Self-to-other ratios measured in an opera chorus in performance.
Identifieur interne : 000503 ( PubMed/Curation ); précédent : 000502; suivant : 000504Self-to-other ratios measured in an opera chorus in performance.
Auteurs : Sten Ternström [Suède] ; Densil Cabrera ; Pamela DavisSource :
- The Journal of the Acoustical Society of America [ 0001-4966 ] ; 2005.
English descriptors
- KwdEn :
- MESH :
- physiology : Auditory Perception, Bone Conduction, Voice.
- Acoustic Stimulation, Acoustics, Adult, Humans, Middle Aged, Music, Noise.
Abstract
Four volunteer members of the chorus of Opera Australia, representing four different voice categories, wore binaural pairs of wireless microphones during a penultimate dress rehearsal on the Opera Theater stage of the Sydney Opera House. From the recordings, data were obtained on sound levels and on the self-to-other ratios (SORs). The sound levels were comparable to those found in loud music in chamber choir performance. The average SOR ranged from +10 to +15 dB. Compared to chamber choirs in other types of room, the SOR values were high. On a separate occasion, the stage support parameters ST1 (early reflections) and ST2 (late reflections) were measured over the whole stage area. ST1 was about -16 dB, which is typical for opera stages, and -20 dB for ST2, which is unusually low. It is concluded that the SOR in the opera chorus depends mostly on choir formation, which is highly variable, and that an opera chorus artist generally can hear his or her own voice very well, but little of the others and of the orchestra. This was confirmed by informal listening to the recordings.
PubMed: 16419832
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From the recordings, data were obtained on sound levels and on the self-to-other ratios (SORs). The sound levels were comparable to those found in loud music in chamber choir performance. The average SOR ranged from +10 to +15 dB. Compared to chamber choirs in other types of room, the SOR values were high. On a separate occasion, the stage support parameters ST1 (early reflections) and ST2 (late reflections) were measured over the whole stage area. ST1 was about -16 dB, which is typical for opera stages, and -20 dB for ST2, which is unusually low. It is concluded that the SOR in the opera chorus depends mostly on choir formation, which is highly variable, and that an opera chorus artist generally can hear his or her own voice very well, but little of the others and of the orchestra. This was confirmed by informal listening to the recordings.</div></front></TEI><pubmed><MedlineCitation Owner="NLM" Status="MEDLINE"><PMID Version="1">16419832</PMID><DateCreated><Year>2006</Year><Month>01</Month><Day>19</Day></DateCreated><DateCompleted><Year>2006</Year><Month>02</Month><Day>27</Day></DateCompleted><DateRevised><Year>2006</Year><Month>12</Month><Day>27</Day></DateRevised><Article PubModel="Print"><Journal><ISSN IssnType="Print">0001-4966</ISSN><JournalIssue CitedMedium="Print"><Volume>118</Volume><Issue>6</Issue><PubDate><Year>2005</Year><Month>Dec</Month></PubDate></JournalIssue><Title>The Journal of the Acoustical Society of America</Title><ISOAbbreviation>J. Acoust. Soc. Am.</ISOAbbreviation></Journal><ArticleTitle>Self-to-other ratios measured in an opera chorus in performance.</ArticleTitle><Pagination><MedlinePgn>3903-11</MedlinePgn></Pagination><Abstract><AbstractText>Four volunteer members of the chorus of Opera Australia, representing four different voice categories, wore binaural pairs of wireless microphones during a penultimate dress rehearsal on the Opera Theater stage of the Sydney Opera House. From the recordings, data were obtained on sound levels and on the self-to-other ratios (SORs). The sound levels were comparable to those found in loud music in chamber choir performance. The average SOR ranged from +10 to +15 dB. Compared to chamber choirs in other types of room, the SOR values were high. On a separate occasion, the stage support parameters ST1 (early reflections) and ST2 (late reflections) were measured over the whole stage area. ST1 was about -16 dB, which is typical for opera stages, and -20 dB for ST2, which is unusually low. It is concluded that the SOR in the opera chorus depends mostly on choir formation, which is highly variable, and that an opera chorus artist generally can hear his or her own voice very well, but little of the others and of the orchestra. This was confirmed by informal listening to the recordings.</AbstractText></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Ternström</LastName><ForeName>Sten</ForeName><Initials>S</Initials><AffiliationInfo><Affiliation>Department of Speech, Music and Hearing, Kungliga Tekniska Högskolan, Stockholm, Sweden.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Cabrera</LastName><ForeName>Densil</ForeName><Initials>D</Initials></Author><Author ValidYN="Y"><LastName>Davis</LastName><ForeName>Pamela</ForeName><Initials>P</Initials></Author></AuthorList><Language>eng</Language><PublicationTypeList><PublicationType UI="D016428">Journal Article</PublicationType><PublicationType UI="D013485">Research Support, Non-U.S. Gov't</PublicationType></PublicationTypeList></Article><MedlineJournalInfo><Country>United States</Country><MedlineTA>J Acoust Soc Am</MedlineTA><NlmUniqueID>7503051</NlmUniqueID><ISSNLinking>0001-4966</ISSNLinking></MedlineJournalInfo><CitationSubset>IM</CitationSubset><MeshHeadingList><MeshHeading><DescriptorName MajorTopicYN="N" UI="D000161">Acoustic Stimulation</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D000162">Acoustics</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D000328">Adult</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D001307">Auditory Perception</DescriptorName><QualifierName MajorTopicYN="Y" UI="Q000502">physiology</QualifierName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D001844">Bone Conduction</DescriptorName><QualifierName MajorTopicYN="Y" UI="Q000502">physiology</QualifierName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D006801">Humans</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D008875">Middle Aged</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="Y" UI="D009146">Music</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D009622">Noise</DescriptorName></MeshHeading><MeshHeading><DescriptorName MajorTopicYN="N" UI="D014831">Voice</DescriptorName><QualifierName MajorTopicYN="Y" UI="Q000502">physiology</QualifierName></MeshHeading></MeshHeadingList></MedlineCitation><PubmedData><History><PubMedPubDate PubStatus="pubmed"><Year>2006</Year><Month>1</Month><Day>20</Day><Hour>9</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="medline"><Year>2006</Year><Month>2</Month><Day>28</Day><Hour>9</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="entrez"><Year>2006</Year><Month>1</Month><Day>20</Day><Hour>9</Hour><Minute>0</Minute></PubMedPubDate></History><PublicationStatus>ppublish</PublicationStatus><ArticleIdList><ArticleId IdType="pubmed">16419832</ArticleId></ArticleIdList></PubmedData></pubmed></record>Pour manipuler ce document sous Unix (Dilib)
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