Hearing myself with others: sound levels in choral performance measured with separation of one's own voice from the rest of the choir.
Identifieur interne : 000301 ( Main/Exploration ); précédent : 000300; suivant : 000302Hearing myself with others: sound levels in choral performance measured with separation of one's own voice from the rest of the choir.
Auteurs : S. Ternström [Suède]Source :
- Journal of voice : official journal of the Voice Foundation [ 0892-1997 ] ; 1994.
Descripteurs français
- KwdFr :
- MESH :
English descriptors
- KwdEn :
- MESH :
Abstract
The choir singer has two acoustic signals to attend to: the sound of his or her own voice (feedback), and the sound of the rest of the choir (reference). The balance in loudness between feedback and reference is governed mainly by the room acoustics. Although earlier experiments have shown that singers have a fairly large tolerance for imbalance, with references ranging from -23 to +5 dB, experience suggests that, when singers are given control over this parameter, their preferences are much narrower. A quantification of the optimum balance would be useful in the design of concert stages and rehearsal halls. A method is described for measuring the feedback and reference levels as experienced by singers under live performance conditions. Recordings were made using binaural microphones worn by choir singer subjects. With the given combination of choir and room, it was possible to achieve adequate separation of the feedback and reference signals with simple signal processing. The feedback-to-reference ratio averaged over the 12 singers was found to be +3.9 dB, with extremes of +1.5 and +7.3 dB.
DOI: 10.1016/s0892-1997(05)80277-2
PubMed: 7858664
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Ternström</name><affiliation wicri:level="3"><nlm:affiliation>Department of Speech Communication and Music Acoustics, Royal Institute of Technology, Stockholm, Sweden.</nlm:affiliation><country xml:lang="fr">Suède</country><wicri:regionArea>Department of Speech Communication and Music Acoustics, Royal Institute of Technology, Stockholm</wicri:regionArea><placeName><settlement type="city">Stockholm</settlement><region nuts="2">Svealand</region></placeName></affiliation></author></analytic><series><title level="j">Journal of voice : official journal of the Voice Foundation</title><idno type="ISSN">0892-1997</idno><imprint><date when="1994" type="published">1994</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Acoustics (MeSH)</term><term>Adult (MeSH)</term><term>Auditory Perception (MeSH)</term><term>Feedback (MeSH)</term><term>Hearing (MeSH)</term><term>Humans (MeSH)</term><term>Perceptual Masking (MeSH)</term><term>Voice (MeSH)</term></keywords><keywords scheme="KwdFr" xml:lang="fr"><term>Acoustique (MeSH)</term><term>Adulte (MeSH)</term><term>Humains (MeSH)</term><term>Masquage perceptif (MeSH)</term><term>Ouïe (MeSH)</term><term>Perception auditive (MeSH)</term><term>Rétroaction (MeSH)</term><term>Voix (MeSH)</term></keywords><keywords scheme="MESH" xml:lang="en"><term>Acoustics</term><term>Adult</term><term>Auditory Perception</term><term>Feedback</term><term>Hearing</term><term>Humans</term><term>Perceptual Masking</term><term>Voice</term></keywords><keywords scheme="MESH" xml:lang="fr"><term>Acoustique</term><term>Adulte</term><term>Humains</term><term>Masquage perceptif</term><term>Ouïe</term><term>Perception auditive</term><term>Rétroaction</term><term>Voix</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">The choir singer has two acoustic signals to attend to: the sound of his or her own voice (feedback), and the sound of the rest of the choir (reference). The balance in loudness between feedback and reference is governed mainly by the room acoustics. Although earlier experiments have shown that singers have a fairly large tolerance for imbalance, with references ranging from -23 to +5 dB, experience suggests that, when singers are given control over this parameter, their preferences are much narrower. A quantification of the optimum balance would be useful in the design of concert stages and rehearsal halls. A method is described for measuring the feedback and reference levels as experienced by singers under live performance conditions. Recordings were made using binaural microphones worn by choir singer subjects. With the given combination of choir and room, it was possible to achieve adequate separation of the feedback and reference signals with simple signal processing. The feedback-to-reference ratio averaged over the 12 singers was found to be +3.9 dB, with extremes of +1.5 and +7.3 dB.