Journal articles on the topic 'Singers'
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Echternach, Matthias, Fabian Burk, Jonas Kirsch, Louisa Traser, Peter Birkholz, Michael Burdumy, and Bernhard Richter. "Articulatory and acoustic differences between lyric and dramatic singing in Western classical music." Journal of the Acoustical Society of America 155, no. 4 (April 1, 2024): 2659–69. http://dx.doi.org/10.1121/10.0025751.
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Within the realm of voice classification, singers could be sub-categorized by the weight of their repertoire, the so-called “singer's Fach.” However, the opposite pole terms “lyric” and “dramatic” singing are not yet well defined by their acoustic and articulatory characteristics. Nine professional singers of different singers' Fach were asked to sing a diatonic scale on the vowel /a/, first in what the singers considered as lyric and second in what they considered as dramatic. Image recording was performed using real time magnetic resonance imaging (MRI) with 25 frames/s, and the audio signal was recorded via an optical microphone system. Analysis was performed with regard to sound pressure level (SPL), vibrato amplitude, and frequency and resonance frequencies as well as articulatory settings of the vocal tract. The analysis revealed three primary differences between dramatic and lyric singing: Dramatic singing was associated with greater SPL and greater vibrato amplitude and frequency as well as lower resonance frequencies. The higher SPL is an indication of voice source changes, and the lower resonance frequencies are probably caused by the lower larynx position. However, all these strategies showed a considerable individual variability. The singers' Fach might contribute to perceptual differences even for the same singer with regard to the respective repertoire.
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MEDVEDYK, Halyna. "BACHELOR’S MANUSCRIPT COLLECTIONS AS A AS PREVIOUS SCHOOL SONGS COLLECTIONS THE LAST THIRD OF THE NINETEENTH CENTURY." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 97–103. http://dx.doi.org/10.30970/vas.20.2019.10643.
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Relevance of the study. Prerequisites for the emergence of the practice of printing special school singers (60-ies of the XIX - the first third of the twentieth century) in Ukrainian scientific thought have been little studied. Today there is no music-bibliographic information base on these publications, analysis of their repertoires, no creation of song lyrics. Only a small number of these singers have been partially investigated so far. Before the first printed singers appeared, the primary function of codifying song lyrics was performed by private handwritten singers who composed in the 18th and first half of the 19th century. Most of them have not been investigated either. The subject of the study is to draw attention to the manuscript singers of the 18th – mid 19th centuries. which were concluded and transcribed by bachelors (students) and regarded as having become the prototype of the first printed school singers in the second half of the nineteenth century. The main focus is on the unique Galician-Volyn manuscript singer (compendium), which included parts of various baccalaureate collections created for the period 1759–1821. The manuscript is kept in the Ivan Franko Archive (Institute of Literature of Ukraine. No. 4791). Methodology of the study. The basis of the study consists of: the method of historical reconstruction, applies the historical review analysis and synthesis are applied. Scientific novelty. The article analyzes a unique handwritten school singer from 1759 to 1821. Among the scribes and owners of some parts of the collection, as evidenced by marginalia, were bachelors from the cities and villages of Galicia and Volhynia was presented to Ivan Franko by a well-known Enlightenment figure in Galicia, Bohdar (Bohdan) Kyrchiv. circulation of important marginal records of the collection, evaluation of the singer’s content, analysis of individual song texts, etc. The overwhelming majority of analytical material was introduced before the scientific circulation, and some secular texts were first considered by Ivan Franko. Conclusions. The source analysis of the handwritten singer, which included fragments of several manuscript collections of 1759 – 1821, allows marginal records to confirm: during the XVIII - the first half of the nineteenth century. The prerequisites for the appearance of the first printed school singers were gradually formed. This is evidenced by the song repertoire of the collections, partly by their structure, the need and the interest of bachelors in creating handwritten singers for their own needs. It is remarkable that this evolutionary path from the manuscript to the print edition has passed through the centuries Ukrainian literary writers, collectors of spiritual songs, the first printed singers with texts of secular (folk). In the second half of the nineteenth century. the need for the creation of printed school singers, whose genesis has been documented since the beginning of the eighteenth century, has finally matured.
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Prasetyo, Whedy. "PENGHIMPUNAN PENDAPATAN NGEFANS SAWERAN : MISTIK SEMAR MESEM PENYANYI DANGDUT (Studi pada Penyanyi Orkestra Melayu New Kendedes)." Jurnal Riset Akuntansi Dan Bisnis Airlangga 5, no. 1 (June 1, 2020): 784. http://dx.doi.org/10.31093/jraba.v5i1.204.
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This study aims to examine the activities of dangdut singers to collect their entertainment income. Activities by basing on mystical routines for semar mesem. The use of this mystic is in recognition of the singer's income. Recognition in the form of collection through saweran mechanism. The mechanism a ngefans saweran contribution is findings of this study. Qualitative methods with an ethnometodology approach was used in this study. The results revealed the mystical semar mesem that was used as a "tali pengasihan" by the singer made a spectator ngefans. Saweran's contribution as his goal, why is that? Because saweran as a unit of income calculation allows the singer to "hope" to fulfill his wishes. The use of money "manggung on air" has made it easier for singers to express their performances and also the songs they perform. This achievement gives the spirit of additional income obtained to be more in a relationship to continue the gig is measured and reliable.
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Prasetyo, Whedy. "PENGHIMPUNAN PENDAPATAN NGEFANS SAWERAN : MISTIK SEMAR MESEM PENYANYI DANGDUT (Studi pada Penyanyi Orkestra Melayu New Kendedes)." Jurnal Riset Akuntansi Dan Bisnis Airlangga 5, no. 1 (June 1, 2020): 784–99. http://dx.doi.org/10.20473/jraba.v5i1.46035.
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This study aims to examine the activities of dangdut singers to collect their entertainment income.Activities by basing on mystical routines for semar mesem.The use of this mystic is in recognition of the singer's income. Recognition in the form of collection throughsaweran mechanism. The mechanism angefans saweran contribution is findings of this study. Qualitative methods with an ethnometodology approach was used in this study. The results revealed the mystical semar mesemthat was used as a "tali pengasihan" by the singer made a spectator ngefans. Saweran's contribution as his goal, why is that? Because saweranas a unit of income calculation allows the singer to "hope" to fulfill his wishes. The use of money "manggung on air" has made it easier for singers to express their performances and also the songs they perform. This achievement gives the spirit of additional income obtained to be more in a relationship to continue the gig is measured and reliable.
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Sun, Xiaojing. "The Training Value of Handel’s Vocal Works in Vocal Pedagogy." Research and Advances in Education 2, no. 3 (March 2023): 19–22. http://dx.doi.org/10.56397/rae.2023.03.04.
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Vocal technique training is a crucial aspect of vocal education, aimed at refining and developing the human voice instrument. By utilizing a variety of training methods and content, singers can achieve aesthetic auditory art that provides listeners with a profound emotional experience. However, mastering this skill is an abstract concept, with each singer having their unique experiences and challenges. In vocal education, selecting the appropriate vocal works is essential in shaping the human voice instrument. The composer Handel, widely considered the greatest composer of the German Baroque period, created a vast collection of classic operas and oratorios throughout his life. The elements of rhythm, melody, and dynamics in Handel’s vocal works have a profound impact on a singer’s breath control, rhythm, and dynamics, making them an essential part of vocal education. Handel’s vocal works remain popular today due to their complex and dynamic elements that provide an exceptional learning experience for singers in vocal education. Overall, this paper demonstrates the importance of utilizing Handel’s vocal works in vocal education to produce skilled and expressive singers.
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Hongtao, Wang, and Gong Li. "A Method for Evaluating the Accuracy of Vocal Art Performance of Singers’ Voices Based on Sensor Space Localization Algorithm." Mobile Information Systems 2022 (July 9, 2022): 1–12. http://dx.doi.org/10.1155/2022/5248639.
