Log in

Relevant bibliographies by topics / Vibrato / Journal articles

To see the other types of publications on this topic, follow the link: Vibrato.

Journal articles on the topic 'Vibrato'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Vibrato.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Geringer, John M., and Michael L. Allen. "An Analysis of Vibrato among High School and University Violin and Cello Students." Journal of Research in Music Education 52, no. 2 (July 2004): 167–78. http://dx.doi.org/10.2307/3345438.

Full text

Abstract:

We investigated vibrato performance of university student and high school string players. Forty violinists and cellists performed an eight-measure passage both with and without vibrato. Analyses indicated that the mean rate of vibrato was approximately 5.5 Hz, with no significant differences between instruments or performer experience level. The mean width of violin vibratos was larger than cello vibratos. Violinists' mean pitch levels were sharper than cellists' in both vibrato and nonvibrato performances. Analysis of intonation patterns within the duration of tones showed that performers were more stable when using vibrato. University players tended to become sharper during both vibrated and nonvibrated tones compared to the younger players. Pitch oscillations during vibrato were alternations both above and below conceived pitch, rather than oscillations only above or only below the conceived pitch.

APA, Harvard, Vancouver, ISO, and other styles

2

MacLeod, Rebecca B. "Influences of Dynamic Level and Pitch Register on the Vibrato Rates and Widths of Violin and Viola Players." Journal of Research in Music Education 56, no. 1 (April 2008): 43–54. http://dx.doi.org/10.1177/0022429408323070.

Full text

Abstract:

The purpose of this study was to investigate possible influences of pitch register and dynamic level on vibrato rates and widths of university and high school violin and viola players. Analysis showed that pitch register significantly affected the vibrato rates and widths of the performers. Musicians vibrated 0.32 Hz faster and approximately 26 cents wider during high pitches than during low pitches. Dynamic level also significantly affected vibrato width. Performers increased vibrato width approximately 4 cents in the forte passages when compared to the piano passages. Furthermore, violinists demonstrated a tendency to vibrate slightly faster and wider than violists, and university performers varied their vibrato width to a greater extent between the piano and forte passages than did the high school performers. These results, along with further study, can contribute to the development of a systematic method for teaching vibrato.

APA, Harvard, Vancouver, ISO, and other styles

3

Geringer, John M., Michael L. Allen, and Rebecca B. MacLeod. "Initial Movement and Continuity in Vibrato among High School and University String Players." Journal of Research in Music Education 53, no. 3 (October 2005): 248–59. http://dx.doi.org/10.1177/002242940505300306.

Full text

Abstract:

The purpose of the present study was to investigate aspects of vibrato performance among high school and university string players. The main questions were to determine whether students consistently initiate vibrato in an upward or downward direction and whether players vibrate continuously when performing slurs. Forty high school and university violin and cello students played exercises that included tones performed with and without vibrato. We measured direction and magnitude of change when initiating vibrato, pitch levels of vibrated and nonvibrated tones, and duration of nonvibrato when performing slurs. Results showed that these high school and university players did not reveal consistent initial vibrato movements in either direction or magnitude. Performers vibrated both above and below conceived pitch, rather than only upward or only downward. All performers stopped vibrating during the transition between slurred notes. Mean duration of nonvibrato portions of university students (0.42 second) was slightly less than that of high school students (0.50 second). Implications of these results for string pedagogy are discussed. March 28, 2005 June 7, 2005

APA, Harvard, Vancouver, ISO, and other styles

4

Geringer, John M., Rebecca B. MacLeod, and Michael L. Allen. "Perceived Pitch of Violin and Cello Vibrato Tones Among Music Majors." Journal of Research in Music Education 57, no. 4 (November 4, 2009): 351–63. http://dx.doi.org/10.1177/0022429409350510.

Full text

Abstract:

The purpose of this study was to investigate the perceived pitch of string vibrato tones. The authors used recordings of acoustic instruments (cello and violin) to provide both vibrato stimulus tones and the nonvibrato tones that listeners adjusted to match the perceived pitch of the vibrato stimuli. We were interested especially in whether there were differences in pitch perception of vibrato tones between string performers ( n = 36) and music majors without string performance experience ( n = 36). Both groups of music major listeners perceived the pitch of vibrato tones very near the mean frequency of the vibrato for cello and violin tones. Although means were similar, string players exhibited significantly less deviation in tuning judgments than non-string players for both violin and cello tones. Results appear consistent with earlier perceptual research as well as performance research indicating that string performers vibrate both above and below the intended pitch.

