A Longitudinal Study of Intonation in an a cappella Singing Quintet.
Identifieur interne : 000392 ( Main/Exploration ); précédent : 000391; suivant : 000393A Longitudinal Study of Intonation in an a cappella Singing Quintet.
Auteurs : Sara D'Amario [Royaume-Uni] ; David M. Howard [Royaume-Uni] ; Helena Daffern [Royaume-Uni] ; Nicola Pennill [Royaume-Uni]Source :
- Journal of voice : official journal of the Voice Foundation [ 1873-4588 ] ; 2020.
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Abstract
OBJECTIVE
The skill to control pitch accurately is an important feature of performance in singing ensembles as it boosts musical excellence. Previous studies analyzing single performance sessions provide inconclusive and contrasting results on whether singers in ensembles tend to use a tuning system which deviates from equal temperament for their intonation. The present study observes the evolution of intonation in a newly formed student singing quintet during their first term of study.
METHODS/DESIGN
A semiprofessional singing quintet was recorded using head-worn microphones and electrolaryngograph electrodes to allow fundamental frequency (f
RESULTS/DISCUSSION
Tuning of each singer was closer to equal temperament than just intonation, but the size of major thirds was slightly closer to just intonation, and minor thirds closer to equal temperament. These findings were consistent within and between rehearsals, and across repetitions. Tuning was highlighted as an important feature of rehearsal during the study term, and a range of strategies were adopted to solve tuning related issues. This study provides a novel holistic assessment of tuning strategies within a singing ensemble, furthering understanding of performance practices as well as revealing the complex approach needed for future research in this area. These findings are particularly important for directors and singers to tailor rehearsal strategies that address tuning in singing ensembles, showing that approaches need to be context driven rather than based on theoretical ideal.
DOI: 10.1016/j.jvoice.2018.07.015
PubMed: 30149974
Affiliations:
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Howard</name><affiliation wicri:level="4"><nlm:affiliation>Department of Electronic Engineering, Royal Holloway, University of London, Egham, Surrey, United Kingdom.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>Department of Electronic Engineering, Royal Holloway, University of London, Egham, Surrey</wicri:regionArea><orgName type="university">Université de Londres</orgName><placeName><settlement type="city">Londres</settlement><region type="country">Angleterre</region><region type="région" nuts="1">Grand Londres</region></placeName></affiliation></author><author><name sortKey="Daffern, Helena" sort="Daffern, Helena" uniqKey="Daffern H" first="Helena" last="Daffern">Helena Daffern</name><affiliation wicri:level="1"><nlm:affiliation>Department of Electronic Engineering, University of York, York, United Kingdom.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>Department of Electronic Engineering, University of York, York</wicri:regionArea><wicri:noRegion>York</wicri:noRegion></affiliation></author><author><name sortKey="Pennill, Nicola" sort="Pennill, Nicola" uniqKey="Pennill N" first="Nicola" last="Pennill">Nicola Pennill</name><affiliation wicri:level="1"><nlm:affiliation>Department of Music, University of Sheffield, Sheffield, United Kingdom.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>Department of Music, University of Sheffield, Sheffield</wicri:regionArea><wicri:noRegion>Sheffield</wicri:noRegion></affiliation></author></analytic><series><title level="j">Journal of voice : official journal of the Voice Foundation</title><idno type="eISSN">1873-4588</idno><imprint><date when="2020" type="published">2020</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Adaptation, Psychological (MeSH)</term><term>Adolescent (MeSH)</term><term>Adult (MeSH)</term><term>Female (MeSH)</term><term>Humans (MeSH)</term><term>Longitudinal Studies (MeSH)</term><term>Male (MeSH)</term><term>Pitch Perception (MeSH)</term><term>Singing (MeSH)</term><term>Time Factors (MeSH)</term><term>Time Perception (MeSH)</term><term>Voice Quality (MeSH)</term><term>Young Adult (MeSH)</term></keywords><keywords scheme="KwdFr" xml:lang="fr"><term>Adaptation psychologique (MeSH)</term><term>Adolescent (MeSH)</term><term>Adulte (MeSH)</term><term>Chant (MeSH)</term><term>Facteurs temps (MeSH)</term><term>Femelle (MeSH)</term><term>Humains (MeSH)</term><term>Jeune adulte (MeSH)</term><term>Mâle (MeSH)</term><term>Perception de la hauteur tonale (MeSH)</term><term>Perception du temps (MeSH)</term><term>Qualité de la voix (MeSH)</term><term>Études longitudinales (MeSH)</term></keywords><keywords scheme="MESH" xml:lang="en"><term>Adaptation, Psychological</term><term>Adolescent</term><term>Adult</term><term>Female</term><term>Humans</term><term>Longitudinal Studies</term><term>Male</term><term>Pitch Perception</term><term>Singing</term><term>Time Factors</term><term>Time Perception</term><term>Voice Quality</term><term>Young Adult</term></keywords><keywords scheme="MESH" xml:lang="fr"><term>Adaptation