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Recently, research on singing assessment has focused on analyzing singer characteristics rather than building an automated evaluating approach. Hence, there are many methods for evaluating the accuracy of singer’s singing performance. Traditional methods mostly use quantitative analysis approach for the accuracy analysis of vocal artistic performance, and the results have obvious ambiguity and correlation. Therefore, this paper proposes a method for evaluating the accuracy of vocal art expression of singers’ voices based on a sensor spatial localization algorithm. The adaptive cascade retrieval control approach is used to find and mine the singers’ performance based on their voice characteristics. The sensor spatial location algorithm and huge vocal music resources with high precision are utilized to locate the vocal music sources in the mining results. The vocal music of the singers is received through the vocal music preprocessing platform, which sends and controls musical compositions. The adaptive frequency’s shift filter and the wavelet transform method are used to filter out any noise in the music. Finally, the accurate evaluation of singer vocal artistic performance is realized from the aspects of music beat detection, note boundary accuracy analysis, and voiced segment accuracy detection. The experimental results show that our proposed method can reduce the error of the sound source’s localization and can effectively filter out the noise in the music signal.
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Edwards, Evan R. "Perspectives and Experiences of College-Aged Singers Regarding Voice Injury and Visiting the ENT: A Phenomenological Approach." Medical Problems of Performing Artists 37, no. 2 (June 1, 2022): 126–32. http://dx.doi.org/10.21091/mppa.2022.2018.
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Among singers, stigma surrounding voice injury can affect self-esteem, self-efficacy, and self-worth and can lead to hesitancy to disclose vocal injuries for fear of damaging their career. In addition, stressors in the singer-physician relationship can work against positive interactions with physicians. To date, no study has documented the perspectives of singers about voice injury and their interactions with physicians through a qualitative approach. The purpose of this study was to a) examine the perspectives and experiences of college-aged singers regarding voice injury and visiting an ear, nose, and throat physician (ENT), and b) identify behaviors of singers and ENT physicians that establish a functional and healthy relationship with the other. Following an interpretive phenomenological design, 6 collegiate singers were interviewed using a semi-structured guide, and from the results of these interviews three emergent themes were generated: a) the emotional connection of a singer and their voice, b) the presence of stigma surrounding voice injury, and c) the barriers to effective relationships between a singer and an ENT physician.
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Gaskill, Christopher S., Melanie B. Williams, and Richard K. McHugh. "Singers and Steroids: A Multi-Disciplinary Discussion." Perspectives on Voice and Voice Disorders 25, no. 1 (March 2015): 16–24. http://dx.doi.org/10.1044/vvd25.1.16.
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Singers are often faced with acute onset of dysphonia, either due to recent phonotrauma or an illness, at a time when they are scheduled to sing in a performance. Many singers turn to steroid treatment prescribed by a health care professional who may or may not be equipped to provide a comprehensive exam or counsel the singer on the vocal risks involved. Steroids can be effective in reducing vocal inflammation, and therefore can provide singers with a quick solution to a very difficult situation. However, the risks of steroid treatment for a singer in crisis must be considered and weighed against any potential benefit. In college-age singers, pressure to perform can be great, and steroids can be easily obtained at campus health clinics. In this paper, we address the issues surrounding treatment decisions for acute dysphonia, especially regarding whether to recommend steroids for a young singer in training. We discuss the relevant factors from the viewpoint of a laryngologist, a speech-language pathologist, and a singing voice teacher. Finally, we make recommendations for equipping singers to make informed voice care decisions and for improving communication between our disciplines to ensure the best treatment outcomes for the young singer with acute dysphonia.
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Ferrao, Ranjana. "Digital Technology and Copyright Protection the Challenges of Indian Performers Rights Society." International Journal of Membrane Science and Technology 10, no. 4 (September 19, 2023): 2408–12. http://dx.doi.org/10.15379/ijmst.v10i4.3505.
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Indian music is ever-green. Every restaurant, pub. Airports, stadium, television etc plays them making them world famous. India has 465 FM Radio stations which constantly play Indian Bollywood music. Though the song becomes well known the singer who sang the song is not recognized nor does he or she receive sufficient compensation for the song. The artist in India is the one who works so hard but ends up getting nothing. The ‘Indian Copyright law was amended in 2012’ to acknowledge the rights of performers. The singers were recognized as performers. The law provided for royalty to be paid to the singers. In reality this royalty never reached the singers. The problem for the singer was identifying the user playing his song and the problem for a genuine user was identifying the location of the singer to pay the royalty directly to him. Therefore, there was a need for an independent body to administer the copyright and collect royalty. ISRA is the bridge between the singer and the user which helps in collecting royalty. This article discusses the issues faced by the singers and the need to develop a smother collective administration of copyright.
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Ivanytska, Yana. "Viktoriia Lukianets: Ascending Opera Olympus." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 1 (April 28, 2023): 89–99. http://dx.doi.org/10.31866/2616-7581.6.1.2023.277890.
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The purpose of the research is to highlight the creative achievements of Ukrainian opera singer Viktoriia Lukianets in collaboration with three prominent contemporary tenors: Luciano Pavarotti, Jose Carreras, and Placido Domingo (the latter both as a singer and conductor). Research methodology. In the course of searching and analyzing the relevant literature, historical, textual, and source research methods were used. The work continued with not only printed articles, but also with the singer’s personal archive (posters, programs, booklets, diaries, letters, autographs), and many interviews were conducted, the transcripts of which are stored in the author’s archive. All of this helped to reconstruct historical events (dates of premieres, number and type of rehearsals, time of auditions, etc.) Scientific novelty. The article is the first to describe the collaboration between the Ukrainian opera singer Viktoriia Lukianets and three of the most prominent tenors of our time in detail. The context is also thoroughly described and studied: the theatres where the singers performed, their stage colleagues, conductors, historical parallels, and perspectives. Conclusions. The historical reconstruction of outstanding events in the opera world makes it possible to realize the significance of the Ukrainian vocal school ( Viktoriia Lukianets’ teachers Ivan Palyvoda and Yelyzaveta Chavdar) in the world context, as well as the outstanding role of the Ukrainian singer who was able to conquer the best opera stages and perform with the most prominent singers of our time.
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Sobolewska, Aleksandra, Pedro Claros, Carmen Pujol, Astrid Claros-Pujol, and Andres Claros. "Ageing of professional opera singer’s voice- preliminary findings." Otolaryngologia Polska 73, no. 2 (March 20, 2019): 1–5. http://dx.doi.org/10.5604/01.3001.0013.1002.
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Objectives. The main goals of this study were to assess the most significant morphological changes and acoustic measures for the ageing process of a professional opera singer’s voice. Design. This investigation included 58 healthy professional opera singers, who were compared with 42 young opera singers from a control group. Methods. All participants underwent a voice assessment protocol: an ENT specialist examination and a speech therapist evaluation. Acoustic parameters and subjective observations were obtained, and then analysed. Results. The fundamental frequency (F0) level was distinctly decreased in the case of older female singers, but F0 in older male singers had stable levels in comparison to that in younger singers. Older singers were found not to have substantially different values of jitter than younger ones. Maximal phonation time (MPT) was longer in the older women group when compared to younger singers, but not relatively different in the men group. Shimmer value presented no age related change. Morphological changes seem to correlate with the age of subjects. Conclusions. The main characteristic of voice change over age was a decreased F0 level among older female professional singers and rather stable F0 levels in male singers. This study gives preliminary results on ageing voice in the population of professional opera singers.
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Hosbach-Cannon, Carly Jo, Soren Y. Lowell, Raymond H. Colton, Richard T. Kelley, and Xue Bao. "Assessment of Tongue Position and Laryngeal Height in Two Professional Voice Populations." Journal of Speech, Language, and Hearing Research 63, no. 1 (January 22, 2020): 109–24. http://dx.doi.org/10.1044/2019_jslhr-19-00164.
