A scale value for the balance inside a historical opera house

In the framework of opera house acoustics, the term "balance" refers to the acoustical competition between the singer on the stage and the orchestra in the pit. The mechanism allowing the operatic singers to be heard over the orchestra has to do with their skill in enhancing the vocal emission by a peculiar use of the formant frequencies. This vital factor is sensed by the listeners and, apart from the obvious sound power ratio of the stage and the pit sources, is the main cue that helps to formulate a subjective impression of the balance. To achieve its objective qualification, two calibrated sound sources can be placed on the stage and in the pit, respectively, and their sound level difference is measured at the listeners' seats. The scope of this work is to investigate the relationship between the subjective impression and the objective indicator of the balance and to develop a scale value for the parameter in the case of a historical opera house. For this scope a set of acoustical data from the Teatro Comunale in Ferrara will be used to create synthetic sound fields with controlled conditions of the balance between the stage and the pit. This methodology employs an anechoic piece for soprano (with piano accompaniment) and is implemented in a dead room equipped with an acoustical rendering system. The sound fields are used to investigate the appropriate balance values by means of listening tests. The results of the scaling exercise show that a suitable range of values can be extracted and that the sound from the stage and the pit is perceived as balanced when the loudness difference between the two is comprised within -2.0 dBA and +2.3 dBA.     

Objective and subjective evaluations of twenty-three opera houses in Europe, Japan, and the Americas

The room acoustical parameters, reverberation time RT, early decay time EDT, clarity factor C80, bass ratio BR, strength G, interaural cross-correlation coefficient IACC, and initial-time-delay gap ITDG [definitions in Hidaka et al., J. Acoust. Soc. Am. 107, 340-354 (2000) and Beranek, Concert and Opera Halls: How They Sound (Acoustical Society of America, New York, 1996)], were measured in 23 major opera houses under unoccupied conditions in 11 countries: Argentina, Austria, Czech, France, England, Germany, Hungary, Italy, Japan, The Netherlands, and the USA. Questionnaires containing rating scales on the acoustical quality of 24 opera houses were mailed to 67 conductors, 22 of whom responded. The objective measurements were analyzed for reliability and orthogonality, and were related to the subjective responses. Presented are (a) the rankings of 21 opera houses each rated by at least 6 conductors for acoustical quality as heard by them both in the audience areas and in the pit; (b) relations between objective room acoustical parameters and subjective ratings; (c) findings of the most important of the parameters for determining acoustical quality: RT (or EDT), G(M), ITDG, [1 - IACC(E3)], texture (appearance of reflectrograms in the first 80-100 ms after arrival of the direct sound), a lower limiting value for BR, and major concern for diffusion and avoidance of destructive characteristics (noise, vibration, echoes, focusing, etc.); (d) the differences between average audience levels with and without enclosed stage sets; and (e) the differences between average levels in audience areas for sounds from the stage and from the pit.     

SUBJECTIVE PREFERENCE FOR SOUND SOURCES LOCATED ON THE STAGE AND IN THE ORCHESTRA PIT OF AN OPERA HOUSE

The present study investigates whether the subjective preference theory can be applied to the sound field in an opera house. Paired-comparison tests were conducted to obtain scale values of subjective preference. As the source locations of the music on the stage and in the orchestra pit were moved, listeners were asked to give their acoustical preference. The acoustical factors at each listening position were obtained from the interaural cross-correlation function and binaural impulse responses measured at each listening position. The relationship between the scale values of subjective preference and orthogonal acoustical factors (LL, IACC, τ_IACC, Δt₁ for the pit source, Δt₁ for the stage, T_sub for the pit source, and T_sub for the stage source) was determined by using factor analysis, which shows that the preference theory is applicable. Total scores obtained from factor analysis and measured scale values are in good agreement.     

Acoustical comparison of three theaters

Three theaters, including both thrust stage and proscenium arch designs, are evaluated using acoustical measures not yet in common use. The unique characteristics of each theater are considered and include a partially covered orchestra pit and a music shell. A computer model is used to estimate the detrimental effects of excessive ceiling lighting holes.     

