Lynda Moorcroft1, Dianna T Kenny. 1. Australian Centre for Applied Research in Music Performance, The University of Sydney, New South Wales, Australia.
Abstract
OBJECTIVES: This study investigated changes perceived by singers and listeners after the singers had vocally warmed up. STUDY DESIGN: The study used a repeated measures within-subject design to assess changes in vibrato quality from pre (nonwarmed-up voice) to post (warmed-up voice) test. Intraclass correlation coefficients were calculated to assess singers' self-ratings pre- and posttest and intra- and interlistener rater reliability. METHODS: Twelve classically trained female singers recorded and self-rated their performance of an eight bar solo before and after 25 minutes of vocal warm-up exercises. Six experienced listeners assessed the vocal samples for pre- to posttest differences in tone quality and for each singer's warm-up condition. Perceptual judgements were also compared with pre- to posttest changes in vibrato. RESULTS: All singers perceived significant changes in tone quality, psychophysiological factors, proprioceptive feedback and technical command. Significant pre- to posttest differences in tone quality and correct appraisal of the singer's warm-up condition from most of the listeners were only observed for singers who moderated extremely fast or extremely slow vibrato after warming up. CONCLUSIONS: The findings reveal the divide between listeners' and singers' perceptions of the warmed-up voice and highlight the importance of enhanced vibrato quality to listener perception of an improvement in vocal quality.
OBJECTIVES: This study investigated changes perceived by singers and listeners after the singers had vocally warmed up. STUDY DESIGN: The study used a repeated measures within-subject design to assess changes in vibrato quality from pre (nonwarmed-up voice) to post (warmed-up voice) test. Intraclass correlation coefficients were calculated to assess singers' self-ratings pre- and posttest and intra- and interlistener rater reliability. METHODS: Twelve classically trained female singers recorded and self-rated their performance of an eight bar solo before and after 25 minutes of vocal warm-up exercises. Six experienced listeners assessed the vocal samples for pre- to posttest differences in tone quality and for each singer's warm-up condition. Perceptual judgements were also compared with pre- to posttest changes in vibrato. RESULTS: All singers perceived significant changes in tone quality, psychophysiological factors, proprioceptive feedback and technical command. Significant pre- to posttest differences in tone quality and correct appraisal of the singer's warm-up condition from most of the listeners were only observed for singers who moderated extremely fast or extremely slow vibrato after warming up. CONCLUSIONS: The findings reveal the divide between listeners' and singers' perceptions of the warmed-up voice and highlight the importance of enhanced vibrato quality to listener perception of an improvement in vocal quality.
Authors: Gamal Abdalla; Erin Moran-Atkin; Grace Chen; Michael A Schweitzer; Thomas H Magnuson; Kimberley E Steele Journal: Surg Endosc Date: 2014-08-23 Impact factor: 4.584
Authors: Matthew S Braga; Michelle D Tyler; Jared M Rhoads; Michael P Cacchio; Marc Auerbach; Akira Nishisaki; Robin J Larson Journal: BMJ Simul Technol Enhanc Learn Date: 2015-10-05