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Singer responses to sound fields with a simulated reflection

Identifieur interne : 000721 ( PascalFrancis/Corpus ); précédent : 000720; suivant : 000722

Singer responses to sound fields with a simulated reflection

Auteurs : D. Noson ; S. Sato ; H. Sakai ; Y. Ando

Source :

RBID : Pascal:00-0262858

Descripteurs français

English descriptors

Abstract

While numerous recent studies have reported results concerning improvements to stage acoustics for orchestral performers, the preferred acoustical conditions on performing stages for singers has received limited attention in the past 20 years. A series of acoustical modifications have been proposed for a Seattle church to improve the acoustics for both the listeners and the performing choir. An on-site preliminary study was made to determine what acoustical changes might be important to singers. During solo fast-tempo singing and duet singing, singer preference increased with simulated short-delay reflections. The results suggest a potential for new reflectors to produce noticeable improvement in the choir acoustics. Subsequently, a solo singer study was conducted to establish preferred range of time delays for a single-simulated reflection. When singing faster-tempo music, the consensus of preference is statistically significant and the preferred delay averages 20 ms, while with a slow-tempo piece, the singers were not consistent in their judgment of preference and a strong individual variability predominated in the pair-comparison tests. The results point the way for an examination of a wider range of time delays and music motifs to acquire a clearer picture of consensus and individual preference for time-delayed reflections.

Notice en format standard (ISO 2709)

Pour connaître la documentation sur le format Inist Standard.