TEMPORAL AND SPATIAL ACOUSTICAL FACTORS FOR LISTENERS IN THE BOXES OF HISTORICAL OPERA THEATRES

Acoustical measurements were conducted in a horseshoe-shaped opera house to clarify the acoustical quality of a sound field for listeners inside the boxes of an historical opera house. In order to investigate the effects of multiple reflections between the walls inside a box and scattering by the heads of people, the location of the receiver and the number of persons in the box were varied. In each configuration, four orthogonal factors and supplementary factors were derived as temporal and spatial factors by analysis of binaural impulse responses. Each factor is compared to that at a typical location in the stalls of the same theatre. An omni-directional sound source was located on the stage to emulate a singer or in the orchestra pit to reproduce the location of the musicians. Thus, in this paper, temporal and spatial factors in relation to subjective evaluation are characterized against changes in the listening conditions inside a box, and procedures for improvement and design methods for boxes are proposed. The main conclusions reached are as follows. As strong reflections from the lateral walls of a hall are screened by the front or side walls of a box for a receiver in a seat deeper in the box, the maximum listening level (LL) in the boxes was observed at the front of the box, and the maximum range of LL values for each box was found to be 5 dB. Concerning the initial time delay gap (Δt₁), a more uniform listening environment was obtained in boxes further back in the theatre than in one closer to the stage. The subsequent reverberation time (T_sub) lengthens for boxes closer to the stage due to the stage house with its huge volume, and a peak is observed at 1 kHz. For the box at the back, T_sub monotonically decreases with frequency in the same way as in the stalls, and moreover, its values approach those in the stalls. As the contribution of multiple reflections relatively increases for a receiver deeper in the box, the IACC in such positions decreases in comparison with that seen at the front of the box.     

ON THE TESTING OF RENOVATIONS INSIDE HISTORICAL OPERA HOUSES

Due to the large number of historical opera houses in Italy, many theatres have been renovated in the past, but still more will undergo major restoration in the near future. Unfortunately in this context, the quality and protection of acoustics is rarely considered as an issue of its own. As a consequence, the renovations are hardly ever accompanied by proper scientific and technical support. In this paper, the acoustical impact of works inside the Teatro Municipale “R.Valli” in Reggio Emilia, including the restoration of the main hall and the construction of a new acoustic shell, will be dealt with. Surveys were held in the theatre before renovation and were repeated with identical procedure and instruments after its completion. By means of a comparative analysis of the architectural project and of acoustical data, the impact of major changes in the theatre can be predicted. It is shown that this approach can help in drafting an operational scheme for safeguarding the acoustics of historical opera houses.     

从表演者角度论述歌剧院的声学研究和设计

本文从解决歌手与乐队竞争的谜团入手,详述了歌剧院乐队演奏(缺乏高频声)和歌剧唱法(高频的歌手共振峰)的声音特点,进而提出了歌手和乐队之间平衡的声学设计(即放大歌手的歌唱声并适当降低乐队的演奏声,观众听起来歌手和乐队之间的声音保持平衡),重点论述了乐池的声学设计。然后分别从提高表演者的相互听闻(为了合奏的同步性)和提高房间的声反馈(为了控制演奏的响度)进行了论述,得出从表演者角度进行声学研究和设计的重要性。     

Acoustical design of the Grieg Memorial Hall in Bergen

The Grieg Memorial Hall in Bergen, Norway, finished in 1978, is a multi-purpose hall primarily intended for concerts. To cater for other uses, it is equipped with a large stage and constructed in such a way that it can be converted to serve for theatre, opera, ballet, shows and congresses. The orchestra enclosure is demountable and a loudspeaker system for speech reinforcement can be lowered from the ceiling just in front of the stage opening. The shape of the hall was designed using a computer program mathematical model for three-dimensional sound ray tracing. The hall being fan shaped, sufficient lateral reflections are provided by large reflecting elements hung freely below the ceiling. The resulting distribution of reflected sound energy gives the hall a fine balance between reverberance, fullness of tone and clarity. Measurements of pulse response, reverberation time and speech intelligibility tests are presented.     

Acoustical design of the opera house of the New National Theatre, Tokyo, Japan

Architect Takahiko Yanagisawa's preface explains his approach to the design. The NNT opera house seats 1810, its volume is 14500 m3, and its reverberation time, with audience, is 1.5 s (proscenium curtain open). Measurements on CAD computer and 1:10 wooden models and full-sized materials samples were conducted over a 7-yr. period. The main floor is almost rectangular, the three balconies have modest fan shape in plan, although the balcony facia at each level create a rectangular shape. The unique design has a large curved reflector in front of and above the proscenium and six curved reflecting surfaces at the front ends of the three side balconies to form, in combination, an "acoustic trumpet." These surfaces, along with the balcony faces and the shaped ceiling, distribute the singers' voices uniformly over the seating areas from a large portion of the large stage at sound levels that easily override the orchestra in the pit.     