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Purpose To advance our current knowledge of singer physiology by using ultrasonography in combination with acoustic measures to compare physiological differences between musical theater (MT) and opera (OP) singers under controlled phonation conditions. Primary objectives addressed in this study were (a) to determine if differences in hyolaryngeal and vocal fold contact dynamics occur between two professional voice populations (MT and OP) during singing tasks and (b) to determine if differences occur between MT and OP singers in oral configuration and associated acoustic resonance during singing tasks. Method Twenty-one singers (10 MT and 11 OP) were included. All participants were currently enrolled in a music program. Experimental procedures consisted of sustained phonation on the vowels /i/ and /ɑ/ during both a low-pitch task and a high-pitch task. Measures of hyolaryngeal elevation, tongue height, and tongue advancement were assessed using ultrasonography. Vocal fold contact dynamics were measured using electroglottography. Simultaneous acoustic recordings were obtained during all ultrasonography procedures for analysis of the first two formant frequencies. Results Significant oral configuration differences, reflected by measures of tongue height and tongue advancement, were seen between groups. Measures of acoustic resonance also showed significant differences between groups during specific tasks. Both singer groups significantly raised their hyoid position when singing high-pitched vowels, but hyoid elevation was not statistically different between groups. Likewise, vocal fold contact dynamics did not significantly differentiate the two singer groups. Conclusions These findings suggest that, under controlled phonation conditions, MT singers alter their oral configuration and achieve differing resultant formants as compared with OP singers. Because singers are at a high risk of developing a voice disorder, understanding how these two groups of singers adjust their vocal tract configuration during their specific singing genre may help to identify risky vocal behavior and provide a basis for prevention of voice disorders.
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Joshi, Namita, and MannaA Raju. "Singer's formant in Hindustani classical singers." Journal of Laryngology and Voice 6, no. 1 (2016): 7. http://dx.doi.org/10.4103/2230-9748.203886.
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Bonshor, Michael J. "Confidence and choral configuration: The affective impact of situational and acoustic factors in amateur choirs." Psychology of Music 45, no. 5 (October 7, 2016): 628–44. http://dx.doi.org/10.1177/0305735616669996.
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This article reports a qualitative study investigating the factors affecting confidence levels amongst adult amateur choral singers. Three focus groups (involving a total of 18 participants) and 16 individual interviews were carried out with experienced choral singers, and over 40 hours of recorded verbal data were collected. The research aims were to explore the lived experience of choral singers; to examine the main influences on choral singers’ perceptions of their voices and performance ability; to identify factors affecting their confidence as choral singers; to extrapolate confidence-building strategies for amateur choral singers. One of the major emergent themes was choir configuration, which encompassed the spacing between singers, the layout of the choir, the position of the individual singer within the choir, and the position of the choir within the venue. All of these elements reportedly had effects upon the confidence of choral singers during rehearsal and performance. These findings have practical implications for leaders of amateur choral ensembles, as choir configuration may be used as one of the tools for building collective and individual choral confidence.
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Duncan, Cheryll, and David Mateer. "An Innocent Abroad? Caterina Galli's Finances in New Handel Documents." Journal of the American Musicological Society 64, no. 3 (2011): 495–526. http://dx.doi.org/10.1525/jams.2011.64.3.495.
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Abstract New documents relating to Handel and one of his singers have come to light at The National Archives in London. In a legal dispute between Caterina Galli and two of her servants, the singer provides an outline of her earnings for the period 1744–48 which mentions the names not only of Handel, but also of Francesco Geminiani, Niccolo Pasquali, and a “Mr Glooc” (almost certainly, Christoph Willibald Gluck). From the documents we learn of the singer's alleged extravagance and financial difficulties in London, her peripatetic lifestyle, and the probable reasons why she returned to the continent in 1754. They also add to our scant knowledge of singers' salaries and, in particular, record what Handel paid Galli for performing in his oratorios. The complainant's bill and interrogatories mention several significant patrons of the London music scene, and the defense's case is supported by a series of signed depositions, including one from John Christopher Smith the elder, Handel's secretary, treasurer, and principal copyist. Galli's claims to have sung for Handel as early as 1744 are examined and largely dismissed; nevertheless, the fees she says she earned are credible because they accord with Smith's testimony and the little we know about singers' salaries in the 1740s and 1750s.
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Musib, Ahmad Faudzi, and Lin Zhi [林芝]. "The Sound and Function of Different Language Particles in Zhuang Songs of Some Western Areas in Guangxi." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 13 (June 3, 2024): 53–64. http://dx.doi.org/10.30819/aemr.13-5.
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The often as “ornamental” syllables named language elements refer to song-text particles, sometimes also named ‘vocables’, or appellations interspersed among the lyrics during the actual singing process of the singer. It appears to some extent in the Zhuang singer's singing of songs in various regions. Unfortunately, these syllables are often overlooked in textual records because most of them cannot be interpreted in terms of their actual lexical meaning when they are independent of the wording of the phrase. The specific expressions of the singers play an essential role and are an inseparable part of Zhuang songs. If the core text of the lyrics is like the beam of the house, then the vocables are the bricks of the wall. The combination of the two can build a house of Zhuang songs. Based on audio data of Zhuang songs collected the border and junction areas of western Guangxi, this study compares the difference between the songbook texts written by the singers that need a memory tool and the actual singing syllables used. For that, the authors interviewed the singers, analyzing the changes produced in sound by the vocables or short sentences in the singing process and summarizing their laws and functions within the singing events.
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Potter, John. "The singer, not the song: women singers as composer-poets." Popular Music 13, no. 2 (May 1994): 191–99. http://dx.doi.org/10.1017/s0261143000007054.
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In his comprehensive celebration of women singers in the twentieth century, Wilfrid Mellers proposed a three-stage socio-musical evolution from the jazz, blues and gospel songs sung by black women, through the black-inspired white singers who followed them, to a new synthesis of singing poet-composers (Mellers 1986). Within this third category, very much the main point of the book, Mellers deals in considerable detail with a range of singer/song writers, from Joni Mitchell and Dory Previn to Rickie Lee Jones and Laurie Anderson. In this article I should like to take this concept of the woman singer/song writer as a point of departure from which to look at two very different kinds of singer: different, that is, both from each other and from any of the singers dealt with in the Mellers book. It has always seemed to me to be characteristic of much of Wilfrid Mellers' writing (and certainly of Angels of the Night) that he never lets his musicological agenda get in the way of his fundamental enjoyment of the music as a fan trying to make sense of his own taste. The reader can accept or reject his thoughts about the significance of it all, and not get so blinded by musicology that you cannot face listening to the songs: that, after all, is in the end what we are supposed to do. In what follows, I, too, write as a fan, but since performers do not often get the chance to bite back at musicologists, I should also like to take the opportunity to question from a singer's point of view a certain kind of performance analysis used by many musicologists. The subject is fraught with ideological booby-traps, so I should confess right away that I am a middle-class, middle-aged English married father.
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Rakhmawati, Nur Aini, Ahmad Naufal Muzakki, and Luthfi Lazuardi. "Implementasi Closeness Centrality dalam Analisis Penyanyi Indonesia di DBpedia Indonesia." JISKA (Jurnal Informatika Sunan Kalijaga) 6, no. 1 (January 20, 2021): 21–28. http://dx.doi.org/10.14421/jiska.2021.61-03.
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Indonesian singers have a diverse musical genre. They also origin from several regions in Indonesia. This study analyzes the relationships between singers, genre, and origin of the singer using the Closeness Centrality algorithm. Data are retrieved by using a SPARQL query on DBpedia Indonesia. The generated graph produces a density value of 0.01. The results of the Closeness Centrality calculation shows that more than 50% out of 268 singers had scores above 30%.
