Are source-filter interactions detectable in classical singing during vowel glides?

Timing and synchronization represent fundamental elements of ensemble playing. Empirical research has demonstrated remarkably tight synchronization in ensembles, including instrumental and classical singing formations. Nevertheless, asynchronies between co-performers during ensemble playing are inevitable and, to some extent, desirable: musicians deliberately co-vary their timing and synchronization to attain mastery in expressive ensemble performance. By reviewing published studies on ensemble synchrony, the contextual factors that may impact synchronization are presented. Considerations of ensemble timing are then broadened to better recognize variations by musical tradition. Ultimately, the chapter reflects on the relationships between intrapersonal and interpersonal synchrony in ensemble, from the lowest levels of the temporal hierarchy, including neural activity, to the higher levels comprising breathing and cardiac activities, and musicians’ body gestures. This overview provides a conceptual framework to explore aspects of context as well as the physiology and the psychology of collective music-making, suggesting a fruitful avenue for further investigations.

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Jazz Vocal

Teaching School Jazz ◽

10.1093/oso/9780190462574.003.0013 ◽

2019 ◽

pp. 139-150

Author(s):

Catherine Gale

Keyword(s):

Classical Singing

Vocal techniques in classical and jazz have much in common; however, even experienced vocalists need to learn the aspects of jazz singing that make it unique. This chapter aims to dispel the myth that jazz singing is completely different from classical singing while pointing out the subtle differences between them. Similarly, aspiring jazz singers need to study all the things that instrumental jazz musicians do and then incorporate words. Topics covered in this chapter include (a) teaching the differences in timbre and vibrato that create the unique jazz vocal sound; (b) centering jazz vocal intonation; (c) avoiding some of the most common pitfalls of jazz diction; and (d) a progressive discussion of types of vocal improvisation, from strategic variation in rhythms and melodies to scat singing. The chapter concludes with a list of important classic jazz standards that have lyrics, including suggestions for teaching those standards according to age and experience.

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Relating objective measurements to expert evaluation ofvoice quality in western classical singing: Critical perceptual parameters

Journal of Voice ◽

10.1016/s0892-1997(98)80038-6 ◽

1998 ◽

Vol 12 (2) ◽

pp. 182-196 ◽

Cited By ~ 52

Author(s):

Elizabeth Ekholm ◽

Georgios C. Papagiannis ◽

Françoise P. Chagnon

Keyword(s):

Expert Evaluation ◽

Objective Measurements ◽

Classical Singing

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Acoustical profile of trained low male classical singing voices ranked as to perceptions of relative ‘‘beauty.’’

The Journal of the Acoustical Society of America ◽

10.1121/1.403135 ◽

1992 ◽

Vol 91 (4) ◽

pp. 2433-2433 ◽

Cited By ~ 1

Author(s):

Clayne W. Robison ◽

Barry Bounous ◽

Ross Bailey

Keyword(s):

Classical Singing

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Phonetics of Singing in Western Classical Style

Oxford Research Encyclopedia of Linguistics ◽

10.1093/acrefore/9780199384655.013.412 ◽

2018 ◽

Author(s):

Johan Sundberg

Keyword(s):

Fundamental Frequency ◽

Vocal Fold ◽

Vocal Tract ◽

Formant Frequency ◽

Vowel Identification ◽

Fundamental Frequencies ◽

Vocal Fold Vibration ◽

Syllable Duration ◽

Classical Singing ◽

The Voice

The function of the voice organ is basically the same in classical singing as in speech. However, loud orchestral accompaniment has necessitated the use of the voice in an economical way. As a consequence, the vowel sounds tend to deviate considerably from those in speech. Male voices cluster formant three, four, and five, so that a marked peak is produced in spectrum envelope near 3,000 Hz. This helps them to get heard through a loud orchestral accompaniment. They seem to achieve this effect by widening the lower pharynx, which makes the vowels more centralized than in speech. Singers often sing at fundamental frequencies higher than the normal first formant frequency of the vowel in the lyrics. In such cases they raise the first formant frequency so that it gets somewhat higher than the fundamental frequency. This is achieved by reducing the degree of vocal tract constriction or by widening the lip and jaw openings, constricting the vocal tract in the pharyngeal end and widening it in the mouth. These deviations from speech cause difficulties in vowel identification, particularly at high fundamental frequencies. Actually, vowel identification is almost impossible above 700 Hz (pitch F5). Another great difference between vocal sound produced in speech and the classical singing tradition concerns female voices, which need to reduce the timbral differences between voice registers. Females normally speak in modal or chest register, and the transition to falsetto tends to happen somewhere above 350 Hz. The great timbral differences between these registers are avoided by establishing control over the register function, that is, over the vocal fold vibration characteristics, so that seamless transitions are achieved. In many other respects, there are more or less close similarities between speech and singing. Thus, marking phrase structure, emphasizing important events, and emotional coloring are common principles, which may make vocal artists deviate considerably from the score’s nominal description of fundamental frequency and syllable duration.

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