Long-term horizontal vocal directivity of opera singers: effects of singing projection and acoustic environment.
Identifieur interne : 000349 ( PubMed/Curation ); précédent : 000348; suivant : 000350Long-term horizontal vocal directivity of opera singers: effects of singing projection and acoustic environment.
Auteurs : Densil Cabrera [Australie] ; Pamela J. Davis ; Anna ConnollySource :
- Journal of voice : official journal of the Voice Foundation ; 2011.
English descriptors
- KwdEn :
- MESH :
Abstract
Vocal directivity refers to how directional the sound is that comes from a singer's mouth, that is, whether the sound is focused into a narrow stream of sound projecting in front of the singers or whether it is spread out all around the singer. This study investigates the long-term vocal directivity and acoustic power of professional opera singers and how these vary among subjects, among singing projections, and among vastly different acoustic environments. The vocal sound of eight professional opera singers (six females and two males) was measured in anechoic and reverberant rooms and in a recital hall. Subjects sang in four different ways: (1) paying great attention to intonation; (2) singing as in performance, with all the emotional connection intended by the composer; (3) imagining a large auditorium; and (4) imagining a small theatre. The same song was sung by all singers in all conditions. A head and torso simulator (HATS), radiating sound from its mouth, was used for comparison in all situations. Results show that individual singers have quite consistent long-term average directivity, even across conditions. Directivity varies substantially among singers. Singers are more directional than the standard HATS (which is a physical model of a talking person). The singer's formant region of the spectrum exhibits greater directivity than the lower-frequency range, and results indicate that singers control directivity (at least, incidentally) for different singing conditions as they adjust the spectral emphasis of their voices through their formants.
DOI: 10.1016/j.jvoice.2010.03.001
PubMed: 20728309
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Davis</name></author><author><name sortKey="Connolly, Anna" sort="Connolly, Anna" uniqKey="Connolly A" first="Anna" last="Connolly">Anna Connolly</name></author></titleStmt><publicationStmt><idno type="wicri:source">PubMed</idno><date when="2011">2011</date><idno type="doi">10.1016/j.jvoice.2010.03.001</idno><idno type="RBID">pubmed:20728309</idno><idno type="pmid">20728309</idno><idno type="wicri:Area/PubMed/Corpus">000349</idno><idno type="wicri:Area/PubMed/Curation">000349</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en">Long-term horizontal vocal directivity of opera singers: effects of singing projection and acoustic environment.</title><author><name sortKey="Cabrera, Densil" sort="Cabrera, Densil" uniqKey="Cabrera D" first="Densil" last="Cabrera">Densil Cabrera</name><affiliation wicri:level="1"><nlm:affiliation>Faculty of Architecture, Design and Planning, University of Sydney, New South Wales, Australia. densil.cabrera@sydney.edu.au</nlm:affiliation><country xml:lang="fr">Australie</country><wicri:regionArea>Faculty of Architecture, Design and Planning, University of Sydney, New South Wales</wicri:regionArea></affiliation></author><author><name sortKey="Davis, Pamela J" sort="Davis, Pamela J" uniqKey="Davis P" first="Pamela J" last="Davis">Pamela J. Davis</name></author><author><name sortKey="Connolly, Anna" sort="Connolly, Anna" uniqKey="Connolly A" first="Anna" last="Connolly">Anna Connolly</name></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="2011" type="published">2011</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Acoustics</term><term>Environment</term><term>Female</term><term>Humans</term><term>Male</term><term>Music</term><term>Phonation</term><term>Speech Acoustics</term></keywords><keywords scheme="MESH" xml:lang="en"><term>Acoustics</term><term>Environment</term><term>Female</term><term>Humans</term><term>Male</term><term>Music</term><term>Phonation</term><term>Speech Acoustics</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Vocal directivity refers to how directional the sound is that comes from a singer's mouth, that is, whether the sound is focused into a narrow stream of sound projecting in front of the singers or whether it is spread out all around the singer. This study investigates the long-term vocal directivity and acoustic power of professional opera singers and how these vary among subjects, among singing projections, and among vastly different acoustic environments. The vocal sound of eight professional opera singers (six females and two males) was measured in anechoic and reverberant rooms and in a recital hall. Subjects sang in four different ways: (1) paying great attention to intonation; (2) singing as in performance, with all the emotional connection intended by the composer; (3) imagining a large auditorium; and (4) imagining a small theatre. The same song was sung by all singers in all conditions. A head and torso simulator (HATS), radiating sound from its mouth, was used for comparison in all situations. Results show that individual singers have quite consistent long-term average directivity, even across conditions. Directivity varies substantially among singers. Singers are more directional than the standard HATS (which is a physical model of a talking person). The singer's formant region of the spectrum exhibits greater directivity than the lower-frequency range, and results indicate that singers control directivity (at least, incidentally) for different singing conditions as they adjust the spectral emphasis of their voices through their formants.</div></front></TEI><pubmed><MedlineCitation Owner="NLM" Status="MEDLINE"><PMID Version="1">20728309</PMID><DateCreated><Year>2011</Year><Month>11</Month><Day>14</Day></DateCreated><DateCompleted><Year>2012</Year><Month>03</Month><Day>15</Day></DateCompleted><DateRevised><Year>2013</Year><Month>05</Month><Day>02</Day></DateRevised><Article PubModel="Print-Electronic"><Journal><ISSN IssnType="Electronic">1873-4588</ISSN><JournalIssue CitedMedium="Internet"><Volume>25</Volume><Issue>6</Issue><PubDate><Year>2011</Year><Month>Nov</Month></PubDate></JournalIssue><Title>Journal of voice : official journal of the Voice Foundation</Title><ISOAbbreviation>J Voice</ISOAbbreviation></Journal><ArticleTitle>Long-term horizontal vocal directivity of opera singers: effects of singing projection and acoustic environment.</ArticleTitle><Pagination><MedlinePgn>e291-303</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.1016/j.jvoice.2010.03.001</ELocationID><Abstract><AbstractText>Vocal directivity refers to how directional the sound is that comes from a singer's mouth, that is, whether the sound is focused into a narrow stream of sound projecting in front of the singers or whether it is spread out all around the singer. This study investigates the long-term vocal directivity and acoustic power of professional opera singers and how these vary among subjects, among singing projections, and among vastly different acoustic environments. The vocal sound of eight professional opera singers (six females and two males) was measured in anechoic and reverberant rooms and in a recital hall. Subjects sang in four different ways: (1) paying great attention to intonation; (2) singing as in performance, with all the emotional connection intended by the composer; (3) imagining a large auditorium; and (4) imagining a small theatre. The same song was sung by all singers in all conditions. A head and torso simulator (HATS), radiating sound from its mouth, was used for comparison in all situations. Results show that individual singers have quite consistent long-term average directivity, even across conditions. Directivity varies substantially among singers. Singers are more directional than the standard HATS (which is a physical model of a talking person). The singer's formant region of the spectrum exhibits greater directivity than the lower-frequency range, and results indicate that singers control directivity (at least, incidentally) for different singing conditions as they adjust the spectral emphasis of their voices through their formants.</AbstractText><CopyrightInformation>Copyright © 2011 The Voice Foundation. Published by Mosby, Inc. 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