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A02 01      @0 JSVIAG
A03   1    @0 J. sound vib.
A05       @2 232
A06       @2 1
A08 01  1  ENG  @1 Singer responses to sound fields with a simulated reflection
A09 01  1  ENG  @1 Workshop on opera house acoustic, Seattle, June 1998
A11 01  1    @1 NOSON (D.)
A11 02  1    @1 SATO (S.)
A11 03  1    @1 SAKAI (H.)
A11 04  1    @1 ANDO (Y.)
A14 01      @1 Graduate School of Science and Technology, Kobe University @2 Kobe 657-8501 @3 JPN @Z 1 aut. @Z 2 aut. @Z 3 aut. @Z 4 aut.
A14 02      @1 BRC Acoustics, 3208 15th Avenue West @2 Seattle, WA 98113 @3 USA @Z 1 aut.
A18 01  1    @1 Interuniversity Centre for Acoustics and Musical Research @3 ITA @9 patr.
A18 02  1    @1 Music and Concert Hall Acoustics @3 JPN @9 patr.
A18 03  1    @1 ASA. Technical Committee of Architectural Acoustics @3 USA @9 patr.
A20       @1 39-51
A21       @1 2000
A23 01      @0 ENG
A43 01      @1 INIST @2 11530 @5 354000087541380050
A44       @0 0000 @1 © 2000 INIST-CNRS. All rights reserved.
A45       @0 10 ref.
A47 01  1    @0 00-0262858
A60       @1 P @2 C
A61       @0 A
A64 01  1    @0 Journal of sound and vibration
A66 01      @0 GBR
C01 01    ENG  @0 While numerous recent studies have reported results concerning improvements to stage acoustics for orchestral performers, the preferred acoustical conditions on performing stages for singers has received limited attention in the past 20 years. A series of acoustical modifications have been proposed for a Seattle church to improve the acoustics for both the listeners and the performing choir. An on-site preliminary study was made to determine what acoustical changes might be important to singers. During solo fast-tempo singing and duet singing, singer preference increased with simulated short-delay reflections. The results suggest a potential for new reflectors to produce noticeable improvement in the choir acoustics. Subsequently, a solo singer study was conducted to establish preferred range of time delays for a single-simulated reflection. When singing faster-tempo music, the consensus of preference is statistically significant and the preferred delay averages 20 ms, while with a slow-tempo piece, the singers were not consistent in their judgment of preference and a strong individual variability predominated in the pair-comparison tests. The results point the way for an examination of a wider range of time delays and music motifs to acquire a clearer picture of consensus and individual preference for time-delayed reflections.
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C03 01  X  ENG  @0 Acoustics @5 01
C03 01  X  SPA  @0 Acústica @5 01
C03 02  X  FRE  @0 Acoustique salle @5 02
C03 02  X  ENG  @0 Room acoustics @5 02
C03 02  X  SPA  @0 Acústica sala @5 02
C03 03  X  FRE  @0 Chanteur @5 03
C03 03  X  ENG  @0 Singer @5 03
C03 03  X  SPA  @0 Cantor @5 03
C03 04  X  FRE  @0 Réflecteur @5 04
C03 04  X  ENG  @0 Reflector @5 04
C03 04  X  SPA  @0 Reflector @5 04
C03 05  X  FRE  @0 Temps retard @5 05
C03 05  X  ENG  @0 Delay time @5 05
C03 05  X  SPA  @0 Tiempo retardo @5 05
C03 06  X  FRE  @0 Eglise @5 06
C03 06  X  ENG  @0 Church @5 06
C03 06  X  SPA  @0 Iglesia @5 06
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C03 07  X  ENG  @0 Speaker @5 07
C03 07  X  SPA  @0 Locutor @5 07
C03 08  X  FRE  @0 Microphone @5 08
C03 08  X  ENG  @0 Microphone @5 08
C03 08  X  SPA  @0 Micrófono @5 08
C03 09  X  FRE  @0 Acoustique architecturale @5 09
C03 09  X  ENG  @0 Architectural acoustics @5 09
C03 09  X  SPA  @0 Acústica arquitectural @5 09
C03 10  1  FRE  @0 Réflexion onde acoustique @5 10
C03 10  1  ENG  @0 Acoustic wave reflection @5 10
C03 11  X  FRE  @0 Signal acoustique @5 11
C03 11  X  ENG  @0 Acoustic signal @5 11
C03 11  X  SPA  @0 Señal acústica @5 11
C03 12  X  FRE  @0 Musique @5 12
C03 12  X  ENG  @0 Music @5 12
C03 12  X  SPA  @0 Música @5 12
C03 13  X  FRE  @0 Préférence @5 13
C03 13  X  ENG  @0 Preference @5 13
C03 13  X  SPA  @0 Preferencia @5 13
C03 14  X  FRE  @0 Analyse statistique @5 14
C03 14  X  ENG  @0 Statistical analysis @5 14
C03 14  X  SPA  @0 Análisis estadístico @5 14
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A30 01  1  ENG  @1 Workshop on Opera House Acoustics @3 Seattle WA USA @4 1998-06

Format Inist (serveur)