psychologique</term><term>Adolescent</term><term>Adulte</term><term>Chant</term><term>Facteurs temps</term><term>Femelle</term><term>Humains</term><term>Jeune adulte</term><term>Mâle</term><term>Perception de la hauteur tonale</term><term>Perception du temps</term><term>Qualité de la voix</term><term>Études longitudinales</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en"><p><b>OBJECTIVE</b></p><p>The skill to control pitch accurately is an important feature of performance in singing ensembles as it boosts musical excellence. Previous studies analyzing single performance sessions provide inconclusive and contrasting results on whether singers in ensembles tend to use a tuning system which deviates from equal temperament for their intonation. The present study observes the evolution of intonation in a newly formed student singing quintet during their first term of study.</p></div><div type="abstract" xml:lang="en"><p><b>METHODS/DESIGN</b></p><p>A semiprofessional singing quintet was recorded using head-worn microphones and electrolaryngograph electrodes to allow fundamental frequency (f</p></div><div type="abstract" xml:lang="en"><p><b>RESULTS/DISCUSSION</b></p><p>Tuning of each singer was closer to equal temperament than just intonation, but the size of major thirds was slightly closer to just intonation, and minor thirds closer to equal temperament. These findings were consistent within and between rehearsals, and across repetitions. Tuning was highlighted as an important feature of rehearsal during the study term, and a range of strategies were adopted to solve tuning related issues. This study provides a novel holistic assessment of tuning strategies within a singing ensemble, furthering understanding of performance practices as well as revealing the complex approach needed for future research in this area. These findings are particularly important for directors and singers to tailor rehearsal strategies that address tuning in singing ensembles, showing that approaches need to be context driven rather than based on theoretical ideal.</p></div></front></TEI><pubmed><MedlineCitation Status="MEDLINE" Owner="NLM"><PMID Version="1">30149974</PMID><DateCompleted><Year>2020</Year><Month>11</Month><Day>16</Day></DateCompleted><DateRevised><Year>2020</Year><Month>11</Month><Day>16</Day></DateRevised><Article PubModel="Print-Electronic"><Journal><ISSN IssnType="Electronic">1873-4588</ISSN><JournalIssue CitedMedium="Internet"><Volume>34</Volume><Issue>1</Issue><PubDate><Year>2020</Year><Month>Jan</Month></PubDate></JournalIssue><Title>Journal of voice : official journal of the Voice Foundation</Title><ISOAbbreviation>J Voice</ISOAbbreviation></Journal><ArticleTitle>A Longitudinal Study of Intonation in an a cappella Singing Quintet.</ArticleTitle><Pagination><MedlinePgn>159.e13-159.e27</MedlinePgn></Pagination><ELocationID EIdType="pii" ValidYN="Y">S0892-1997(18)30241-8</ELocationID><ELocationID EIdType="doi" ValidYN="Y">10.1016/j.jvoice.2018.07.015</ELocationID><Abstract><AbstractText Label="OBJECTIVE" NlmCategory="OBJECTIVE">The skill to control pitch accurately is an important feature of performance in singing ensembles as it boosts musical excellence. Previous studies analyzing single performance sessions provide inconclusive and contrasting results on whether singers in ensembles tend to use a tuning system which deviates from equal temperament for their intonation. The present study observes the evolution of intonation in a newly formed student singing quintet during their first term of study.</AbstractText><AbstractText Label="METHODS/DESIGN" NlmCategory="METHODS">A semiprofessional singing quintet was recorded using head-worn microphones and electrolaryngograph electrodes to allow fundamental frequency (f<sub>o</sub>) evaluation of the individual voices. In addition, a camcorder was used to record verbal interactions between singers. The ensemble rehearsed a homophonic piece arranged for the study during five rehearsal sessions over four months. Singers practiced the piece for 10 minutes in each rehearsal, and performed three repetitions of the same pieces pre-rehearsal and post-rehearsal. Audio and electrolaryngograph data of the repeated performances, and video recordings of the rehearsals were analyzed. Aspects of intonation were then measured by extracting the f<sub>o</sub> values from the electrolaryngograph and acoustic signal, and compared within rehearsals (pre and post) and between rehearsals (rehearsals 1 to 5), and across repetitions (take 1 to 3). Time-stamped transcriptions of rehearsal discussions were used to identify verbal interactions related to tuning, the tuning strategies adopted, and their location (bar or chord) within the piece.