Johnson-Read Lynette, Chmiel Anthony, Schubert Emery, Wolfe Joe
Empirical Musicology Group, School of the Arts and Media, The University of New South Wales, Sydney, New South Wales, Australia.
Empirical Musicology Group, School of the Arts and Media, The University of New South Wales, Sydney, New South Wales, Australia.
J Voice. 2015 Sep;29(5):645.e15-32. doi: 10.1016/j.jvoice.2014.10.020. Epub 2015 Apr 11.
This article reports three studies about performance of lieder, and in particular in comparison with opera performance. In study 1, 21 participants with experience in music performance and teaching completed a survey concerning various characteristics of lieder performance. The results showed that there was consensus between the literature and the assessment of an expert panel-that a "natural" and "unoperatic" vibrato was favored, and that diction, text, and variation of tone are all important aspects of lieder performance. Two acoustic analyses were conducted to investigate genre-specific differences of the singer's formant and vibrato parameters. The first analysis (study 2) used 18 single quasi-unaccompanied notes from commercial recordings of two lieder, and, for comparison, 20 single unaccompanied notes from an opera. Vibrato rate was statistically identical between the two genres at 6.4 Hz; however, lieder featured a longer delay in vibrato onset. Vibrato extent was smaller for lieder (112 cents) compared with opera (~138 cents). The singer's formant, which is generally associated with opera, was at times observed in the lieder recordings; however, this was at an overall significantly weaker intensity than in the opera recordings. The results were replicated in study 3, where recordings using only singers who performed in both lied and opera were analyzed. This direct comparison used 45 lieder notes and 55 opera notes and also investigated three different methods of analyzing the singer's formant. A number of consistencies and inconsistencies were identified between acoustic parameters reported in studies 2 and 3, and the beliefs of singing teachers and scholars in the literature and study 1.
本文报道了三项关于艺术歌曲演唱表现的研究，特别是与歌剧演唱表现的比较。在研究1中，21位有音乐表演和教学经验的参与者完成了一项关于艺术歌曲演唱各种特征的调查。结果表明，文献与专家小组的评估之间存在共识，即人们青睐“自然”和“非歌剧式”的颤音，并且吐字、歌词和音色变化都是艺术歌曲演唱的重要方面。进行了两项声学分析，以研究歌手共振峰和颤音参数的体裁特异性差异。第一次分析（研究2）使用了两首艺术歌曲商业录音中的18个单音准无伴奏音符，作为比较，还使用了一部歌剧中的20个单音无伴奏音符。两种体裁的颤音频率在统计学上相同，约为6.4赫兹；然而，艺术歌曲的颤音起始延迟更长。与歌剧（约138音分）相比，艺术歌曲的颤音幅度较小（约112音分）。通常与歌剧相关的歌手共振峰，有时也会在艺术歌曲录音中观察到；然而，其整体强度明显低于歌剧录音。研究3重复了这些结果，在该研究中，分析了仅由演唱过艺术歌曲和歌剧的歌手录制的音频。这种直接比较使用了45个艺术歌曲音符和55个歌剧音符，还研究了三种分析歌手共振峰的不同方法。在研究2和3报告的声学参数与文献及研究1中声乐教师和学者的观点之间，发现了一些一致和不一致之处。
