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1、6SOLOSINGING, CHOIRSINGING, HARMONICSINGING, POPSINGING Science of Sound, Chapter 17 Resonance in Singing, Miller Acoustics for Choir and Orchestra , Ternstrm “Acoustical comparison of voice use in solo and choir singing” (Rossing, Sundberg, and Ternstrm), JASA 79, 1975 (1986) “Modeling source-filte
2、r interaction in belting and high-pitched opeeratic male singing” (Titze and Worley) JASA 126, 1530-1540 (2009) “Acoustics and perception of overtone singing” (Bloothooft et al.) JASA 92, 1827-1836 (1992). MUSIC318MINI-COURSEONSPEECHANDSINGING SINGERS FORMANT MOST MALE OPERA SINGERS CONCENTRATE ENER
3、GY INTO THE 2-5 kHz RANGE IN ORDER TO BE HEARD OVER THE ACCOMPANIMENT OF A LOUD ORCHESTRA. THEY DO THIS BY LOWERING FORMANTS F5 AND F4 SO THAT THEY COMBINE WITH F3. PHYSIOLOGICALLY, THEY LOWER THE LARYNX SO THAT THE LARYNX TUBE IS MISMATCHED TO THE PHARYNX AND FORMS A RESONATOR OF ITS OWN. SINGERS F
4、ORMANT SINGERS FORMANT THE CENTER FREQUENCY OF THE SINGERS FORMANT VARIES SLIGHTLY WITH DIFFERENT VOICE CLASSIFICATIONS: 2.4 kHz FOR BASSES; 2.6 kHz FOR BARITONES; 2.8 kHz FOR TENORS. FEMALE SINGERS PRODUCE A SINGERS FORMANT THAT IS NARROWER IN FREQUENCY AND MUCH LESS PROMINENT. THE SINGERS FORMANT
5、WILL MATCH THEIR WIDELY-SPACED PARTIALS ONLY FOR CERTAIN TONES OF THE SCALE. SOLO SINGING IN OPERA ANOTHER TECHNIQUE USED BY OPERA SINGERS IS TO TUNE THE SECOND FORMANT F2 SO THAT IT COINCIDES WITH A PARTIAL OF THE SUNG NOTE (OFTEN THE 3RD HARMONIC) COMPARE THE HIGH FINAL B4-FLAT IN THE ARIA “Celest
6、a Aida” AS SUNG BY LUCIANO PAVAAROTTI AND PLACIDO DOMINGO. PAVAROTTI PRODUCES HIS DOMINANT THIRD HARMONIC BY TUNING TO IT THE SECOND FORMANT F2 OF THE VOWEL IN “sol.” ONE EVIDENCE OF PAVAROTTIS SKILL IN APPLYING THIS STRATEGY IS THE EXTENT TO WHICH HE DELIBERATELY DISTORTS F2 TO MATCH THE 3RD HARMON
7、IC. HE RAISES THE FORMANT AT LEAST 50 Hz (MORE THAN 50%) FROM ITS SPEECH VALUE OF ABOUT 900 Hz. DOMINGO, ON THE OTHER HAND, RELIES ON HIS SINGERS FORMANT TO PRODUCE A STRONG 5TH HARMONIC AT ABOUT 2.8 kHz. SOLO SINGING IN OPERA PAVAROTTI: KING OF SECOND FORMANT TUNING PAVAROTTI IS SOMETIMES CALLED TH
8、E “KING OF THE HIGH Cs,” BUT MOST OPERA TENORS SING C5 WITH EASE. POWER SPECTRA OF B4b AS SUNG BY PAVAROTTI (UPPER) AND DOMINGO (LOWER). (Full scale is 100 dB). DOMINGO USES THE SINGERS FORMANT, WHILE PAVAROTTI EMPHASIZES THE SECOND FORMANT TO PROJECT OVER THE ORCHESTRA (Miller, Resonance in Singing