Long-Term Horizontal Vocal Directivity of Opera Singers: Effects of Singing Projection and Acoustic Environment

Vocal directivity refers to how directional the sound is that comes from a singer's mouth, that is, whether the sound is focused into a narrow stream of sound projecting in front of the singers or whether it is spread out all around the singer. This study investigates the long-term vocal directivity and acoustic power of professional opera singers and how these vary among subjects, among singing projections, and among vastly different acoustic environments. The vocal sound of eight professional opera singers (six females and two males) was measured in anechoic and reverberant rooms and in a recital hall. Subjects sang in four different ways: (1) paying great attention to intonation; (2) singing as in performance, with all the emotional connection intended by the composer; (3) imagining a large auditorium; and (4) imagining a small theatre. The same song was sung by all singers in all conditions. A head and torso simulator (HATS), radiating sound from its mouth, was used for comparison in all situations. Results show that individual singers have quite consistent long-term average directivity, even across conditions. Directivity varies substantially among singers. Singers are more directional than the standard HATS (which is a physical model of a talking person). The singer's formant region of the spectrum exhibits greater directivity than the lower-frequency range, and results indicate that singers control directivity (at least, incidentally) for different singing conditions as they adjust the spectral emphasis of their voices through their formants.     

Vocal fold hemorrhage associated with coumadin therapy in an opera singer

Vocal fold hemorrhage can represent a disastrous and potentially career ending injury to a singer or professional voice user. The risk factors of vocal fold hemorrhage, including laryngeal trauma, phonotrauma, aspirin and nonsteroidal antiinflammatories, and hormonal imbalances are well known. We present a case of an opera singer who developed recurrent vocal fold hemorrhage associated with coumadin anticoagulation therapy. This case highlights the importance of the risk of vocal fold hemorrhage to professional singers and professional voice users and offers an alternative to long-term coumadin therapy in this select population.     

The control of air flow during loud soprano singing

Previous research on the special characteristics of the professional singing voice has at least partially explained how singers can commonly use much higher lung pressures than nonsingers without vocal damage or excessive air flow during the voiced sounds. In this study, the control of air flow during the unvoiced consonants is examined for an operatic-style soprano. It was found that this singer could maintain a low average air flow during the consonants even though the lung pressure reached values over five times those used during normal conversational speech. The air flow was kept low primarily by the use of a number of mechanisms involving rapid, accurate, coordinated valving of the air flow at the point of articulation and at the glottis.     

Comparing historical and contemporary opera singers with historical and contemporary Jewish cantors

This study is an attempt to ascertain if singers from different traditions and milieus follow similar aesthetic trends regardless of training and/or background. Cantors who sang the Jewish synagogue liturgy during the Golden Age of cantorial singing prior to World War II came from Eastern and Central Europe. For the most part, they were not trained in the classical Western opera tradition. They received training from choir leaders and other cantors and the training was primarily in the modes of synagogue chant. Cantors today receive the same kinds of training that opera singers receive, often from the same teachers. Four groups of singers, consisting of four singers in each group, were utilized in this study. The four groups are: historical opera singers, contemporary opera singers, historical cantors, and contemporary cantors. The historical opera singer recordings date from as early as 1909 to as late as 1939. It was not possible to determine the dates of the historical cantor recordings. However, the four cantors chosen for this group were active only to the 1940s. Contemporary samples were taken from CDs and/or live recordings and all the singers from the contemporary groups are either still active or were active in the 1960s through the 1980s and all of them are considered to be premier-level singers in their respective areas. The variables analyzed were: vibrato pulse rate, frequency variation of the vibrato pulse above and below the mean sustained sung frequency in percent, the mean amplitude variation of the amplitude vibrato pulse above and below the mean sustained amplitude in percent and the fast Fourier transform (FFT) power spectrum of the sustained samples. Results indicate that most of the significant differences were found between eras and not between groups within a time period.     

Speaking fundamental frequency characteristics as a function of age and professional singing

The purposes of this project were to discover (1) if the speaking fundamental frequency (SFF) levels of professional singers differ significantly from those of nonsingers and (2) if the age-related SFF patterns are similar for these two classes of individuals. Sixty professional singers and 94 nonsingers were recorded reading the first paragraph of the “Rainbow Passage;” both males and females were included. Three paired groups (young, middle, and old age) were studied; they were selected on the basis of health and age. The professional singer groups were further divided by a binary voice classification system, specifically that of soprano/alto for women and tenor/baritone for men. It was found that the sopranos and tenors exhibited significantly higher SFF levels then did the age-matched nonsingers, whereas the altos and baritones did not differ significantly from the controls. Relationships within the performer groups were mixed. For example, there appeared to be a systemic trend for the sopranos and tenors to exhibit higher SFF levels than the altos and baritones. Finally, although the nonsinger SFF levels varied significantly as a function of age, those for the professional singers did not.     

