provided shorter distances to reflective panels-irrespective of their singing style. Adjustable elements can be deployed to adapt opera houses intended for bel canto style performances to other styles. Additional examples will also be discussed. a)Now at Kumamoto Univ., Kumamoto, Japan. b)Now at: 1-10-27 Yamano Kami, Kumamoto, Japan.
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Pascal:04-0182700Le document en format XML
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Acoust. Soc. Am.</title><idno type="ISSN">0001-4966</idno><imprint><date when="2001-05-04">2001-05-04</date></imprint></series></biblStruct></sourceDesc><seriesStmt><title level="j" type="main">The Journal of the Acoustical Society of America</title><title level="j" type="abbreviated">J. Acoust. Soc. Am.</title><idno type="ISSN">0001-4966</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Experimental study</term><term>Theoretical study</term></keywords><keywords scheme="Pascal" xml:lang="fr"><term>4375R</term><term>Etude expérimentale</term><term>Etude théorique</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Solo singers have been shown to over estimate the relative sound pressure level of a delayed, external reproduction of their own voice, singing single syllables, which, in turn, appears to influence the preferred delay of simulated stage reflections [Noson, Ph.D. thesis, Kobe University, 2003]. Bone conduction is thought to be one factor separating singer versus instrumental performer judgments of stage acoustics. Using a parameter derived from the vocal signal autocorrelation function (ACF envelope), the changes in singer preference for delayed reflections is primarily explained by the ACF parameter, rather than internal bone conduction. An auditory model of a singer's preferred reflection delay is proposed, combining the effects of acoustical environment (reflection amplitude), bone conduction, and performer vocal overestimate, which may be applied to the acoustic design of reflecting elements in both upstage and forestage environments of opera stages. For example, soloists who characteristically underestimate external voice levels (or overestimate their own voice) should be provided shorter distances to reflective panels-irrespective of their singing style. Adjustable elements can be deployed to adapt opera houses intended for bel canto style performances to other styles. Additional examples will also be discussed. a)Now at Kumamoto Univ., Kumamoto, Japan. b)Now at: 1-10-27 Yamano Kami, Kumamoto, Japan.</div></front></TEI><affiliations><list><country><li>Japon</li><li>États-Unis</li></country><region><li>Washington (État)</li></region></list><tree><noCountry><name sortKey="Ando, Yoichi" sort="Ando, Yoichi" uniqKey="Ando Y" first="Yoichi" last="Ando">Yoichi Ando</name><name sortKey="Kato, Kosuke" sort="Kato, Kosuke" uniqKey="Kato K" first="Kosuke" last="Kato">Kosuke Kato</name></noCountry><country name="États-Unis"><region name="Washington (État)"><name sortKey="Noson, Dennis" sort="Noson, Dennis" uniqKey="Noson D" first="Dennis" last="Noson">Dennis Noson</name></region></country><country name="Japon"><noRegion><name sortKey="Noson, Dennis" sort="Noson, Dennis" uniqKey="Noson D" first="Dennis" last="Noson">Dennis Noson</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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