APA, Harvard, Vancouver, ISO, and other styles

5

Glasner, Joshua D., and John Nix. "Perception of vibrato rate by professional singing voice teachers." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A54. http://dx.doi.org/10.1121/10.0015518.

Full text

Abstract:

This study sought to investigate how voice clinicians perceive vibrato rate alterations when presented with controlled, synthesized singing voice samples which vary in vibrato rate and vibrato extent. Thirty-four professional voice teachers completed a twelve-item demographic survey and performed a visual sort and rate task (VSR). For the VSR task, each participant listened to twenty synthesized samples and sorted them from slowest vibrato rate to fastest vibrato rate. This task resulted in distance (i.e. individual perception of vibrato rate) and rank-difference measurements for each sample. Two generalized linear mixed effects models (GLMM) and one linear model (LM) were computed. Results for GLMM’s found significant associations between vibrato extent and vibrato rate and both individual perception of vibrato rate and rank-difference. Results for the LM found no significant relationships between demographic information and absolute total ranking error. From the results of this study, it seems that both vibrato extent and vibrato rate influence the perception of vibrato rate for professional voice teachers. Neither age nor teaching experience seemed to relate to the ability to discern vibrato rate accurately.

APA, Harvard, Vancouver, ISO, and other styles

6

Beauchamp, James W. "Vibrato parameterization." Journal of the Acoustical Society of America 136, no. 4 (October 2014): 2150. http://dx.doi.org/10.1121/1.4899766.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Steyn, Mikki (Marietjie). "Flute vibrato." Ars Nova 28, no. 1 (January 1996): 25–41. http://dx.doi.org/10.1080/03796489608566540.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Shi, Yang, and James W. Beauchamp. "Time-scaling vibrato tones while preserving vibrato rate." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2606. http://dx.doi.org/10.1121/1.5014540.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Almeida, André, Emery Schubert, and Joe Wolfe. "Timbre Vibrato Perception and Description." Music Perception 38, no. 3 (February 1, 2021): 282–92. http://dx.doi.org/10.1525/mp.2021.38.3.282.

Full text

Abstract:

In music, vibrato consists of cyclic variations in pitch, loudness, or spectral envelope (hereafter, “timbre vibrato”—TV) or combinations of these. Here, stimuli with TV were compared with those having loudness vibrato (LV). In Experiment 1, participants chose from tones with different vibrato depth to match a reference vibrato tone. When matching to tones with the same vibrato type, 70% of the variance was explained by linear matching of depth. Less variance (40%) was explained when matching dissimilar vibrato types. Fluctuations in loudness were perceived as approximately the same depth as fluctuations in spectral envelope (i.e., about 1.3 times deeper than fluctuations in spectral centroid). In Experiment 2, participants matched a reference with test stimuli of varying depths and types. When the depths of the test and reference tones were similar, the same type was usually selected, over the range of vibrato depths. For very disparate depths, matches were made by type only about 50% of the time. The study revealed good, fairly linear sensitivity to vibrato depth regardless of vibrato type, but also some poorly understood findings between physical signal and perception of TV, suggesting that more research is needed in TV perception.

APA, Harvard, Vancouver, ISO, and other styles

10

Silva, Ana Carla Schmidel Lourenço, Luzia da Silva Caçador, and Lívia Lima Ribeiro. "O vibrato de cantores profissionais da música gospel." Revista CEFAC 16, no. 4 (August 2014): 1255–65. http://dx.doi.org/10.1590/1982-0216201427212.