Taxonomy of singers used as subjects in scientific research

Criteria for determining the classification of singers in research has posed numerous problems for both researchers and their readership. Previous attempts at creating usable categories have failed because of disagreement within the professions involved in such research. The object of this paper is to explore and suggest a system in which scientific research related to singing is based on a quantifiable singing standard. Use of the systematic categorization set out in this paper will help to alleviate the questions regarding performance abilities of singers used as subjects in scientific projects and lead to more credible results. Nine singer categories have been consolidated and based on proven performance achievement. These categories range from superstar (household name) to local community and amateur singers with comprehensive subcategories under each topic for each type of singer, that is, opera, pop, jazz, etc.     

The realization of an acoustical directional coupler

The design and realization of an acoustical directional coupler are presented. Its application as a reflectometer, i.e. for direct measurement of the acoustical reflection coefficient of materials, is described.     

Modal Distribution Analysis, Synthesis, and Perception of a Soprano''s Sung Vowels

A high-resolution time-frequency analysis technique, the modal distribution, is applied to sung vowels from a soprano singer. Parameters are estimated for each partial component of notes analyzed with the modal distribution. These estimates are used in an additive synthesis model to generate replicates of the original recording, using a series of time-varying sinusoids. Additionally, a source-filter model is applied to create synthetic signals, where pitch- and vowel-specific filters and driving functions are constructed from the amplitude and frequency estimates obtained. Different driving functions, which sample the range of this singer's rate and excursion variation, are transposed and filtered to create synthetic signals. The perceptual salience of the different rates and excursions is then determined via a paired-comparison listening experiment. It is found that listeners are sensitive to small variations in both average vibrato rate and average vibrato excursion. However, the perceived amount of vibrato excursion varies somewhat depending upon the pitch at which the vibrato is “played” synthetically. Finally, the naturalness and sound quality of these synthetic examples is determined through both paired-comparison and single-note sound quality scaling listening experiments.     

Directional reception of broadband signals by means of ultrasonic transducer arrays

This paper presents a new approach to the theory and technique of ultrasonic transducer arrays, which makes it possible to obtain their directional beam patterns for receiving broadband acoustical signals.The general formulae were derived for the beam pattern of the array, and as an example the beam patterns of the end-fire array have been computed and plotted, for signals of different correlation function.For experimental verification of the theory the simple processor solution is proposed. This technique is based on spatial/temporal signal processing for beamforming of the directional response of an end-fire array.     

A small-scale multi-purpose reverberation room

A one-fourth scale model of the large (425 m³) National Bureau of Standards reverberation room is described. This facility was constructed to carry out acoustical research at relatively low cost in a frequency range two octaves higher than that used in the larger facility. Initial experimental measurements carried out in this facility concern sound power emitted by small sources. The pure tone qualification procedure specified in American National Standard S1.21-1972 ‘Metods for the Determination of Sound Power Levels of Small Sources in Reverberation Rooms’ was carried out using computer control of the experiment. This standard is of particular interest to the international acoustical community since it is technically equivalent to ISO Documents DIS 3741 and DIS 3742. The effect of increased low frequency absorption upon room qualification was tested in the model room. Future research plans to make use of the small-scale reverberation rooms are described.     

Vocal fold and ventricular fold vibration in period-doubling phonation: physiological description and aerodynamic modeling

Occurrences of period-doubling are found in human phonation, in particular for pathological and some singing phonations such as Sardinian A Tenore Bassu vocal performance. The combined vibration of the vocal folds and the ventricular folds has been observed during the production of such low pitch bass-type sound. The present study aims to characterize the physiological correlates of this acoustical production and to provide a better understanding of the physical interaction between ventricular fold vibration and vocal fold self-sustained oscillation. The vibratory properties of the vocal folds and the ventricular folds during phonation produced by a professional singer are analyzed by means of acoustical and electroglottographic signals and by synchronized glottal images obtained by high-speed cinematography. The periodic variation in glottal cycle duration and the effect of ventricular fold closing on glottal closing time are demonstrated. Using the detected glottal and ventricular areas, the aerodynamic behavior of the laryngeal system is simulated using a simplified physical modeling previously validated in vitro using a larynx replica. An estimate of the ventricular aperture extracted from the in vivo data allows a theoretical prediction of the glottal aperture. The in vivo measurements of the glottal aperture are then compared to the simulated estimations.