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Chandler, Chuck. "Fitness Training and the Singing Voice: Successful Strategies for Integration." Journal of Singing 78, no. 3 (December 29, 2021): 337–46. http://dx.doi.org/10.53830/dsdv8382.
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With industry changes surrounding expectations of how singers appear in costume and move on stage, many singers integrate fitness training into their lifestyle as they use their bodies as instruments and as athletes. This article comes from both lived experience in fitness training while being a singer and the science that gov-erns the process of training. It examines safe ways for vocational singers to engage in fitness training without detriment to performance careers.
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Mercado, Eduardo. "The Humpback’s New Songs: Diverse and Convergent Evidence Against Vocal Culture via Copying in Humpback Whales." Animal Behavior and Cognition 9, no. 2 (May 1, 2022): 196–206. http://dx.doi.org/10.26451/abc.09.02.03.2022.
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Singing humpback whales constantly modify their songs over hours, days, months, and years, throughout their adult lives. Intriguingly, humpbacks appear to vary songs in concert, with most singers in a population producing similar songs at any given time. The convergent vocal dynamics of singing humpbacks have convinced many that songs are vocal customs, passed from singer to singer through vocal imitation. This interpretation has recently been challenged, however, by the discovery that singers not in acoustic contact may sing highly similar songs, and also appear to change their songs along similar trajectories. How could singers that cannot hear each other culturally conform? Here, it is argued that the changes humpback whales make to songs are inconsistent with either communal copying or competitive improvisation. Instead, singers apar to be continuously morphing the acoustic properties of songs in predictable ways both within and across songs, even in the absence of cross-population interactions. There is no direct evidence that singing humpback whales learn songs by copying other singers. The fact that groups of singers change songs in similar ways is not evidence of vocal imitation, cultural transmission, or cultural evolution. So called “cultural revolutions” in humpback whale songs, which have been touted as the clearest and most impressive evidence of culture in any nonhuman animal, actually provide evidence against vocal culture in humpback whales. Vocal complexity and convergence can arise through mechanisms other than cultural transmission via vocal imitation, and in the case of humpback whales, genetic predispositions and ecological conditions may be more relevant to determining how singers collectively change songs over time.
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Bandhopadhyay, Ankur, Indranil Chaterjee, and Sanghamitra Dey. "A comparative study of phonetogram parameters among female trained Hindustani classical singers, untrained singers and non-singers." International Journal of Otorhinolaryngology and Head and Neck Surgery 5, no. 6 (October 23, 2019): 1527. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20194922.
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<p class="abstract"><strong>Background:</strong> Vocal sound is based on the complex yet co-ordinated interaction of phonatory system, resonatory system and respiratory system. Phonetography is a practicable and readily accessible method to investigate and map the quantitative potentialities of vocal output. The objectives of the present study were to determine the phonetogram of trained (Hindustani classical) singers, untrained singer sand non-singers elicited from singing as well as speech task to see if statistically significant differences were present which may indicate an effect of training.</p><p class="abstract"><strong>Methods:</strong> 90 female subjects between the ages 20-45 (mean age 34.2 years for trained subjects, 26.3 years for untrained subjects and 25.8 years for non-singers) divided into three groups each group consisting of 30 subjects. For the singing task, the individuals had to phonate |a| at habitual level by traversing through eight musical scales. In the speech task, the subjects were asked to count from one to twenty in Bengali at habitat level and at Sustainable cohorts of intensity. This was recorded using phonetogram software Dr. Speech (version 4). The parameters considered were fundamental frequency, intensity, semitones and area. </p><p class="abstract"><strong>Results:</strong> The study revealed that in both tasks singing and non-singing task for all three groups in all the four parameters of phonetogram significant differences were seen (p=0.000) at 95% level of confidence.</p><p class="abstract"><strong>Conclusions:</strong> The present study depicted the phonetographic profile of a genre of trained singers and tracked out the parameters on which differences are pronounced between a trained and untrained singer and non-singer.</p>
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Santos, Sabrina Silva, Thaynara Montagner, Gabriele Rodrigues Bastilha, Letícia Fernandez Frigo, and Carla Aparecida Cielo. "Singing Style, Vocal Habits, and General Health of Professional Singers." International Archives of Otorhinolaryngology 23, no. 04 (October 2019): e445-e450. http://dx.doi.org/10.1055/s-0039-1693140.
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Introduction For the singer, the voice is a medium used to express feelings that capture the listener. Every singing style has specific demands, and a vocal alteration may prevent the singer from meeting them. Objective To compare the singing style, the vocal habits, and the general health data of professional singers. Methods Cross-sectional, quantitative and retrospective study of a survey database. Data on the singing style, the vocal habits, and the health conditions and history of 57 professional singers, 31 female singers and 26 male singers, aged from 19 to 57 years old (average of 32 years old), from a mid-sized town were analyzed Results There was a prevalence of female (54 ± 2%) popular singers (91 ± 2%), in the adult age (51 ± 2%), nonsmokers (89 ± 2%), nonusers of alcohol (77 ± 2%), with respiratory problems (53 ± 2%), mainly rhinitis (23 ± 2%), and without other health problems. There was a significant use of alcohol in males (p = 0.010); among the alcohol users, there was a significant presence of respiratory problems (p = 0.046), of pharyngitis/tonsillitis (p = 0.003), and of gastroesophageal reflux (GER) (p = 0.043); there was a significant presence of GER in subjects reporting endocrine problems (p = 0.023), of gastritis (p = 0.023), and of pharyngitis/tonsillitis (p = 0.030). Conclusion There was a predominance of adult professional popular female singers, with complaints of respiratory issues (with a higher prevalence of rhinitis), without other general health issues, of nonsmokers, and of nonusers of alcohol.
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Chu, Kevin C. "Dive times and ventilation patterns of singing humpback whales (Megaptera novaeangliae)." Canadian Journal of Zoology 66, no. 6 (June 1, 1988): 1322–27. http://dx.doi.org/10.1139/z88-194.
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The dive times and ventilation rates of individual singing humpback whales (Megaptera novaeangliae) on Silver Bank, Dominican Republic, are compared. All singers in this study were alone and moving slowly, so the behavioral states of the whales were imilar. For individual whales, longer dives are clearly followed by more exahalations. Therefore, the longer a singer holds his breath, the greater the need to breathe must be. However, some singers dived for longer periods than did others, and singers with longer mean dive times did not necessarily breathe more often upon surfacing than did singers with short dives. Long dives, then, appear to be less stressful for some whales than for others. The data suggest that some singers are in better physical condition than others. I speculate that by singing, a male humpback may be conveying information about his diving ability and general physical condition.
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Berger, Hanna, and Sarah R. Smith. "Comparison of vocal vibrato across multiple singers and vowels." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A108. http://dx.doi.org/10.1121/10.0018327.
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Vibrato is a common technique used by singers to add expressiveness to their voice, which involves oscillating slightly above and below the target pitch. Analyzing the features of vibrato could be useful in projects such as identifying singers based on their voice or creating a more realistic autotune. The parameters of the vibrato explored included frequency modulation width, frequency modulation rate, and amplitude modulation width. To collect data on these parameters, various singers of different voice parts were recorded singing scales on different vowels with and without vibrato. The singers were recorded in an anechoic chamber to minimize the impact of the room on the samples. The scales were then cut down into individual pitches that could be analyzed. Using MATLAB, the vibrato parameters of the voice samples were calculated and graphed. The data was then compared between vowels sung by the same singer, and between different singers.
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Bandung, Murti, and Syamsuriyana Muchlas. "An Analysis of Pronunciation Errors Made By Indonesian Singers in Singing English Song on Youtube." Humanitatis : Journal of Language and Literature 7, no. 1 (December 30, 2020): 99–108. http://dx.doi.org/10.30812/humanitatis.v7i1.825.