Full text

Abstract:

Objetivo verificar as características do vibrato de cantores profissionais de acordo com o estilo da música gospel; e se o comando verbal para a realização do vibrato interfere em suas características. Métodos aprovação do CEP. Analisou-se as características espectrográficas do vibrato de 20 cantores gospel profissionais, 06 homens e 14 mulheres (média de idade: 30 anos), por meio de dois estilos gospel – adoração e pentecostal. Estruturou-se duas situações de gravação – ausência e presença de comando verbal para a realização do vibrato. Todos os participantes responderam ao item de sinais e sintomas vocais do protocolo CPV-P e realizaram avaliação laringológica. Resultado observou-se que no estilo pentecostal 95% dos participantes realizaram vibrato regular, com maior variação da amplitude, maior energia do espectro e melhor definição dos harmônicos; na adoração 100% realizaram vibrato irregular, com menor variação da amplitude, menor energia no espectro e 50% tiveram presença de harmônicos com menor definição e 50% com ausência de harmônicos. Na análise espectrográfica observou-se que, no pentecostal, houve vibrato regular em 75% dos sujeitos, maior variação da amplitude em 65%, maior energia no espectro em 55%, e presença com maior definição em 70%, tanto para situação sem comando verbal quanto para a com comando para realização de vibrato. Não houve relação entre aulas de canto, terapia fonoaudiológica e características do vibrato. Conclusão o vibrato de cantores treinados modifica conforme o estilo gospel cantado. O comando verbal para a realização do vibrato aumenta a definição de regularidade, amplitude, energia no espectro e definição dos harmônicos.

APA, Harvard, Vancouver, ISO, and other styles

11

Guzmán, Marco Antonio. "Entrenamiento del vibrato en cantantes." Revista CEFAC 13, no. 3 (July 23, 2010): 568–78. http://dx.doi.org/10.1590/s1516-18462010005000072.

Full text

Abstract:

TEMA: El vibrato de la voz es uno de los rasgos acústicos, técnicos y estilísticos más importantes en la caracterización de la cualidad de la voz en cantantes clásicos. Técnicamente, vibrato es una pulsación del tono, usualmente acompañada con pulsaciones sincrónicas de intensidad y timbre. El vibrato puede ser descrito acústicamente por el rate, extent y periodicidad de las modulaciones en frecuencia y modulaciones de la amplitud de la voz. El objetivo del presente artículo es mostrar y explicar un nuevo procedimiento para entrenar y corregir vibrato en cantantes. PROCEDIMIENTOS: Estudiante de canto lirico de 25 años, sexo masculino con clasificación vocal de barítono lirico, voz normal desde el punto de vista perceptual. La corrección del vibrato se realiza por medio del método "Entrenamiento rítmico del vibrato". Se produce la subdivisión rítmica de un pulso durante la emisión de una vocal con un "tempo" o velocidad constante. Posteriormente se varía la velocidad del pulso, las vocales y la melodía del ejercicio. Los parámetros acústicos del vibrato son evaluados objetivamente antes y después del entrenamiento. RESULTADOS: el paciente logró producir un vibrato con rate, extent y regularidad dentro de rangos normales. Esto se realizó de forma consciente y dirigida, utilizando actividad laríngea y abdominal en forma conjunta. La naturalidad del vibrato continuó mejorando después de finalizado el entrenamiento. CONCLUSIONES: es posible el entrenamiento y/o corrección del vibrato en forma dirigida a través de ejercicios específicos destinados a ese objetivo. El apoyo visual cumple un rol importante en los resultados obtenidos.

APA, Harvard, Vancouver, ISO, and other styles

12

Neumann, Frederick. "The Vibrato Controversy." Performance Practice Review 4, no. 1 (1991): 14–27. http://dx.doi.org/10.5642/perfpr.199104.01.3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Marsh, Peter. "Vibrato: Three Perspectives." American String Teacher 39, no. 3 (August 1989): 34–35. http://dx.doi.org/10.1177/000313138903900315.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Gilbert, J., L. Simon, and J. Terroir. "Vibrato of saxophones." Journal of the Acoustical Society of America 118, no. 4 (October 2005): 2649–55. http://dx.doi.org/10.1121/1.2036027.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Mishra, Jennifer. "Easing into Vibrato." American String Teacher 53, no. 4 (November 2003): 84–87. http://dx.doi.org/10.1177/000313130305300412.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Dromey, Christopher, Neisha Carter, and Arden Hopkin. "Vibrato Rate Adjustment." Journal of Voice 17, no. 2 (June 2003): 168–78. http://dx.doi.org/10.1016/s0892-1997(03)00039-0.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Coleman, Robert F., Jean Hakes, Douglas M. Hicks, John F. Michel, Lorraine A. Ramig, and Howard B. Rothman. "Discussion on vibrato." Journal of Voice 1, no. 2 (January 1987): 168–71. http://dx.doi.org/10.1016/s0892-1997(87)80041-3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Hurwitz, David. "Vibrato, the Orchestral Organ and the ‘Prevailing Aesthetic’ in Nineteenth-Century Symphonic Music." Nineteenth-Century Music Review 11, no. 1 (June 2014): 93–112. http://dx.doi.org/10.1017/s1479409814000160.

