OperaV1, PascalFrancis, Corpus, bibRecord, 000458

Singer's preferred acoustic condition in performance in an opera house and self-perception of the singer's voice

Identifieur interne : 000458 ( PascalFrancis/Corpus ); précédent : 000457; suivant : 000459

Singer's preferred acoustic condition in performance in an opera house and self-perception of the singer's voice

Auteurs : Dennis Noson ; Kosuke Kato ; Yoichi Ando

Source :

The Journal of the Acoustical Society of America [ 0001-4966 ] ; 2001-05-04.

RBID : Pascal:04-0182700

Descripteurs français

Pascal (Inist)
- 4375R, Etude expérimentale, Etude théorique.

English descriptors

KwdEn :
- Experimental study, Theoretical study.

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.

Notice en format standard (ISO 2709)

Pour connaître la documentation sur le format Inist Standard.

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A02	`01`			`@0 JASMAN`
A03		`1`		`@0 J. Acoust. Soc. Am.`
A05				`@2 115`
A06				`@2 5`
A08	`01`	`1`	`ENG`	`@1 Singer's preferred acoustic condition in performance in an opera house and self-perception of the singer's voice`
A11	`01`	`1`		`@1 NOSON (Dennis)`
A11	`02`	`1`		`@1 KATO (Kosuke)`
A11	`03`	`1`		`@1 ANDO (Yoichi)`
A14	`01`			`@1 BRC Acoust., 1741 1st Ave. S., Ste. 401, Seattle, WA 98134`
A14	`02`			`@1 Kobe Univ., Kobe, Japan`
A20				`@1 2436-2437`
A21				`@1 2001-05-04`
A23	`01`			`@0 ENG`
A43	`01`			`@1 INIST @2 129`
A44				`@0 8100 @1 © 2004 American Institute of Physics. All rights reserved.`
A47	`01`	`1`		`@0 04-0182700`
A60				`@1 P @3 E`
A61				`@0 A`
A64	`01`	`1`		`@0 The Journal of the Acoustical Society of America`
A66	`01`			`@0 USA`
C01	`01`		`ENG`	@0 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.
C02	`01`	`X`		`@0 001B40C75`
C03	`01`	`3`	`FRE`	`@0 4375R @2 PAC @4 INC`
C03	`02`	`3`	`FRE`	`@0 Etude expérimentale`
C03	`02`	`3`	`ENG`	`@0 Experimental study`
C03	`03`	`3`	`FRE`	`@0 Etude théorique`
C03	`03`	`3`	`ENG`	`@0 Theoretical study`
N21				`@1 124`
N47	`01`	`1`		`@0 0416M000675`

Format Inist (serveur)

NO :	PASCAL 04-0182700 AIP
ET :	Singer's preferred acoustic condition in performance in an opera house and self-perception of the singer's voice
AU :	NOSON (Dennis); KATO (Kosuke); ANDO (Yoichi)
AF :	BRC Acoust., 1741 1st Ave. S., Ste. 401, Seattle, WA 98134; Kobe Univ., Kobe, Japan
DT :	Publication en série; Résumé; Niveau analytique
SO :	The Journal of the Acoustical Society of America; ISSN 0001-4966; Coden JASMAN; Etats-Unis; Da. 2001-05-04; Vol. 115; No. 5; Pp. 2436-2437
LA :	Anglais
EA :	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.
CC :	001B40C75
FD :	4375R; Etude expérimentale; Etude théorique
ED :	Experimental study; Theoretical study
LO :	INIST-129
ID :	04-0182700

Links to Exploration step

Pascal:04-0182700

Le document en format XML

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<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>
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Singer's preferred acoustic condition in performance in an opera house and self-perception of the singer's voice

Singer's preferred acoustic condition in performance in an opera house and self-perception of the singer's voice

Source :

Descripteurs français

English descriptors

Abstract

Notice en format standard (ISO 2709)

Format Inist (serveur)

Links to Exploration step

Le document en format XML

Pour manipuler ce document sous Unix (Dilib)

Pour mettre un lien sur cette page dans le réseau Wicri