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This research was aimed to know the errors of pronunciation made by Indonesian singers in singing English song on YouTube. The subjects are singers in the age range of 18 to 25 years old. The researcher found 4 Indonesian singers on YouTube which are famous and have a good voice. This research used qualitative method. To collect the data, the researcher searched an American singer on Google, then found a good song and the lyrics on YouTube. Listen to the original music several times and then try to find the Indonesian singers who covered the same song, the last is listen to their singing and analyze it. The researcher found 14 words that were mispronounced by the Indonesian singers on their YouTube channel. There were 8 consonants, they were /θ/,/ð/, /dӡ/, /d/, /v/, /c/, /s/, /p/, and 2 vowels that mispronounced by them, They were /ɪ/, and /æ/. There were several causes that affect their pronunciation. In this research, the researcher hopes that this research can make the singers, students, teachers, etc, to improve their pronunciation skill.
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Utami, Ismi Maulina. "ENGLISH PRONUNCIATION DIVERSITY PRODUCED BY INDONESIAN COVER-SINGERS: A CASE STUDY ON THE YOUTUBE CHANNEL." LET: Linguistics, Literature and English Teaching Journal 11, no. 1 (June 30, 2021): 20. http://dx.doi.org/10.18592/let.v11i1.4598.
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This study focuses on the pronunciation changes of the Indonesian cover-singers on YouTube. It is qualitative research by using documentation technique. There were three subjects of this study namely RM with song “Memories”, AH with song “Thank You Next”, and HD with song “Comethru”. At the first singer’s pronunciation, there were 26 mispronounced words and she did consonant deletion, vowel shift, vowel coalescence, consonant neutralization, consonant insertion, and metathesis. At the second singer’s pronunciation, there were 17 mispronounced words and she did consonant deletion, vowel shift, consonant neutralization, consonant insertion, assimilation, and diphthongization. At the third singer’s pronunciation, there were 12 mispronounced words and she did consonant deletion, consonant neutralization, vowel shift, vowel coalescence, and consonant insertion. These pronunciation changes occur because of the distinction between the phonological system of English and Bahasa Indonesia , and the Indonesian cover-singers still rely on the word’s spelling rather than phonetic sound. Regardless of these two reasons, there are also several similarities in the phonological system between English and Bahasa Indonesia, but the Indonesian cover-singers still perform the pronunciation changes.
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Rosůlek, Přemysl. "The Czech Singers Critical of Islam and Refugees on Facebook in the Age of the “Migration Crisis” (2015–2017)." Politics in Central Europe 14, no. 1 (June 1, 2018): 35–62. http://dx.doi.org/10.2478/pce-2018-0002.
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Abstract The article analyses through qualitative textual analysis and manual coding Czech singers known for their critical attitudes to the “migration crisis”as presented on their Facebook walls (2015–2017). This major focus on the singer’s Facebook posts was reinforced by the analysis based on the two theoretical concepts – celebritisation of politics and post-truth politics. In sum, analyses across theoretical approaches found that a majority of singers – although not all of them – have been judging the problem through the lenses of a black -and -white “Clash of Civilizational” approach. Only a few singers run for political office and political agenda-setting linked to the “migration crisis” was not frequented as expected. Many of the investigated singers expressed support or political endorsement to xenophobic and anti-islamic political parties. Although the “Russian footage” could be denied, the style and characters of communication via Facebook revealed that in many aspects the singers’ strategy is in consonance with current Kremlin propaganda.
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Heisel, Erin. "Empathy as a Tool for Embodiment Processes in Vocal Performance." Empirical Musicology Review 10, no. 1-2 (April 8, 2015): 104. http://dx.doi.org/10.18061/emr.v10i1-2.4601.
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One way of understanding empathy in music performance is as a process by which singers closely identify with the characters they encounter and portray in opera or art song. As singers embody these characters, they literally give them voice. Musical performance thus humanizes characters as well as performers and audiences as deeper, empathetic engagement may also reflect or elicit new pathways of growth, knowledge, and understanding. What is the process a singer goes through in empathizing with a character? How can young singers learn to empathize with the characters they are tasked with portraying, even when they may find the characters or their behavior to fall outside of their own moral convictions? This paper posits that empathy is a necessary part of the role preparation process for singers and introduces the “role journal” as a way for young singers to track embodiment processes and develop healthy habits of empathy and boundaries in their work.
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Sharma, Vasudha, Srikanth Nayak, and Usha Devadas. "A survey of vocal health in church choir singers." European Archives of Oto-Rhino-Laryngology 278, no. 8 (April 10, 2021): 2907–17. http://dx.doi.org/10.1007/s00405-021-06770-0.
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Abstract Purpose Choir singing is an important tradition of Christian worship across India. However, vocal health issues related to the church choir singers are less addressed in the literature. Hence, this study aimed to investigate the prevalence of vocal symptoms, identify the variables associated with increased risk of voice problems and knowledge of factors influencing vocal health in church choir singers. Method One hundred and forty-eight church choir singers (61 males and 85 females) between the age range of 18 and 70 years participated in the study. They completed a self-reported questionnaire addressing demographic and singing-related details, vocal symptoms, variables associated with increased risk reporting voice problems and knowledge about factors influencing vocal health. Result Eighty-four percent of the choir singers reported two or more vocal symptoms sometimes or more frequently while or after singing. More than half of the church choir singers had experienced vocal symptoms such as accessing notes in the upper range, loss of vocal endurance, pitch breaks, hoarseness, dryness in the throat, and discomfort in the throat. Among the different variables, systemic hydration found to have a significant association with reporting of voice problems in church choir singers. The overall knowledge regarding the factors influencing vocal health was found to be limited among the choir singers. Conclusion Choir singers like other professional singers experienced a higher prevalence of vocal symptoms during or after singing and exhibited limited knowledge about factors that negatively influence vocal health. Hence, there is a need to look into these singer’s vocal requirements, who usually go unnoticed.
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Kruglova, Elena. "Historical portrait of the first prima donna of Baroque opera: Vittoria Archilei." Человек и культура, no. 4 (April 2023): 129–40. http://dx.doi.org/10.25136/2409-8744.2023.4.43644.
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The name of Vittoria Archilei has entered the history of vocal art as the first opera prima donna in a new style of singing for the turn of the XVI-XVII centuries. During her lifetime, the singer enjoyed great popularity. Outstanding composers G. Caccini, J. Peri, S. D'India, E. de’ Cavalieri, etc. they admired her skill, noting the extraordinary tenderness of the sound of her voice, combined with its bright virtuosity. Archilei performance was significantly different from other singers, her contemporaries. It is not by chance that J. Peri calls the prima donna the Euterpe of his time. The article presents a creative portrait of Vittoria Archilei, the first brilliant interpreter of monodic music, an outstanding singer who created a new method of singing women. The methodological basis of the work is the principle of historicism. The cultural and historical research method was used. The biographical reconstruction was made on the basis of source studies with reviews of the singer's contemporaries, letters, music-critical articles. In Russian musicology, this article is the first special publication dedicated to the creative path of Vittoria Archilei. This material will be useful for musicians, singers performing old music, for its stylistically correct interpretation, as well as in training courses on the history of vocal performance at vocal departments of music colleges and faculties of universities.
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Kaye, Sasha L. "An Overview of Premenstrual Voice Syndrome: Definition, Treatment, and Future Trajectories." Medical Problems of Performing Artists 35, no. 1 (March 1, 2020): 59–65. http://dx.doi.org/10.21091/mppa.2020.1008.