Full text

Abstract:

The issue of vibrato's presence in the nineteenth-century orchestral string section has become controversial, with musicians often asked to accept the proposition that vibrato existed rarely, if at all. Fortunately an extensive, hitherto overlooked, body of primary source material exists that goes straight to the heart of the matter, offering a definitive answer to the question of whether or not vibrato was an intrinsic component of period orchestral string sonority. It comes from the organ literature and from the history of the instrument's evolution over the course of the long nineteenth century. A group of artists and artisans, working from approximately 1830 to 1930, documented the importance of vibrato to any attempt at reproducing, or at least approximating, the authentic timbre of the orchestral string section. Organ builders and performers noted vibrato's use both as an intrinsic constituent of string tone and as an actively applied expressive device. They discussed it extensively in their literature, gave their instruments the capacity to simulate its effects, and specifically notated its presence in their transcriptions of orchestral music. The information they have left behind dispels the modern myth of ‘pure’, vibratoless orchestral string tone as a timbral norm, and provides a truer sense of the era's prevailing aesthetic.

APA, Harvard, Vancouver, ISO, and other styles

19

Gillespie, Robert. "Ratings of Violin and Viola Vibrato Performance in Audio-Only and Audiovisual Presentations." Journal of Research in Music Education 45, no. 2 (July 1997): 212–20. http://dx.doi.org/10.2307/3345581.

Full text

Abstract:

In this study, the researcher compared the ratings assigned to audio and videotaped vibrato performances of inexperienced and experienced violinists and violists. Thirty-three inexperienced players and 28 experienced players were videotaped white performing vibrato. A panel of experts rated the videotaped performances and then 6 months later rated the audio-only portion of the performances on five vibrato factors: width, speed, evenness, pitch stability, and overall sound. Experienced players' vibrato was rated higher for all factors, regardless of mode of presentation. In addition, results revealed significantly higher audiovisual ratings for pitch stability, evenness, and overall sound for inexperienced players, and for pitch stability for experienced players. Results suggest that string teachers need to occasionally listen to their students' vibrato without watching them since visual cues may inadvertently influence their evaluation of student achievement.

APA, Harvard, Vancouver, ISO, and other styles

20

Hakes, Jean, Thomas Shipp, and E. Thomas Doherty. "Acoustic characteristics of vocal oscillations: Vibrato, exaggerated vibrato, trill, and trillo." Journal of Voice 1, no. 4 (January 1988): 326–31. http://dx.doi.org/10.1016/s0892-1997(88)80006-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Besouw, Rachel M. Van, Jude S. Brereton, and David M. Howard. "Range of Tuning for Tones With and Without Vibrato." Music Perception 26, no. 2 (December 1, 2008): 145–55. http://dx.doi.org/10.1525/mp.2008.26.2.145.

Full text

Abstract:

PREVIOUS STUDIES ON VIBRATO PITCH HAVE attempted to determine the "principal pitch" of vibrato tones and not the range of tuning for such tones in a melodic context. This study investigates the range of acceptable tuning (RAT) for tones with and without vibrato, using repeating ascending and descending three-tone arpeggios. The second tone in each sequence was modulated or unmodulated with an initial pitch that was flat or sharp. With each repetition the pitch of the second tone increased or decreased by 3 cents depending upon the initial pitch condition. Participants indicated when they perceived the second tone to be in tune and out of tune. The RAT for vibrato tones was approximately 10 cents greater than for unmodulated tones. This is largely due to the lower RAT limit, indicating that the carrier frequency of vibrato tones can be 10 cents flatter than the fundamental frequency of an unmodulated tone.

