Department of Electronic Engineering, University of York, York, United Kingdom.
Department of Electronic Engineering, Royal Holloway, University of London, Egham, Surrey, United Kingdom.
J Voice. 2020 Jan;34(1):159.e13-159.e27. doi: 10.1016/j.jvoice.2018.07.015. Epub 2018 Aug 24.
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) 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 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.
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.
准确控制音高的能力是演唱团体表现的重要特征，因为它可以提高音乐水平。之前分析单次表演的研究结果对演唱团体中的歌手是否倾向于使用偏离等音的调谐系统来进行音高的结论并不一致。本研究观察了一个新成立的学生演唱五重奏在其第一个学期期间的音高变化。
方法/设计：使用头戴式麦克风和电声图仪电极记录一个半专业的演唱五重奏，以允许对每个声音的基频（f）进行评估。此外，还使用摄像机记录歌手之间的言语互动。该五重奏在四个月的五个排练期间排练了一首为该研究安排的同音乐曲。在每次排练中，歌手练习该曲目 10 分钟，并在排练前和排练后重复演奏三遍相同的曲目。分析了重复表演的音频和电声图数据以及排练的视频记录。然后通过从电声图和声学信号中提取 f 值来测量音高的各个方面，并在排练（排练前和排练后）和排练（排练 1 到 5）之间以及重复（take 1 到 3）之间进行比较。排练讨论的时间戳转录用于识别与调音相关的言语互动、采用的调音策略及其在曲目中的位置（小节或和弦）。
结果/讨论：每个歌手的调音都比纯律更接近等律，但大三度的大小更接近纯律，小三度更接近等律。这些发现无论是在排练内部和之间，还是在重复之间都是一致的。在整个研究期间，调音都被强调为排练的一个重要特征，并且采用了一系列策略来解决与调音相关的问题。本研究对演唱团体中的调音策略进行了全面评估，进一步了解了表演实践，并揭示了该领域未来研究所需的复杂方法。这些发现对于指挥家和歌手来说尤其重要，他们可以根据需要调整排练策略来解决演唱团体中的调音问题，这表明方法需要根据具体情况而定，而不是基于理论理想。
