Rossing T D, Sundberg J, Ternström S
J Acoust Soc Am. 1986 Jun;79(6):1975-81. doi: 10.1121/1.393205.
An experiment was carried out in which eight bass/baritone singers were recorded while singing in both choral and solo modes. Together with their own voice, they heard the sound of the rest of the choir and a piano accompaniment, respectively. The recordings were analyzed in several ways, including computation of long-time-average spectra for each passage, analysis of the sound levels in the frequency ranges corresponding to the fundamental and the "singer's formant," and a comparison of the sung levels with the levels heard by the singers. Matching pairs of vowels in the two modes were inverse filtered to determine the voice source spectra and formant frequencies for comparison. Differences in both phonation and articulation between the two modes were observed. Subjects generally sang with more power in the singer's formant region in the solo mode and with more power in the fundamental region in the choral mode. Most singers used a reduced frequency distance between the third and fifth formants for increasing the power in the singer's formant range, while the difference in the fundamental was mostly a voice source effect. In a choral singing mode, subjects usually adjusted their voice levels to the levels they heard from the other singers, whereas in a solo singing mode the level sung depended much less on the level of an accompaniment.
进行了一项实验，记录了八位男低音/男中音歌手在合唱和独唱模式下的演唱。他们分别在听到自己声音的同时，听到合唱团其他成员的声音和钢琴伴奏。对录音进行了多种方式的分析，包括计算每段的长时间平均频谱、分析对应于基频和“歌手共振峰”的频率范围内的声级，以及比较演唱声级与歌手听到的声级。对两种模式下匹配的元音对进行逆滤波，以确定声源频谱和共振峰频率进行比较。观察到两种模式下发声和发音的差异。受试者通常在独唱模式下在歌手共振峰区域演唱时更有力，在合唱模式下在基频区域演唱时更有力。大多数歌手在歌手共振峰范围内为增加力量而减小第三和第五共振峰之间的频率距离，而基频的差异主要是声源效应。在合唱模式下，受试者通常会将自己的声音水平调整到他们从其他歌手那里听到的水平，而在独唱模式下，演唱的水平在很大程度上较少依赖于伴奏的水平。