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For classical singers, performing in peak condition is optimal at all times in an industry which demands excellence. The slightest variability in a singer’s physiology can influence sound quality and production; in severe instances, a singer’s career longevity may be compromised. Researchers have observed an effect of menstrual cycle hormone variability on the voice, compromising tone quality, agility, and stamina. For a subset of these singers, the effect of hormone variability on voice production is especially severe. This phenomenon has been termed premenstrual voice syndrome (PMVS) among singers, although there has been little empirical research on PMVS, which complicates matters related to defining, taxonomizing, and treating the condition. This article offers an overview of existing research related to PMVS, identifies gaps in definitional and categorical boundaries between PMVS and premenstrual syndrome (PMS) and premenstrual dysphoric disorder (PMDD), and offers recommendations for symptom management as well as suggestions for pedagogues and teachers to better educate themselves and their students about PMVS.
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Olson, Ted, and Betty N. Smith. "Jane Hicks Gentry: A Singer among Singers." American Music 18, no. 4 (2000): 426. http://dx.doi.org/10.2307/3052584.
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Baker, Bruce E., and Betty N. Smith. "Jane Hicks Gentry: A Singer among Singers." Journal of American Folklore 113, no. 448 (2000): 229. http://dx.doi.org/10.2307/541304.
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Frigau Manning, C. "Singer-Machines: Describing Italian Singers, 1800-1850." Opera Quarterly 28, no. 3-4 (December 1, 2012): 230–58. http://dx.doi.org/10.1093/oq/kbt006.
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Owens, Kaitlyn, and Jeffrey Lamontagne. "Community and lifespan changes in music: Sociophonetic variation in Laurentian French." Proceedings of the Linguistic Society of America 8, no. 1 (April 27, 2023): 5531. http://dx.doi.org/10.3765/plsa.v8i1.5531.
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Previous studies on English have highlighted various instances where individual singers or small groups change which dialectal features appear in their music (e.g. Trudgill 1997; Beal 2009; Coupland 2011; Eberhardt & Freeman 2015; Lyon 2019). Whereas corpus studies on music have the option between real-time or apparent-time analyses, most previous research on music has largely been conducted via case studies on change across a singer or group’s career (see Gibson in press a). Focusing on Laurentian French (also known as Quebec French or Canadian French), multiple singers may moderate dialectal traits in music due to their albums being released internationally, where the dialect faces stigma (Szlezák 2015). We further hypothesize that pop singers are especially sensitive to international norms and stigma because they are more likely to market abroad due to pop music’s greater international appeal (Grenier 1993). We examine non-lengthened high vowel laxing in closed final syllables (e.g. /vit/ [vɪt] vite ‘fast’; Dumas 1983), a process characteristic of Laurentian French that is categorical (Côté 2012) and nonstigmatized (Lappin 1982; Paradis & Dolbec 1998; Reinke et al. 2006) within the dialect. We expand the study of dialectal traits in music beyond English by using a new corpus of 20 Québécois singers who sing in French and are of the Laurentian French dialect. Additionally, we analyze the patterning of groups of singers across their careers, rather than the patterning of a single singer, and analyze real-time change of groups as opposed to individuals
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Bangun, Ridawati, and Supsiloani Supsiloani. "Kehidupan Anak Pengamen Jalanan di Simpang Pos Jl. Jamin Ginting Kelurahan Kwala Bekala Medan." Jurnal Antropologi Sumatera 20, no. 2 (May 31, 2023): 74. http://dx.doi.org/10.24114/jas.v20i2.43924.
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This study purpose to know some factors which has background a children working as a singer, social interaction between a children singers with the condition economy of family. The children working as a singer in Simpang Pos Jl. Jamin Ginting Kelurahan Kwala Bekala Medan. The research methodology used a qualitative research with descriptive approach technic to collecting data that used is observation, interview, and documentation. The result of research is the children that working as singers has background some of factors related to one another is a problem of poverty that cause low income the parents so that the children working too, some of the poor children working because willingness their self because realize the income of their parents that unable sufficient the needed of family, beside that the children working in the streets as singers that cause of blind following factors with their friend of the same age and cultural factors.
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Kittimathaveenan, Kajornsak, Sten Ternström, and Sara D'Amario. "Voice matching in sung duos: Is it related to spectrum envelopes?" Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A344—A345. http://dx.doi.org/10.1121/10.0023747.
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Choir singers report anecdotally that two voices can be perceived as a good match for each other, or not. Could “matching voices” be explained by the spectrum envelopes? Thirteen singers sang a duo in unison or canon with an adjacent prerecorded reference singer, in a moderately reverberant room. Singers controlled the stimulus timbre, using variable filters in medium and high frequency bands. They were asked to adjust the filters, while singing, for “best” and “worst” perceived matching. The singers then performed the song again, but with the filters automatically set to their chosen (dis-)preferences. The Self-to-Other ratio as a function of frequency [SOR(f)] at the ipsilateral ear of the participant was estimated from multiple microphone signals to predict separately the long-time average spectra of Self and Other. Most participants rated the sound with extreme filter settings at ±15 dB as the “worst” match, while “best” matches were fairly evenly distributed. Some but not all participants preferred the spectra to be complementary. However, at low frequencies, SOR(f) was about +10 dB, and very irregular but rarely negative at medium and high frequencies; so how an adjacent singer can be heard at all will require further investigation.
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Clarós, Pedro, Aleksandra Sobolewska, María Del Carmen Pujol, Astrid Clarós-Pujol, and Andrés Clarós. "Long-term results of tonsillectomy in professional opera singers: a pilot study." International Journal of Otorhinolaryngology and Head and Neck Surgery 6, no. 5 (April 21, 2020): 815. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20201669.
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<p class="abstract"><strong>Background:</strong> The primary goal of this study was to evaluate the long-term influence of tonsillectomy on the quality of life and voice performance of opera singers. Survey study which was reviewing the long-term effects of tonsillectomy. </p><p class="abstract"><strong>Methods:</strong> Retrospective review of patients’ records and surveys in which patients have answered the questions about the influence of tonsillectomy on their voice. A total group of 30 singers was included in the study. They answered the questions about the indications for surgery, symptoms, and changes in their voice after surgery. The study group consisted of 19 women and 11 men. Mean age was 18.53 years old at the moment of surgery. The group included eleven sopranos, six mezzos, two contraltos, four tenors, five baritones, and one bass singer. </p><p class="abstract"><strong>Results:</strong> A most common indication for tonsillectomy in opera singers was recurrent tonsillitis and was present in over 83% of cases. After surgery, the voice performance was better in 60% of cases, breathing improved in 50% of cases, voice emission was higher in 53% of cases. Over 80% of singers would recommend that surgery to another opera singer.</p><p class="abstract"><strong>Conclusions:</strong> Singers evaluated long-term influence of tonsillectomy as positive. Over 80% admitted improved effect on emission and the function of voice.</p>
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Oras, Janika. "Individual Rhythmic Variation in Oral Poetry: The Runosong Performances of Seto Singers." Open Linguistics 5, no. 1 (December 31, 2019): 570–82. http://dx.doi.org/10.1515/opli-2019-0031.
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AbstractThe article explores the individual differences of rhythmic variation in traditional sung oral poetry. The analysed group of ritual songs is part of the Seto singing culture – a subtradition of Finnic oral trochaic tetrameter. The rhythmic variation, created by different positioning of stressed syllables in the song line, reveals itself on two levels, in linguistic verse structure and in musical performance. In the singers’ performances the verse and musical structures complement each other, having a cumulative rhythmic effect. By designing the rhythm at both levels, the singers systematically take into consideration the linguistic features of the used words. A statistical analysis shows a remarkable divergence in the rhythmic variation of different lead singers. The results are more homogeneous at the level of linguistic verse structure and more diverse at the level of musical performance. Also, the rhythmic choices of the lead singer and his or her choir in the course of the performance may differ. We may speculate that this divergence in individual rhythmic strategies could have been caused by the singers’ type of creativity and skills, their different perceptions of genre features and intergeneric relations, and the musical influences between more closely related singers.
