Preferred self-to-other ratios in choir singing.

Choir singers need to hear their own voice in an adequate self-to-other ratio (SOR) over the rest of the choir. Knowing singers' preferences for SOR could facilitate the design of stages and of choral formations. In an experiment to study the preferred SOR, subjects sang sustained vowels together with synthesized choir sounds, whose loudness tracked that of their own voice. They could control the SOR simply by changing their distance to the microphone. At the most comfortable location, the SOR was measured. Experimental factors included unison and four-part tasks, three vowels and two levels of phonation frequency. The same experiment was run four times, using sopranos, altos, tenors, and basses, with stimulus tones adapted for each category. The preferred self-to-other ratios were found to be similar to SORs measured previously in actual performance, if a little higher. Preferences were quite narrow, typically +/- 2 dB for each singer, but very different from singer to singer, with intrasubject means ranging from -1 to +15 dB. There was no significant difference between the unison and the four-part tasks, although this might have been caused by systematic differences in the stimulus sounds. Some effects of phonation frequency and vowel were significant, but interdependent and difficult to interpret. The results and their relevance to live choir singing are discussed.     

Hearing myself with others: Sound levels in choral performance measured with separation of one's own voice from the rest of the choir

The choir singer has two acoustic signals to attend to: the sound of his or her own voice (feedback), and the sound of the rest of the choir (reference). The balance in loudness between feedback and reference is governed mainly by the room acoustics. Although earlier experiments have shown that singers have a fairly large tolerance for imbalance, with references ranging from −23 to +5 dB, experience suggests that, when singers are given control over this parameter, their preferences are much narrower. A quantification of the optimum balance would be useful in the design of concert stages and rehearsal halls. A method is described for measuring the feedback and reference levels as experienced by singers under live performance conditions. Recordings were made using binaural microphones worn by choir singer subjects. With the given combination of choir and room, it was possible to achieve adequate separation of the feedback and reference signals with simple signal processing. The feedback-to-reference ratio averaged over the 12 singers was found to be +3.9 dB, with extremes of +1.5 and +7.3 dB.     

Acoustic comparison of voice use in solo and choir singing

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.     

Development of an Auditory-Perceptual Rating Instrument for the Operatic Singing Voice

Although considerable progress has been made in the development of acoustic and physiological measures of operatic singing voice, there is still no widely accepted objective tool for the evaluation of its multidimensional features. Auditory-perceptual evaluation, therefore, remains an important evaluation method for singing pedagogues, voice scientists, and clinicians who work with opera singers. Few investigators, however, have attempted to develop standard auditory-perceptual tools for evaluation of the operatic voice. This study aimed to pilot test a new auditory-perceptual rating instrument for operatic singing voice. Nine expert teachers of operatic singing used the instrument to rate the singing voices of 21 professional opera chorus artists from a national opera company. The findings showed that the instrument has good face validity, that it can be legitimately treated as a psychometrically sound scale, and that raters can use the scale consistently, both between and within judges. This new instrument, therefore, has the potential to allow opera singers, their teachers, voice care clinicians, and researchers to evaluate the important auditory-perceptual features of operatic voice quality.     

Observations of biological choruses in the Southern California Bight: A chorus at midfrequencies

This paper describes the characteristics of an underwater biological chorus recorded in the midfrequency band (1-10 kHz) in the Southern California Bight. The recordings were made in July, 2002 by a large-vertical-aperture, 131-element, 2D billboard array. The chorus, observed predominantly on two consecutive nights during the 8-day experiment, is composed of two bands of energy centered around 1.5 kHz and between 4 and 5 kHz. It causes a complete reversal in the vertical directional characteristics of the mid-frequency ambient sound field between day and nighttime periods; whereas the vertical structure during the day shows a notch in the horizontal direction with levels more than 10 dB below those at higher angles, the nighttime levels in the horizontal can exceed those at other vertical angles by more than 10 dB. These nighttime sounds also are strongly anisotropic in azimuth; they appear to come mainly from a popular Southern California fishing spot where the water depths exceed 75 m. Vertical beam-to-beam coherence squared estimates suggest the chorus source region exists on spatial scales greater than the multipath interference wavelengths of this environment. Individual sounds comprising the chorus, although difficult to separate from the background din, have a fluttering, rasping character.     