NO : PASCAL 00-0262858 INIST
ET : Singer responses to sound fields with a simulated reflection
AU : NOSON (D.); SATO (S.); SAKAI (H.); ANDO (Y.)
AF : Graduate School of Science and Technology, Kobe University/Kobe 657-8501/Japon (1 aut., 2 aut., 3 aut., 4 aut.); BRC Acoustics, 3208 15th Avenue West/Seattle, WA 98113/Etats-Unis (1 aut.)
DT : Publication en série; Congrès; Niveau analytique
SO : Journal of sound and vibration; ISSN 0022-460X; Coden JSVIAG; Royaume-Uni; Da. 2000; Vol. 232; No. 1; Pp. 39-51; Bibl. 10 ref.
LA : Anglais
EA : While numerous recent studies have reported results concerning improvements to stage acoustics for orchestral performers, the preferred acoustical conditions on performing stages for singers has received limited attention in the past 20 years. A series of acoustical modifications have been proposed for a Seattle church to improve the acoustics for both the listeners and the performing choir. An on-site preliminary study was made to determine what acoustical changes might be important to singers. During solo fast-tempo singing and duet singing, singer preference increased with simulated short-delay reflections. The results suggest a potential for new reflectors to produce noticeable improvement in the choir acoustics. Subsequently, a solo singer study was conducted to establish preferred range of time delays for a single-simulated reflection. When singing faster-tempo music, the consensus of preference is statistically significant and the preferred delay averages 20 ms, while with a slow-tempo piece, the singers were not consistent in their judgment of preference and a strong individual variability predominated in the pair-comparison tests. The results point the way for an examination of a wider range of time delays and music motifs to acquire a clearer picture of consensus and individual preference for time-delayed reflections.
CC : 001B40C55
FD : Acoustique; Acoustique salle; Chanteur; Réflecteur; Temps retard; Eglise; Locuteur; Microphone; Acoustique architecturale; Réflexion onde acoustique; Signal acoustique; Musique; Préférence; Analyse statistique; 4355
ED : Acoustics; Room acoustics; Singer; Reflector; Delay time; Church; Speaker; Microphone; Architectural acoustics; Acoustic wave reflection; Acoustic signal; Music; Preference; Statistical analysis
SD : Acústica; Acústica sala; Cantor; Reflector; Tiempo retardo; Iglesia; Locutor; Micrófono; Acústica arquitectural; Señal acústica; Música; Preferencia; Análisis estadístico
LO : INIST-11530.354000087541380050
ID : 00-0262858