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Bucciarelli, Melania. "Senesino’s Negotiations with the Royal Academy of Music: Further Insight into the Riva–Bernardi Correspondence and the Role of Singers in the Practice of Eighteenth-Century Opera." Cambridge Opera Journal 27, no. 3 (November 2015): 189–213. http://dx.doi.org/10.1017/s0954586715000087.
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AbstractThis article examines the protracted negotiations between the castrato Francesco Bernardi, known as ‘Senesino’, and the Royal Academy of Music, documented in five letters sent by the singer to diplomat Giuseppe Riva between 1717 and 1720. They reveal a tight network of singers, patrons and agents, and highlight how Senesino negotiated not only for a role of primo uomo in the cast, but also for a role of artistic influence in London. This episode in Senesino’s career together with examples of ‘unofficial’ directorial practice and ‘hidden’ artistic influence of singers such as Nicola Grimaldi (‘Nicolini’), Antonio Bernacchi and Luigi Marchesi suggest a yet stronger presence of singers, especially castrati, in the economy of eighteenth-century opera than has been hitherto recognised.
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Smith, Anne Marie, and W. John Smith. "Behavioral Information Provided By Two Song Forms of the Eastern Kingbird, T. Tyrannus." Behaviour 120, no. 1-2 (1992): 90–102. http://dx.doi.org/10.1163/156853992x00228.
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AbstractEastern kingbirds facilitate prediction of their social behavior through the proportional use of two different song forms, zeer and chatter-zeer, in daytime singing performances. The chatter-zeer song form predicts approach to closer quarters, whereas zeer predicts a high probability of staying put. The correlations of each song form with behavior were determined by observing natural encounters singers had with their mates, conspecific intruders and birds of other species. Playback simulations of territorial intrusions were then used to test whether singers would approach with a high proportion of chatter-zeer and little or no zeer. This was strongly confirmed. Kingbirds who approach are taking a major interactional initiative, even though their next move is usually to await the other individual's response. In effect, singers dare or encourage those individuals to interact. The chatter-zeer with which they precede or announce approach does not specify the kind of interaction for which singers are prepared: the information it provides is as relevant in events in which the singer associates with its mate as in events in which the singer confronts an opponent. A zeer singer is less actively provocative, deferring initiative more while nonetheless being ready to respond to the actions of others. By providing information about the relative probabilities of these actions, singing should help kingbirds to negotiate or even arrange social issues while spatially separated, often obviating closer encounters. Since many kinds of animals sing, and since the characteristic continuity and cadencing of singing performances are specializations well suited to communicating at a distance, it is worth asking if other species also use singing patterns and songs to distinguish between the actions of holding back and approaching.
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Cha, Junseo, Seong Hee Choi, and Chul-Hee Choi. "Can a natural singing voice be enhanced through digital processing? Implications of voice training and vocology in singers." Revista de Investigación e Innovación en Ciencias de la Salud 3, no. 2 (December 18, 2021): 72–86. http://dx.doi.org/10.46634/riics.119.
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Introduction. The traditional way of facilitating a good singing voice has been achieved through rigorous voice training. In modern days, however, there are some aspects of the singing voice that can be enhanced through digital processing. Although in the past, the frequency or intensity manipulations had to be achieved through the various singing techniques of the singer, technology today allows the singing voice to be enhanced from the instruments within recording studios. In essence, the traditional voice pedagogy and the evolution of digital audio processing both strive to achieve a better quality of the singing voice, but with different methods. Nevertheless, the major aspects of how the singing voice can be manipulated are not communicated among the professionals in each field. Objective. This paper offers insights as to how the quality of the singing voice can be changed physiologically through the traditional ways of voice training, and also digitally through various instruments that are now available in recording studios. Reflection. The ways in which singers train their voice must be mediated with the audio technology that is available today. Although there are aspects in which digital technology can aid the singer’s voice, there remain areas in which the singers must train their singing system at a physiological level to produce a better singing voice.
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Vurma, Allan. "Spectral envelope consistency singing diatonic scales with different dynamics contours." Musicae Scientiae 24, no. 2 (September 11, 2018): 227–50. http://dx.doi.org/10.1177/1029864918798136.
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This study was motivated by the frequently expressed opinion that in the classical style of singing one of the main objectives is the evenness of the voice over wide pitch and dynamic ranges. With an empirical experiment, we aimed to discover whether and how the acoustical parameters related to voice timbre change when professional male vocalists fulfil vocal tasks with changing pitch and dynamics. We asked 11 participants to produce one-octave D-major ascending diatonic scales in three different ways: (1) with their habitual dynamics, (2) with sempre crescendo, and (3) with sempre diminuendo. The values of the corresponding parameters varied systematically in the case of all the singers tested. Some of these changes occurred for purely acoustical reasons that are unrelated to the vocal technique of the singer. Several singers used vocal strategies whose purpose appeared to be the improvement of the perceived evenness of the voice. One such technique was the creation of a difference between the piano and forte dynamics primarily by changing the voice timbre without varying the sound level significantly. An alternative strategy was varying the sound level while minimizing the variation in the level of the singer’s formant (which is related to the brightness and carrying power of the voice).
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Henry, Michele L. "The Effect of Pitch and Rhythm Difficulty on Vocal Sight-Reading Performance." Journal of Research in Music Education 59, no. 1 (February 7, 2011): 72–84. http://dx.doi.org/10.1177/0022429410397199.
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Singing music at sight is a complex skill, requiring the singer to perform pitch and rhythm simultaneously. Previous research has identified difficulty levels for pitch and rhythm skills individually but not in combination. In this study, the author sought to determine the relationship between pitch and rhythm tasks occurring concurrently. High school singers ( N = 252) sang melodies with varying combinations of pitch and rhythm difficulty. Results indicate that pitch and rhythm skills retained their relative difficulty levels, regardless of the presence of other factors. Rhythmic success was significantly related to pitch success. Rhythm accuracy without pitch success occurred least frequently. Pitch accuracy without rhythm success occurred most frequently. Singers appeared to give priority to pitch over rhythm, performing pitch correctly at the expense of rhythmic accuracy. Singers with instrument/piano experience and singers with piano experience only scored significantly higher than did those with no instrument/piano training ( p < .05). Those with instrument and/or piano experience were more proficient at performing pitch and rhythm together than those without such experience. Implications for teachers include the necessity of emphasizing rhythmic continuity. Future research should explore the pitch and rhythm reading capabilities for instrumentalists, and singers’ ability to sight-read additional musical elements.
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Zilmi, Fauziatus, Abdul Rachman, and Moh Muttaqin. "Ngeroncongi And Ngepop : A Study Of Popular Song's Vocal Performance In Keroncong Music In Semarang." Jurnal Seni Musik 10, no. 1 (June 30, 2021): 17–24. http://dx.doi.org/10.15294/jsm.v10i1.46812.
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Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre. Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation.
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Bottalico, Pasquale, Natalia Łastowiecka, Joshua D. Glasner, and Yvonne Gonzales Redman. "Singing in different performance spaces: The effect of room acoustics on vibrato and pitch inaccuracy." Journal of the Acoustical Society of America 151, no. 6 (June 2022): 4131–39. http://dx.doi.org/10.1121/10.0011675.
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Previous literature suggests that musical performers may be influenced to some extent by the acoustic environment in which they sing or play. This study investigates the influence of room acoustics on singers' voice production, by analyzing consecutive sung performances of classically trained students in five different performance spaces. The analyzed voice parameters were vibrato rate, extent, and pitch inaccuracy. Nine classically trained student-singers performed the same aria unaccompanied on a variable starting pitch that was consistent between spaces. Variance in vibrato rate and pitch inaccuracy was primarily explained by individual differences between singers. Conversely, the variance attributable to the rooms for the parameter of vibrato extent was larger compared to the variance attributable to the performers. Vibrato extent tended to increase with room clarity (C80) and was inversely associated with early decay time (EDT). Additionally, pitch inaccuracy showed a significant negative association with room support (STv). Singers seem to adjust their vocal production when performing in different acoustic environments. Likewise, the degree to which a singer can hear themself on stage may influence pitch accuracy.