APA, Harvard, Vancouver, ISO, and other styles

22

Patterson, Anne Marie. "1, 2, 3, Vibrato!" American String Teacher 71, no. 2 (May 2021): 61–64. http://dx.doi.org/10.1177/0003131321998587.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Titze, Ingo R. "Mechanisms of vocal vibrato." Journal of the Acoustical Society of America 98, no. 5 (November 1995): 2956. http://dx.doi.org/10.1121/1.414040.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Nandamudi, Srihimaja, and Ronald C. Scherer. "Flow vibrato in singers." Journal of the Acoustical Society of America 136, no. 4 (October 2014): 2295. http://dx.doi.org/10.1121/1.4900299.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Klose, Robert. "Concepts in Teaching Vibrato." American String Teacher 39, no. 3 (August 1989): 36–37. http://dx.doi.org/10.1177/000313138903900316.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Rothman, Howard B. "Vibrato: Why Study It?" Perspectives on Voice and Voice Disorders 13, no. 2 (July 2003): 29–31. http://dx.doi.org/10.1044/vvd13.2.29.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Moorcroft, Lynda, Dianna T. Kenny, and Jennifer Oates. "Vibrato Changes Following Imagery." Journal of Voice 29, no. 2 (March 2015): 182–90. http://dx.doi.org/10.1016/j.jvoice.2014.06.002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Myers, Denise, and John Michel. "Vibrato and pitch transitions." Journal of Voice 1, no. 2 (January 1987): 157–61. http://dx.doi.org/10.1016/s0892-1997(87)80039-5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Bejjani, F. J., and L. Pavlidis. "Kinetics of violin vibrato." Journal of Biomechanics 23, no. 7 (January 1990): 730. http://dx.doi.org/10.1016/0021-9290(90)90242-u.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Ippolito, Anthony C. "Electronic vibrato or celeste." Journal of the Acoustical Society of America 77, no. 2 (February 1985): 781. http://dx.doi.org/10.1121/1.392299.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Lucena, Henrique, and William Teixeira. "O vibrato no violoncelo." Orfeu 7, no. 2 (November 17, 2022): e0105. http://dx.doi.org/10.5965/2525530407022022e0105.

Full text

Abstract:

Este trabalho consiste em uma pesquisa sobre o vibrato, partindo do questionamento sobre sua utilização em termos mecânicos e stilísticos. Objetiva-se assim o conhecimentosistemático e aplicado à performance do violoncelo nos importantes períodos da história do repertório do instrumento. Por meio de artigos e outras menções esparsas presentes em métodos musicais, foi realizado umlevantamento de observações por pesquisadores e violoncelistas direcionando a uma abordagem aplicada a peças representativas dos períodos em pauta, a saber, dos compositores J. S. Bach, J. Haydn, H. Villa-Lobose Luciano Berio. Para tanto, foi necessária a revisão de literatura e uma autoavaliação da forma do uso do vibrato para que fosse possível adotar diferentes tipos de vibrato em diferentes contextos musicais.

APA, Harvard, Vancouver, ISO, and other styles

32

Sun, Ting, Hong Zhi Yu, and Ya Sheng Jin. "The Acoustic Analysis of the Male’s F0 in Mongolia Folk Long Song’s Vibrato." Advanced Materials Research 926-930 (May 2014): 1846–49. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.1846.

Full text

Abstract:

This paper focuses on the F0 in Mongolia folk long song’s vibrato, with the basic voice parameters, it is found that the three styles of the vibrato: symmetrical style, right-side style, left-side style. On the one hand, this paper explains the acoustic characters of the Mongolia folk long song’s vibrato, and on the other hand, the results of this paper can be the references for establishing the standards of the oral cultures’ digital protections.

APA, Harvard, Vancouver, ISO, and other styles

33

de Lisle, Rae, Dale B. Speedy, and John M. D. Thompson. "Rehabilitation of a Cellist Whose Vibrato Was Affected by Focal Dystonia." Medical Problems of Performing Artists 27, no. 4 (December 1, 2012): 227–30. http://dx.doi.org/10.21091/mppa.2012.4042.