Equal autophonic level curves under different room acoustics conditions

The indirect auditory feedback from one's own voice arises from sound reflections at the room boundaries or from sound reinforcement systems. The relative variations of indirect auditory feedback are quantified through room acoustic parameters such as the room gain and the voice support, rather than the reverberation time. Fourteen subjects matched the loudness level of their own voice (the autophonic level) to that of a constant and external reference sound, under different synthesized room acoustics conditions. The matching voice levels are used to build a set of equal autophonic level curves. These curves give an indication of the amount of variation in voice level induced by the acoustic environment as a consequence of the sidetone compensation or Lombard effect. In the range of typical rooms for speech, the variations in overall voice level that result in a constant autophonic level are on the order of 2 dB, and more than 3 dB in the 4 kHz octave band. By comparison of these curves with previous studies, it is shown that talkers use acoustic cues other than loudness to adjust their voices when speaking in different rooms.     

Sound level discrimination by gray treefrogs in the presence and absence of chorus-shaped noise

An important aspect of hearing and acoustic communication is the ability to discriminate differences in sound level. Little is known about level discrimination in anuran amphibians (frogs and toads), for which vocal communication in noisy social environments is often critical for reproduction. This study used two-choice phonotaxis tests to investigate the ability of females of Cope's gray treefrog (Hyla chrysoscelis) to discriminate between two advertisement calls differing only in sound pressure level by 2, 4, or 6 dB. Tests were conducted in the presence and absence of chorus-shaped noise (73 dB) and using two different ranges of signal levels (73-79 dB and 79-85 dB). Females discriminated between two signals differing by as little as 2-4 dB. In contrast to expectations based on the "near miss to Weber's law" in birds and mammals, level discrimination was slightly better at the lower range of signal amplitudes, a finding consistent with earlier studies of frogs and insects. Realistic levels of background noise simulating a breeding chorus had no discernable effect on discrimination at the sound level differences tested in this study. These results have important implications for studies of auditory masking and signaling behavior in the contexts of anuran hearing and sound communication.     

Acoustic Analysis of the Interaction of Choral Arrangements, Musical Selection, and Microphone Location

Acoustic differences were evaluated among three choral arrangements and two choral textures recorded at three microphone locations. A choir was recorded when singing two musical selections of different choral texture, one homophonic and one polyphonic. Both musical selections were sung in three choral arrangements: block sectional, sectional-in-columns, and mixed. Microphones were placed at the level of the choristers, the conductor, and the audience. The recordings at each location were analyzed using long-term average spectrum (LTAS). The LTAS from the mixed arrangement exhibited more signal amplitude than the other arrangements in the range of 1000-3500Hz. When considering the musical selections, the chorus produced more signal amplitude in the region of 1800-2200Hz for the homophonic selection. In addition, the LTAS produced by the choir for the homophonic selection varied across the microphone locations. As for the microphone location, the LTAS of the signal detected directly in front of the chorus had a greater slope than the other two locations. Thus, the acoustic signal near the choristers differed from the signals near the conductor and in the audience. Conductors may be using acoustic information from the region of the second and third formants when they decide how to arrange a choir for a particular musical selection.     

Predicting Mutational Change in the Speaking Voice of Boys

SUMMARY: The authors investigated whether acoustic speaking voice analyses can be used to predict the beginning of mutation in 21 male members of a professional boys' choir. Over a period of 3 years before mutation, children were examined every 3 months by ear, nose, and throat (ENT) and phoniatric specialists. At the same time, the voice was evaluated acoustically using analysis features of the Goettingen Hoarseness Diagram (GHD). Irregularity component and noise component, jitter, shimmer, mean waveform correlation coefficient, and fundamental frequency were determined from recordings of the speaking voice. Significant changes of acoustic features appeared 7 and 5 months before mutation onset, which indicates that vocal function is already restricted 6 months before mutation onset. This acoustic voice analysis is therefore suitable to support the care of the professional singing voice.     