</div></front></TEI><pubmed><MedlineCitation Status="MEDLINE" Owner="NLM"><PMID Version="1">7858664</PMID><DateCompleted><Year>1995</Year><Month>03</Month><Day>22</Day></DateCompleted><DateRevised><Year>2019</Year><Month>11</Month><Day>01</Day></DateRevised><Article PubModel="Print"><Journal><ISSN IssnType="Print">0892-1997</ISSN><JournalIssue CitedMedium="Print"><Volume>8</Volume><Issue>4</Issue><PubDate><Year>1994</Year><Month>Dec</Month></PubDate></JournalIssue><Title>Journal of voice : official journal of the Voice Foundation</Title></Journal><ArticleTitle>Hearing myself with others: sound levels in choral performance measured with separation of one's own voice from the rest of the choir.</ArticleTitle><Pagination><MedlinePgn>293-302</MedlinePgn></Pagination><Abstract><AbstractText>The choir singer has two acoustic signals to attend to: the sound of his or her own voice (feedback), and the sound of the rest of the choir (reference). The balance in loudness between feedback and reference is governed mainly by the room acoustics. Although earlier experiments have shown that singers have a fairly large tolerance for imbalance, with references ranging from -23 to +5 dB, experience suggests that, when singers are given control over this parameter, their preferences are much narrower. A quantification of the optimum balance would be useful in the design of concert stages and rehearsal halls. A method is described for measuring the feedback and reference levels as experienced by singers under live performance conditions. Recordings were made using binaural microphones worn by choir singer subjects. With the given combination of choir and room, it was possible to achieve adequate separation of the feedback and reference signals with simple signal processing. The feedback-to-reference ratio averaged over the 12 singers was found to be +3.9 dB, with extremes of +1.5 and +7.3 dB.</AbstractText></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Ternström</LastName><ForeName>S</ForeName><Initials>S</Initials><AffiliationInfo><Affiliation>Department of Speech Communication and Music Acoustics, Royal Institute of Technology, Stockholm, Sweden.</Affiliation></AffiliationInfo></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 Voice</MedlineTA><NlmUniqueID>8712262</NlmUniqueID><ISSNLinking>0892-1997</ISSNLinking></MedlineJournalInfo><CitationSubset>IM</CitationSubset><MeshHeadingList><MeshHeading><DescriptorName UI="D000162" MajorTopicYN="N">Acoustics</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D000328" MajorTopicYN="N">Adult</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D001307" MajorTopicYN="Y">Auditory Perception</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D005246" MajorTopicYN="N">Feedback</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D006309" MajorTopicYN="Y">Hearing</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D006801" MajorTopicYN="N">Humans</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D010470" MajorTopicYN="N">Perceptual Masking</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D014831" MajorTopicYN="Y">Voice</DescriptorName></MeshHeading></MeshHeadingList></MedlineCitation><PubmedData><History><PubMedPubDate PubStatus="pubmed"><Year>1994</Year><Month>12</Month><Day>1</Day></PubMedPubDate><PubMedPubDate PubStatus="medline"><Year>1994</Year><Month>12</Month><Day>1</Day><Hour>0</Hour><Minute>1</Minute></PubMedPubDate><PubMedPubDate PubStatus="entrez"><Year>1994</Year><Month>12</Month><Day>1</Day><Hour>0</Hour><Minute>0</Minute></PubMedPubDate></History><PublicationStatus>ppublish</PublicationStatus><ArticleIdList><ArticleId IdType="pubmed">7858664</ArticleId><ArticleId IdType="pii">S0892-1997(05)80277-2</ArticleId><ArticleId IdType="doi">10.1016/s0892-1997(05)80277-2</ArticleId></ArticleIdList></PubmedData></pubmed><affiliations><list><country><li>Suède</li></country><region><li>Svealand</li></region><settlement><li>Stockholm</li></settlement></list><tree><country name="Suède"><region name="Svealand"><name sortKey="Ternstrom, S" sort="Ternstrom, S" uniqKey="Ternstrom S" first="S" last="Ternström">S. 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