Full text

Abstract:

Focal dystonia can result in a variety of technical problems in the performing musician, most often affecting control of finger movement, and embouchure. Less common is the effect of focal dystonia on the vibrato of string players. The professional cellist in our study presented with difficulty controlling her vibrato, which fluctuated both in speed and amplitude, causing an inconsistency of sound. This study investigated whether instrumental retraining could alleviate her condition. We report the novel finding that instrumental retraining can significantly improve the symptoms of a dystonic vibrato in a cellist.

APA, Harvard, Vancouver, ISO, and other styles

34

Zaslaw, Neal. "Vibrato in Eighteenth Century Orchestras." Performance Practice Review 4, no. 1 (1991): 28–33. http://dx.doi.org/10.5642/perfpr.199104.01.4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Fidlar, Dorothy, and Charles Wendt. "Teaching Vibrato to Cello Students." American String Teacher 39, no. 1 (February 1989): 58–60. http://dx.doi.org/10.1177/000313138903900121.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Michel, Christa R., and Michael J. Ruiz. "The physics of singing vibrato." Physics Education 52, no. 4 (May 11, 2017): 045010. http://dx.doi.org/10.1088/1361-6552/aa6d99.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Rothman, Howard B., and A. Antonio Arrayo. "Acoustic parameters of violin vibrato." Journal of the Acoustical Society of America 80, S1 (December 1986): S87. http://dx.doi.org/10.1121/1.2024013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Fritz, Claudia, Jim Woodhouse, Brian Moore, and Ian Cross. "Perceptual studies of violin vibrato." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3446. http://dx.doi.org/10.1121/1.2934258.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Schimek, John B., and Patrick Neher. "Vibrato for the Double Bassist." American String Teacher 43, no. 3 (August 1993): 65–66. http://dx.doi.org/10.1177/000313139304300323.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Fischbach, Gerald. "The Birth of a Vibrato." American String Teacher 48, no. 4 (November 1998): 28–35. http://dx.doi.org/10.1177/000313139804800404.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Mesz, Bruno A., and Manuel C. Eguia. "The Pitch of Vibrato Tones." Annals of the New York Academy of Sciences 1169, no. 1 (July 2009): 126–30. http://dx.doi.org/10.1111/j.1749-6632.2009.04767.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Shipp, Thomas, E. Thomas Doherty, and Stig Haglund. "Physiologic factors in vocal vibrato." Journal of the Acoustical Society of America 84, S1 (November 1988): S83. http://dx.doi.org/10.1121/1.2026510.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Titze, Ingo R., Nancy Pearl Solomon, Erich S. Luschei, and Minoru Hirano. "Interference between normal vibrato and artificial stimulation of laryngeal muscles at near-vibrato rates." Journal of Voice 8, no. 3 (September 1994): 215–23. http://dx.doi.org/10.1016/s0892-1997(05)80292-9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

45

Suzuki, Chifumi, Hideki Banno, Kensaku Asahi, and Masanori Morise. "Investigation of Effect on Naturalness of Vibrato of Singing Voice by Difference of Vibrato Waveform." IEEJ Transactions on Electronics, Information and Systems 139, no. 12 (December 1, 2019): 1440–41. http://dx.doi.org/10.1541/ieejeiss.139.1440.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Vatti, Marianna, Sébastien Santurette, Niels H. Pontoppidan, and Torsten Dau. "Maximum acceptable vibrato excursion as a function of vibrato rate in musicians and non-musicians." Journal of the Acoustical Society of America 134, no. 5 (November 2013): 4231. http://dx.doi.org/10.1121/1.4831549.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Balanesković, Dragiša, and Zoran Milivojević. "Overview of vibrato researches in violin interpretation." Artefact 4, no. 1 (2018): 51–61. http://dx.doi.org/10.5937/artefact4-16701.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

ONUK, Özlem. "FLÜTTE VİBRATO: TARİHSEL BİR BAKIŞ AÇISI." Journal of Academic Social Sciences 71, no. 71 (January 1, 2018): 163–70. http://dx.doi.org/10.16992/asos.13771.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Honing, Henkjan. "The Vibrato Problem: Comparing Two Solutions." Computer Music Journal 19, no. 3 (1995): 32. http://dx.doi.org/10.2307/3680653.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Ely, Mark C. "Woodwind Vibrato in the Band Class." Music Educators Journal 79, no. 7 (March 1993): 29–33. http://dx.doi.org/10.2307/3398613.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!