9、, Chapter 1). PAVAROTTI AND SECOND FORMANT TUNING POWER SPECTRA OF F4-sharp (UPPER) FOLLOWED BY A4-sharp (LOWER), BOTH IN A CONTINUOUS PHONATION OF VOWEL / (“e di pensier”) FROM PAVAROTTIS RECONDING OF “La donna e mobile” from Rigoletto. THE F4-sharp IS DOMINATED BY THE 4TH HARMONIC, BOOSTED BY THE
10、2ND FORMANT. AS THE PITCH MOVES UP TO A4-sharp, PAVAROTTI FOLLOWS H4 WITH F2, MODIFYING THE VOWEL IN THE DIRECTION OF /i/. CHOIR SINGING CHOIR SINGING AND SOLO SINGING ARE TWO DISTINCTLY DIFFERENT MODES OF MUSICAL PERFORMANCE, MAKING DIFFERENT DEMANDS ON THE SINGERS. WHEREAS SOLO SINGERS WANT TO BE
11、HEARD OVER THE SOUND OF AN ORCHESTRA OR CHOIR, CHORAL SINGERS ARE EXPECTED TO “BLEND” WITH THE VOICES OF THEIR COLLEAGUES. A SERIES OF EXPERIMENTS AT THE ROYAL INSTITUTE OF TECHNOLOGY IN STOCKHOLM COMPARED IDENTICAL PASSAGES SUNG IN “SOLO” AND “CHOIR” MODES BY SINGERS EXPERIENCED IN BOTH MODES. A NU
12、MBER OF DIFFERENCES WERE NOTED, IN BOTH MALE AND FEMALE SINGERS. MALE SINGERS TENDED TO EMPLOY A MORE PROMINENT SINGERS FORMANT IN THE SOLO MODE, WHILE THE FUNDAMENTAL WAS EMPHASIZED MORE IN THE CHOIR MODE, AS MIGHT BE EXPECTED (ROSSING, SUNDBERG, AND TERNSTRM, 1986). FEMALE SINGERS ALSO TENDED TO P
13、RODUCE MORE ENERGY IN THE 2-4 kHz RANGE IN THE SOLO MODE. CHANGES IN BOTH ARTICULATION AND VOICE SOURCE WERE NOTED (ROSSING, SUNDBERG, AND TERNSTRM, 1987). AVERAGE SPECTRUM ENVELOPES OF BASS IN SOLO AND CHOIR MODES FORMANT FREQUENCIES OF CHOIR SINGERS FORMANT FREQUENCIES SPOKEN AND SUNG BY 8 BASS SI
14、NGERS IN A CHOIR. SPOKEN FORMANTS SHOW MUCH GREATER VARIATION THAN SUNG FORMANTS, ESPECIALLY IN F3 AND F4, WHICH DETERMINE VOICE QUALITY CHOIR SINGING CHOIR VS. SOLO SINGING MALE SINGERS HAVE LESS PROMINENT SINGERS FORMANT IN CHOIR MODE “SELF” TO “OTHERS” RATIO (S0R) CHOIR SINGERS PREFER SOR OF ABOU
15、T 6dB (AVE) MEASURED SORs ARE 4 dB (SINGLE ROW) TO 3 dB (DOUBLE ROW) IN OPERA CHORUS, SOR IS 10 15 dB (Ternstrm, 2005) UNISONS /u/ IS MORE DIFFICULT TO MATCH TO A REFERENCE TONE THAN /, PROBABLY BECAUSE OF LACK OF HARMONICS PITCH ACCURACY STANDARD DEVIATION IN A BASS SECTION FOUND TO BE 16 CENTS PIT
16、CH ERROR DEPENDS ON REFERENCE LEVEL -20 -10 0 10 ABILITY TO SING ON THE SAME PITCH AS A REFERENCE TONE DEPENDS UPON THE LEVEL OF THE REFERENCE TONE. ERROR IS LEAST WHEN THE SINGER SINGS AT THE SAME LEVEL AS THE REFERENCE. WHEN THE REFERENCE TONE IS MORE THAN 5dB GREATER THE ERROR INCREASES RAPIDLY, INDICATING THAT SUBJECTS HAD DIFFICULTY HEARING THEIR OWN VOICE (THEY STARTED TO “HUNT” FOR THE CORRECT PITCH. WHEN THE REFERENCE TONE IS SOFTER THAN THE SUNG TONE, THE ERROR INCREASED ONLY GRADUALLY.