</AbstractText><AbstractText Label="RESULTS/DISCUSSION" NlmCategory="CONCLUSIONS">Tuning of each singer was closer to equal temperament than just intonation, but the size of major thirds was slightly closer to just intonation, and minor thirds closer to equal temperament. These findings were consistent within and between rehearsals, and across repetitions. Tuning was highlighted as an important feature of rehearsal during the study term, and a range of strategies were adopted to solve tuning related issues. This study provides a novel holistic assessment of tuning strategies within a singing ensemble, furthering understanding of performance practices as well as revealing the complex approach needed for future research in this area. These findings are particularly important for directors and singers to tailor rehearsal strategies that address tuning in singing ensembles, showing that approaches need to be context driven rather than based on theoretical ideal.</AbstractText><CopyrightInformation>Copyright © 2018 The Authors. Published by Elsevier Inc. All rights reserved.</CopyrightInformation></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>D'Amario</LastName><ForeName>Sara</ForeName><Initials>S</Initials><AffiliationInfo><Affiliation>Department of Electronic Engineering, University of York, York, United Kingdom. Electronic address: Sda513@york.ac.uk.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Howard</LastName><ForeName>David M</ForeName><Initials>DM</Initials><AffiliationInfo><Affiliation>Department of Electronic Engineering, Royal Holloway, University of London, Egham, Surrey, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Daffern</LastName><ForeName>Helena</ForeName><Initials>H</Initials><AffiliationInfo><Affiliation>Department of Electronic Engineering, University of York, York, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Pennill</LastName><ForeName>Nicola</ForeName><Initials>N</Initials><AffiliationInfo><Affiliation>Department of Music, University of Sheffield, Sheffield, United Kingdom.</Affiliation></AffiliationInfo></Author></AuthorList><Language>eng</Language><PublicationTypeList><PublicationType UI="D016428">Journal Article</PublicationType></PublicationTypeList><ArticleDate DateType="Electronic"><Year>2018</Year><Month>08</Month><Day>24</Day></ArticleDate></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="D000223" MajorTopicYN="N">Adaptation, Psychological</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D000293" MajorTopicYN="N">Adolescent</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D000328" MajorTopicYN="N">Adult</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D005260" MajorTopicYN="N">Female</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D006801" MajorTopicYN="N">Humans</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D008137" MajorTopicYN="N">Longitudinal Studies</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D008297" MajorTopicYN="N">Male</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D010898" MajorTopicYN="Y">Pitch Perception</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D063346" MajorTopicYN="Y">Singing</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D013997" MajorTopicYN="N">Time Factors</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D013998" MajorTopicYN="N">Time Perception</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D014833" MajorTopicYN="Y">Voice Quality</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D055815" MajorTopicYN="N">Young Adult</DescriptorName></MeshHeading></MeshHeadingList><KeywordList Owner="NOTNLM"><Keyword MajorTopicYN="N">Ensemble communication</Keyword><Keyword MajorTopicYN="N">Intonation</Keyword><Keyword MajorTopicYN="N">Pitch drift</Keyword><Keyword MajorTopicYN="N">Singing ensemble</Keyword><Keyword MajorTopicYN="N">Tuning</Keyword></KeywordList></MedlineCitation><PubmedData><History><PubMedPubDate PubStatus="received"><Year>2018</Year><Month>06</Month><Day>02</Day></PubMedPubDate><PubMedPubDate PubStatus="revised"><Year>2018</Year><Month>07</Month><Day>09</Day></PubMedPubDate><PubMedPubDate PubStatus="accepted"><Year>2018</Year><Month>07</Month><Day>11</Day></PubMedPubDate><PubMedPubDate PubStatus="pubmed"><Year>2018</Year><Month>8</Month><Day>29</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="medline"><Year>2020</Year><Month>11</Month><Day>18</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="entrez"><Year>2018</Year><Month>8</Month><Day>29</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate></History><PublicationStatus>ppublish</PublicationStatus><ArticleIdList><ArticleId IdType="pubmed">30149974</ArticleId><ArticleId IdType="pii">S0892-1997(18)30241-8</ArticleId><ArticleId IdType="doi">10.1016/j.jvoice.2018.07.015</ArticleId></ArticleIdList></PubmedData></pubmed><affiliations><list><country><li>Royaume-Uni</li></country><region><li>Angleterre</li><li>Grand Londres</li></region><settlement><li>Londres</li></settlement><orgName><li>Université de Londres</li></orgName></list><tree><country name="Royaume-Uni"><noRegion><name sortKey="D Amario, Sara" sort="D Amario, Sara" uniqKey="D Amario S" first="Sara" last="D'Amario">Sara D'Amario</name></noRegion><name sortKey="Daffern, Helena" sort="Daffern, Helena" uniqKey="Daffern H" first="Helena" last="Daffern">Helena Daffern</name><name sortKey="Howard, David M" sort="Howard, David M" uniqKey="Howard D" first="David M" last="Howard">David M. Howard</name><name sortKey="Pennill, Nicola" sort="Pennill, Nicola" uniqKey="Pennill N" first="Nicola" last="Pennill">Nicola Pennill</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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