Self-to-other ratios measured in an opera chorus in performance.
Identifieur interne : 000249 ( Main/Exploration ); précédent : 000248; suivant : 000250Self-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.
Descripteurs français
- KwdFr :
- MESH :
- physiologie : Conduction osseuse, Perception auditive, Voix.
- Acoustique, Adulte, Adulte d'âge moyen, Bruit, Humains, Musique, Stimulation acoustique.
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.
DOI: 10.1121/1.2109212
PubMed: 16419832
Affiliations:
Links toward previous steps (curation, corpus...)
Le document en format XML
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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 Status="MEDLINE" Owner="NLM"><PMID Version="1">16419832</PMID><DateCompleted><Year>2006</Year><Month>02</Month><Day>27</Day></DateCompleted><DateRevised><Year>2019</Year><Month>05</Month><Day>16</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></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 UI="D000161" MajorTopicYN="N">Acoustic Stimulation</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D000162" MajorTopicYN="N">Acoustics</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D000328" MajorTopicYN="N">Adult</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D001307" MajorTopicYN="N">Auditory Perception</DescriptorName><QualifierName UI="Q000502" MajorTopicYN="Y">physiology</QualifierName></MeshHeading><MeshHeading><DescriptorName UI="D001844" MajorTopicYN="N">Bone Conduction</DescriptorName><QualifierName UI="Q000502" MajorTopicYN="Y">physiology</QualifierName></MeshHeading><MeshHeading><DescriptorName UI="D006801" MajorTopicYN="N">Humans</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D008875" MajorTopicYN="N">Middle Aged</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D009146" MajorTopicYN="Y">Music</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D009622" MajorTopicYN="N">Noise</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D014831" MajorTopicYN="N">Voice</DescriptorName><QualifierName UI="Q000502" MajorTopicYN="Y">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><ArticleId IdType="doi">10.1121/1.2109212</ArticleId></ArticleIdList></PubmedData></pubmed><affiliations><list><country><li>Suède</li></country><region><li>Svealand</li></region><settlement><li>Stockholm</li></settlement></list><tree><noCountry><name sortKey="Cabrera, Densil" sort="Cabrera, Densil" uniqKey="Cabrera D" first="Densil" last="Cabrera">Densil Cabrera</name><name sortKey="Davis, Pamela" sort="Davis, Pamela" uniqKey="Davis P" first="Pamela" last="Davis">Pamela Davis</name></noCountry><country name="Suède"><region name="Svealand"><name sortKey="Ternstrom, Sten" sort="Ternstrom, Sten" uniqKey="Ternstrom S" first="Sten" last="Ternström">Sten Ternström</name></region></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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