Atmospheric effects on voice command intelligibility from acoustic hail and warning devices

Voice command sound pressure levels (SPLs) were recorded at distances up to 1500 m. Received SPLs were related to the meteorological condition during sound propagation and compared with the outdoor sound propagation standard ISO 9613-2. Intelligibility of received signals was calculated using ANSI S3.5. Intelligibility results for the present voice command indicate that meteorological condition imposes little to no effect on intelligibility when the signal-to-noise ratio (SNR) is low (<-9 dB) or high (>0 dB). In these two cases the signal is firmly unintelligible or intelligible, respectively. However, at moderate SNRs, variations in received SPL can cause a fully intelligible voice command to become unintelligible, depending on the meteorological condition along the sound propagation path. These changes in voice command intelligibility often occur on time scales as short as minutes during upward refracting conditions, typically found above ground during the day or upwind of a sound source. Reliably predicting the intelligibility of a voice command in a moderate SNR environment can be challenging due to the inherent variability imposed by sound propagation through the atmosphere.     

椰胡声功率级的半消声室测试

椰胡是具有地方特色的拉弦乐器之一,多用于演奏广东音乐和广东戏曲、曲艺的伴奏。但对其发声强度一直未进行过科学的测试。本文介绍在华南理工大学半消声室内参照ISO(GB)标准对椰胡声功率级的测量工作。由两位资深乐师分别用两把椰胡在pp,mp,f和ff力度下演奏单音、音阶和乐曲,对每一把椰胡的每一测试内容,由十通道测试设备同步测试中心频率为100～10000 Hz的1/3倍频带声压级谱,通过计算获得每把椰胡在演奏每项内容时的声功率级和动态范围。通过对两把椰胡的测试结果进行平均,获得该乐器在演奏上述内容时的典型声功率级数值及频谱。文中并将半消声室内的测试结果与混响室内的测试结果相对比,探讨测试环境对测试结果的影响。民族乐器发声强度及其频谱特性的获得是开展民族音乐厅堂音质研究的基础。     

Behavioral vocal response thresholds to mating calls in the bullfrog, Rana catesbeiana

Male bullfrogs will vocalize in response to playbacks of the mating (advertisement) calls of conspecifics. This behavior was studied in response to playbacks of bullfrog mating calls presented at six different sound intensity levels. The lowest sound intensity level tested (50 dB SPL) was insufficient to evoke calling from any of the animals. Calling was evoked by playback levels of 60 dB SPL and higher. The data suggest that behavioral evoked calling thresholds lie between 50-60 dB SPL for these animals. Playback intensity levels of 80 dB SPL were more effective in evoking responses than were intensity levels up to 20 dB higher or lower. This was true both in terms of the total number of evoked responses and the trial number at which responding ceased. Moreover, significantly less habituation of evoked calling occurred at levels of 80 dB SPL than at higher or lower levels. The data suggest that a sound pressure level of 80 dB represents a behaviorally preferred intensity level for evoked calling in the bullfrog. Field recordings of bullfrog choruses show that the intensity produced by an individual calling male reaches a level of 80 dB SPL at a distance of 1 m. This intensity level is identical to that producing maximal evoked calling in the laboratory.     

Voice Characteristics of Young Girl Role in Kunqu Opera

Three electroglottographic parameters, fundamental frequency, contact quotient, and speed quotient were analyzed for two singers of Young girl role in Kunqu Opera. Each singer performed three conditions, singing, stage speech, and reading lyrics. The phonation types adopted in different conditions were explored based on electroglottographic parameters. Fundamental frequency, contact quotient, and speed quotient showed different distributions among conditions. Five phonation types were used in singing and stage speech, which include (1) breathy voice, (2) modal voice with low degree of posterior glottal adduction, (3) modal voice, (4) falsetto, and (5) falsetto with high degree of posterior glottal adduction. The phonation strategies partly showed differences between singers. Different phonation type collocations were employed in singing and stage speech. The relationship between phonation types and pitch was complex. The phonation types actually used were different from and more complex than those in traditional Kunqu Opera singing theory.     