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Pascal:00-0262858

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<fC03 i1="06" i2="X" l="ENG">
<s0>Church</s0>
<s5>06</s5>
</fC03>
<fC03 i1="06" i2="X" l="SPA">
<s0>Iglesia</s0>
<s5>06</s5>
</fC03>
<fC03 i1="07" i2="X" l="FRE">
<s0>Locuteur</s0>
<s5>07</s5>
</fC03>
<fC03 i1="07" i2="X" l="ENG">
<s0>Speaker</s0>
<s5>07</s5>
</fC03>
<fC03 i1="07" i2="X" l="SPA">
<s0>Locutor</s0>
<s5>07</s5>
</fC03>
<fC03 i1="08" i2="X" l="FRE">
<s0>Microphone</s0>
<s5>08</s5>
</fC03>
<fC03 i1="08" i2="X" l="ENG">
<s0>Microphone</s0>
<s5>08</s5>
</fC03>
<fC03 i1="08" i2="X" l="SPA">
<s0>Micrófono</s0>
<s5>08</s5>
</fC03>
<fC03 i1="09" i2="X" l="FRE">
<s0>Acoustique architecturale</s0>
<s5>09</s5>
</fC03>
<fC03 i1="09" i2="X" l="ENG">
<s0>Architectural acoustics</s0>
<s5>09</s5>
</fC03>
<fC03 i1="09" i2="X" l="SPA">
<s0>Acústica arquitectural</s0>
<s5>09</s5>
</fC03>
<fC03 i1="10" i2="1" l="FRE">
<s0>Réflexion onde acoustique</s0>
<s5>10</s5>
</fC03>
<fC03 i1="10" i2="1" l="ENG">
<s0>Acoustic wave reflection</s0>
<s5>10</s5>
</fC03>
<fC03 i1="11" i2="X" l="FRE">
<s0>Signal acoustique</s0>
<s5>11</s5>
</fC03>
<fC03 i1="11" i2="X" l="ENG">
<s0>Acoustic signal</s0>
<s5>11</s5>
</fC03>
<fC03 i1="11" i2="X" l="SPA">
<s0>Señal acústica</s0>
<s5>11</s5>
</fC03>
<fC03 i1="12" i2="X" l="FRE">
<s0>Musique</s0>
<s5>12</s5>
</fC03>
<fC03 i1="12" i2="X" l="ENG">
<s0>Music</s0>
<s5>12</s5>
</fC03>
<fC03 i1="12" i2="X" l="SPA">
<s0>Música</s0>
<s5>12</s5>
</fC03>
<fC03 i1="13" i2="X" l="FRE">
<s0>Préférence</s0>
<s5>13</s5>
</fC03>
<fC03 i1="13" i2="X" l="ENG">
<s0>Preference</s0>
<s5>13</s5>
</fC03>
<fC03 i1="13" i2="X" l="SPA">
<s0>Preferencia</s0>
<s5>13</s5>
</fC03>
<fC03 i1="14" i2="X" l="FRE">
<s0>Analyse statistique</s0>
<s5>14</s5>
</fC03>
<fC03 i1="14" i2="X" l="ENG">
<s0>Statistical analysis</s0>
<s5>14</s5>
</fC03>
<fC03 i1="14" i2="X" l="SPA">
<s0>Análisis estadístico</s0>
<s5>14</s5>
</fC03>
<fC03 i1="15" i2="X" l="FRE">
<s0>4355</s0>
<s2>PAC</s2>
<s4>INC</s4>
<s5>56</s5>
</fC03>
<fN21>
<s1>178</s1>
</fN21>
</pA>
<pR>
<fA30 i1="01" i2="1" l="ENG">
<s1>Workshop on Opera House Acoustics</s1>
<s3>Seattle WA USA</s3>
<s4>1998-06</s4>
</fA30>
</pR>
</standard>
<server>
<NO>PASCAL 00-0262858 INIST</NO>
<ET>Singer responses to sound fields with a simulated reflection</ET>
<AU>NOSON (D.); SATO (S.); SAKAI (H.); ANDO (Y.)</AU>
<AF>Graduate School of Science and Technology, Kobe University/Kobe 657-8501/Japon (1 aut., 2 aut., 3 aut., 4 aut.); BRC Acoustics, 3208 15th Avenue West/Seattle, WA 98113/Etats-Unis (1 aut.)</AF>
<DT>Publication en série; Congrès; Niveau analytique</DT>
<SO>Journal of sound and vibration; ISSN 0022-460X; Coden JSVIAG; Royaume-Uni; Da. 2000; Vol. 232; No. 1; Pp. 39-51; Bibl. 10 ref.</SO>
<LA>Anglais</LA>
<EA>While numerous recent studies have reported results concerning improvements to stage acoustics for orchestral performers, the preferred acoustical conditions on performing stages for singers has received limited attention in the past 20 years. A series of acoustical modifications have been proposed for a Seattle church to improve the acoustics for both the listeners and the performing choir. An on-site preliminary study was made to determine what acoustical changes might be important to singers. During solo fast-tempo singing and duet singing, singer preference increased with simulated short-delay reflections. The results suggest a potential for new reflectors to produce noticeable improvement in the choir acoustics. Subsequently, a solo singer study was conducted to establish preferred range of time delays for a single-simulated reflection. When singing faster-tempo music, the consensus of preference is statistically significant and the preferred delay averages 20 ms, while with a slow-tempo piece, the singers were not consistent in their judgment of preference and a strong individual variability predominated in the pair-comparison tests. The results point the way for an examination of a wider range of time delays and music motifs to acquire a clearer picture of consensus and individual preference for time-delayed reflections.</EA>
<CC>001B40C55</CC>
<FD>Acoustique; Acoustique salle; Chanteur; Réflecteur; Temps retard; Eglise; Locuteur; Microphone; Acoustique architecturale; Réflexion onde acoustique; Signal acoustique; Musique; Préférence; Analyse statistique; 4355</FD>
<ED>Acoustics; Room acoustics; Singer; Reflector; Delay time; Church; Speaker; Microphone; Architectural acoustics; Acoustic wave reflection; Acoustic signal; Music; Preference; Statistical analysis</ED>
<SD>Acústica; Acústica sala; Cantor; Reflector; Tiempo retardo; Iglesia; Locutor; Micrófono; Acústica arquitectural; Señal acústica; Música; Preferencia; Análisis estadístico</SD>
<LO>INIST-11530.354000087541380050</LO>
<ID>00-0262858</ID>
</server>
</inist>
</record>

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