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Rao, K. Rajashekhar, K. Sharvani, Ch Shri Vaishnawi, and Margaret Marina. "Singer Identification by Vocal Parts Detection and Singer Classification Using LSTM Neural Networks." International Journal for Research in Applied Science and Engineering Technology 10, no. 8 (August 31, 2022): 1644–48. http://dx.doi.org/10.22214/ijraset.2022.46473.
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Abstract: Identification of singers is considered an important research area in audio signal processing. It has acquired the scientist’s intrigues in two primary branches,1) recognizing vocal parts of polyphonic music, and 2) Classifying Singer. Here, we plan to handle the two issues, simultaneously. Techniques like GMM, SVM, and HMM have previously been utilized in classifying singers. In this work, we proposed a system for singer identification using Deep Learning and Feed Forward Neural Networks, which to the best of our knowledge have not been used for this purpose before. Preprocessing involves examining large sets of audio features to extract the most efficient set for the recognition stage. Our work is divided into several stages. To begin with, the vocal parts of all music files are identified utilizing an LSTM network which can perform well for the time series information, for example, audio signals. Then, at that point, an MLP network is integrated and contrasted with an SVM classifier in order to classify the gender of the singers. At last, one more LSTM network is involved to recognize every singer ID, and contrasted with MLP network in a similar task. In each step, various classifiers are analyzed and the outcomes are looked at, which affirm the effectiveness of our technique contrasted with the best in class.
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Spitz, Scott S., Louis M. Herman, Adam A. Pack, and Mark H. Deakos. "The relation of body size of male humpback whales to their social roles on the Hawaiian winter grounds." Canadian Journal of Zoology 80, no. 11 (November 1, 2002): 1938–47. http://dx.doi.org/10.1139/z02-177.
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We examined the relation of body length of male humpback whales (Megaptera novaeangliae) to the social roles they adopted on the Hawaiian winter grounds: principal escort in a competitive group, secondary escort, lone escort to a mothercalf pair, male partner in a dyad, and singer. Using underwater videogrammetry, we measured body lengths of 17 principal escorts, 68 secondary escorts, 40 single escorts, 17 male partners, and 8 singers. Results revealed that (i) principal escorts were, on average, significantly larger than males in each of the remaining social roles except singer, (ii) singers were significantly larger than male partners, (iii) there were no significant size differences among secondary escorts, single escorts, or male partners. Further, principal escorts tended to be the largest or second-largest male within their individual competitive group. All principal escorts were of sizes that indicated a 0.81 probability or better of sexual maturity, based on whaling data. In comparison, more than half of the male partners, almost one-third of the secondary escorts, and one-fifth of the single escorts were of sizes that indicated a 0.5 probability or less of sexual maturity. Seven of the eight singers had a 0.9 probability or better of sexual maturity and the eighth singer a 0.5 probability. However, the data for singers are too few to allow firm conclusions to be reached about the relation of body size to singing. Overall, our findings suggest that body size confers an advantage in physical competition between male humpback whales, and that a large proportion of males adopting the role of secondary escort, single escort, and partner are likely to be sexually immature. Additionally, the competitive group appears to be a major reproductive unit in terms of bringing together a receptive female and potential mates.
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Muhabbatillah, Sajidah, and Tri Gunawan. "Pola Komunikasi Penyanyi Dangdut, Konflik, dan Resolusi Penyelesaiannya (Studi pada Penyanyi Dangdut di Desa Banjarsawah, Kecamatan Tegalsiwalan, Kabupaten Probolinggo)." JSHP : Jurnal Sosial Humaniora dan Pendidikan 4, no. 1 (March 1, 2020): 56–62. http://dx.doi.org/10.32487/jshp.v4i1.805.
Full textAbstract:
Being a dangdut singer is not an easy profession. There are still many negative assumptions from the community towards this profession. Even so, there are still many women who become dangdut singers, although often criticized. As happened in the village of Banjarsawah, Tegalsiwalan District, Probolinggo Regency. This study seeks to describe the communication carried out by dangdut singers and the audience so that they are liked a lot, the conflicts experienced by dangdut singers, and the treatment of conflicts and communication efforts in the resolution process. This study uses descriptive qualitative method. The results showed that the dangdut singer tried to establish good communication with the audience by always greeting and asking the songs you want to listen to. Conflicts often occur between dangdut singers and with their neighborhoods. The settlement process is done by ignoring the negative assumptions given by the community, improving communication, and avoiding the community that is acting badtowards them. Keywordi: communication. conflict, dangsdut singer, resolutionAbstrakMenjadi penyanyi dangdut bukanlah profesi yang mudah. Masih banyak anggapan negatif dari masyarakat terhadap profesi ini. Meskipun begitu, masih banyak perempuan yang menjadi penyanyi dangdut walaupun seringkali mendapat kecaman. Seperti yang terjadi di Desa Banjarsawah, Kecamatan Tegalsiwalan, Kabupaten Probolinggo. Penelitian ini berusaha untuk mendeskripsikan komunikasi yang dilakukan penyanyi dangdut dengan penonton agar banyak disukai, konflik yang dialami oleh penyanyi dangdut, dan perlakuan konflik serta upaya komunikasi dalam proses resolusinya. Penelitian ini menggunakan metode penelitian kualitatif deskriptif. Hasil penelitian menunjukkan bahwa penyanyi dangdut berusaha untuk menjalin komunikasi yang baik dengan penonton dengan cara selalu menyapa dan menanyakan lagu yang ingin didengarkan. Konflik sering terjadi baik antar penyanyi dangdut maupun dengan lingkungan tempat tinggal mereka. Proses penyelesaian yang dilakukan adalah dengan jalan mengabaikan anggapan negatif yang diberikan masyarakat, memperbaiki komunikasi, dan menghindari masyarakat yang berlaku buruk terhadap mereka.Kata Kunci: Komunikasi, Konflik, Penyanyi Dangdut, Resolusi
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Armstrong, Alan. "Gilbert-Louis Duprez and Gustave Roger in the composition of Meyerbeer's Le Prophète." Cambridge Opera Journal 8, no. 2 (July 1996): 147–65. http://dx.doi.org/10.1017/s0954586700004663.
Full textAbstract:
It is well known that mounting large-scale productions at the Paris Opéra during the 1830s and 1840s was a highly collaborative effort. The nature of so-called ‘grand opera’ demanded that composer, librettist and stage designer work closely together for the sake of a creation larger than the sum of its parts. Above them loomed the directeur, who laboured to ensure that his creative team had the means to produce their æuvres both in materials and human resources, and to guarantee that the Opéra made a profit from the finished products. A fifth collaborator, the singer, is not often cited as such in the literature, but in many ways wielded the greatest power in the creation of Parisian operatic works. By the 1830s, European singers had achieved professional status, and a singing artist of high calibre could find the Opéra a perfect venue in which to flex muscle. During the Opera's ‘golden age’, a bourgeois public, tired of political upheaval and economic uncertainty, found escape in the new ‘romanticè fare of the Opéra, and elevated the singers who strode its boards to what today is called ‘star status’. The Opéra became a temple and its singers, adored gods and goddesses. A beloved singer could – and did – ensure an opera's success simply by appearing in it, or doom it to failure by refusing to appear. With such power a singer could easily hold a new opera for ransom, forcing the composer and librettist to revise, excise or otherwise alter the work to some self-serving end. To secure a place for their stage works at the Opéra and to guarantee a public triumph, therefore, it is not surprising that composers such as Donizetti, and especially Meyerbeer, the leading composer of French grand opera, composed or revised their operas for particular singers.