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.     

Wavelet packet based analysis of sound fields in rooms using coincident microphone arrays

This paper presents a passive analysis method for determining the spatio-temporal characteristics of sound fields in small rooms. The analysis finds an approximate directional reflectogram (ADR) which reveals the approximate arrival directions, time delays and amplitudes of the direct sound and early reflections without using a special or known sound source. A coincident microphone array is used to obtain directional recordings. The recordings are analysed by wavelet packet decomposition to determine the direction of the sound source and select wavelet packet coefficients to reconstruct the estimate of the direct sound. ADR is then computed via deconvolution using this estimate. Experiments have been carried out using synthesized recordings that were obtained from actual room impulse responses measured in two rooms for various source locations. The method estimates the source direction with a mean absolute error of about 7°. Calculated ADRs provide a good estimate of the time delays and arrival directions of acoustical reflections, whereas the amplitudes differ slightly.     

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.     

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.     

Acoustical design of the Tokyo Opera City (TOC) concert hall, Japan

The Tokyo Opera City concert hall seats 1632, volume 15 300 m3, and reverberation time, with audience and orchestra, 1.95 s. As part of the design process, measurements on CAD computer and 1:10 wooden models of the hall and full-sized materials samples were conducted over a 5-yr. period. The hall in plan is rectangular. The ceiling is a distorted pyramid, with its peak 28 m above the main floor and nearer the stage than the rear of the hall. This unique shape was analyzed on the models so that all interior surfaces combine to distribute sources on the stage uniformly over the seating areas and to yield optimum values for reverberation time (RT), early decay time (EDT), interaural cross-correlation coefficient (IACCE3), bass ratio (BR), initial-time-delay gap (ITDG), strength (G), and sound diffusion index (SDI) [for definitions see L. Beranek, Concert and Opera Halls: How They Sound (Acoustical Society of America, Woodbury, NY, 1996)]. On the long ceiling facing the stage, Schroeder QRD diffusers provide diffusion, eliminate a possible echo, and strengthen lateral reflections. Performers and critics judge the acoustics excellent.     

Reverberation time and maximum background-noise level for classrooms from a comparative study of speech intelligibility metrics

Speech intelligibility metrics that take into account sound reflections in the room and the background noise have been compared, assuming diffuse sound field. Under this assumption, sound decays exponentially with a decay constant inversely proportional to reverberation time. Analytical formulas were obtained for each speech intelligibility metric providing a common basis for comparison. These formulas were applied to three sizes of rectangular classrooms. The sound source was the human voice without amplification, and background noise was taken into account by a noise-to-signal ratio. Correlations between the metrics and speech intelligibility are presented and applied to the classrooms under study. Relationships between some speech intelligibility metrics were also established. For each noise-to-signal ratio, the value of each speech intelligibility metric is maximized for a specific reverberation time. For quiet classrooms, the reverberation time that maximizes these speech intelligibility metrics is between 0.1 and 0.3 s. Speech intelligibility of 100% is possible with reverberation times up to 0.4-0.5 s and this is the recommended range. The study suggests "ideal" and "acceptable" maximum background-noise level for classrooms of 25 and 20 dB, respectively, below the voice level at 1 m in front of the talker.     

Low frequency sound measurement in vehicles

Sound pressure level measurements in cars travelling at motorway speeds have shown that, in many cases, the overall level is very high in relation to the dB(A) and octave band levels, suggesting that much of the sound energy is in the low frequency and infrasonic regions. A technique has been developed to extend accurate octave band measurements down to the octave centred on 2 Hz. The system uses a calibrated sound level meter feeding a frequency modulation tape-recorder to record noise below 64 Hz, and an octave band analysis system to analyse the resultant tape recordings. Typical results are presented for a number of vehicles and it is found that sound pressure levels as high as 120 dB can be found in the octave bands between 2 and 16 Hz.