Red de Bibliotecas Virtuales de Ciencias Sociales en
América Latina y el Caribe
Por favor, use este identificador para citar o enlazar este ítem:
https://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/128643Registro completo de metadatos
| Campo DC | Valor | Lengua/Idioma |
|---|---|---|
| dc.contributor | es-ES | |
| dc.contributor | en-US | |
| dc.creator | Pele, Alina | - |
| dc.creator | Payri, Blas | - |
| dc.date | 2017-02-20 | - |
| dc.date.accessioned | 2022-03-25T19:01:57Z | - |
| dc.date.available | 2022-03-25T19:01:57Z | - |
| dc.identifier | https://ojs.uv.es/index.php/LEEME/article/view/9823 | - |
| dc.identifier | 10.7203/LEEME.27.9823 | - |
| dc.identifier.uri | http://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/128643 | - |
| dc.description | En este artículo se abordan los efectos perceptivos de las distribuciones de las voces en un coro. Se ha grabado a un coro góspel no profesional con 16 condiciones de ejecución: 4 distribuciones de las voces (soprano, alto, tenor, bajo), 2 estilos de escritura coral (contrapuntístico y vertical), con instrumentos o a cappella. Para cada condición de ejecución, se han estudiado tres condiciones de escucha: la propiocepción de los coristas al cantar (coro interno), la escucha posterior de la grabación por los coristas (coro externo) y por músicos ajenos al coro (externo). Los participantes indicaban la calidad global del sonido, la homogeneidad y si destacaba alguna voz. Los resultados muestran una gran concordancia en las respuestas y en particular en la escucha interna de los coristas (? de Cronbach=0.93). La distribución “clásica” (soprano y alto delante, tenor y bajo detrás) ha sido preferida claramente, sobre todo por los coristas (p<.001). Los coristas hombres también han preferido otra distribución mientras cantaban (hombres en el centro con el bajo detrás, soprano y alto a los lados). La presencia de instrumentos tiene una influencia limitada en la valoración de la calidad del sonido, reduciendo la valoración en las distribuciones con alto y soprano a los lados. La preferencia de sonido está correlacionada con la homogeneidad de las voces (r= 0.32, p<.001). Concluimos sobre la importancia de distribuir las voces en función de la preferencia de los coristas que son los más sensibles y coherentes en la evaluación del sonido global. | es-ES |
| dc.description | This article addresses the perceptual effects of the distribution of voices in a choir. An amateur gospel choir was recorded under 16 performance conditions: 4 by distribution of voices (soprano, alto, tenor, bass), 2 by style of choral writing (counterpoint and vertical), 2 by singing conditions (accompanied by instruments and a cappella). Three listening conditions were studied for each of the performance conditions: choristers perception while singing (chorus internal), choristers listening to the playback of recording (chorus external), and professional musicians not linked to the choir (external). Participants indicated the overall sound quality (balance) and if any voice overpowered the others. The results show a strong agreement in the answers, especially those of the choristers while singing (Cronbach's ?=0.93). The “classical” voice distribution (soprano and alto in the front, tenor and bass in the back) was clearly preferred, especially by the choristers (p<.001). The male choristers also preferred a different distribution while singing (male voices in column with the bass in the back, soprano and alto on the sides). The presence of instruments has a limited influence on the assessment of sound quality, even when it was reduced by placing the altos and sopranos on the side of the choir. Sound preference is correlated with the homogeneity of the voices (r=0.32, p<.001). We conclude that the importance of distributing the voices depends on the preference of the choristers who are the most sensitive and coherent in assessing the overall sound. | en-US |
| dc.format | application/pdf | - |
| dc.language | spa | - |
| dc.publisher | Universitat de València | es-ES |
| dc.relation | https://ojs.uv.es/index.php/LEEME/article/view/9823/9247 | - |
| dc.relation | /*ref*/<div class="WordSection1"> <p style="text-align: justify;">Aspaas, C., McCrea, C. R., Morris, R. J. y Fowler, L. (2004). Select acoustic and perceptual measures of choral formation. <em>International Journal of Research in Choral Singing</em>, 2(1), 11-26.</p> <p style="text-align: justify;">Basinger, L. (2006). Acoustical analysis of choral voice matching and placement as it relates to group blend and tone. <em>Texas Tech University Electronic Theses and Dissertations </em>(URN 04152006-204320). En línea: <a href="http://etd.lib.ttu.edu/theses/available/etd-04152006-204320/">http://etd.lib.ttu.edu/theses/available/etd-04152006-204320/</a> (Consulta:27-1-2009).</p> <p style="text-align: justify;">Brandvik, P. (1993). Choral tone. En G. Webb (ed.) <em>Up front! Becoming the complete choral conductor </em>(pp. 147-186). Boston, MA: E.C. Schirmer.</p> <p style="text-align: justify;">Bregman, A. S. (1990). <em>Auditory scene analysis: the perceptual organization of sound</em>. Cambridge, MA: MIT Press.</p> <p style="text-align: justify;">Daugherty, J. F. (1996). <em>Differences in choral sound as perceived by auditors and choristers relative to physical positioning and spacing of singers in a high school choir. A pilot study. </em>Trabajo presentado en National Biennial In-Service Conference of Music Educator´s National Conference, Kansas City, EEUU.</p> <p style="text-align: justify;">Daugherty, J. F. (1999). Spacing, formation, and choral sound: Preferences and perceptions of auditors and choristers. <em>Journal of Research in Music Education</em>, 47(3), 224-238.</p> </div> <p style="text-align: justify;">Daugherty, J. F. (2003). Choir spacing and formation: Choral sound preferences in random, synergistic, and gender-specific chamber choir placements. <em>International Journal of Research in Choral Singing</em>, 1(1), 48-59.</p> <div class="WordSection2" style="text-align: justify;"> <p>Davis, A. P. (2003). Aesthetic response to choral music: Response comparisons of performer- participants and non-performer respondents. <em>International Journal of Research in Choral Singing </em>1(1), 60-64.</p> <p>Ekholm, E. (2000). The effect of singing mode and seating arrangement on choral blend and overall choral sound. <em>Journal of Research in Music Education, </em>48(2), 123-135.</p> <p>Green, E. A. H. (1961). <em>The Modern Conductor</em>. Englewood Cliffs, NJ: Prentice Hall.</p> <p>Howard, D. M., Szymanski C. y Welch, G. F. (2000). Vocal production and listener perception of trained girls and boys in the English cathedral choir. <em>Proceedings of the Eighteenth International Research Seminar of the International Society for Music Education</em>, 169-176.</p> <p>Iwai, K. y Adachi, M. (2008). <em>Japanese college students’ emotional responses to j-pop-like songs on physiological and psychological measures</em>. Trabajo presentado en Tenth International Conference on Music Perception and Cognition. Hokkaido, JP: Hokkaido University.</p> <p>Killian, J. N. (1985). Operant Preference for Vocal Balance in Four-Voice Chorales. <em>Journal of Research in Music Education</em>, 33(1), 55-67.</p> <p>Lambson, A. R. (1961). An evaluation of various seating plans used in choral singing. <em>Journal of Research in Music Education</em>, 9(1), 47-54.</p> <p>Madsen, C. K. y Geringer, J. K. (1990). Differential patterns of music listening: Focus of attention of musicians versus non-musicians. <em>Bulletin of the Council for Research in Music Education</em>, 105, 45-57.</p> <p>Morris, R., Mustafa, A., McCrea, C., Fowler, L. y Aspaas, C. (2006). Acoustic analysis of the interaction of choral arrangements, musical selection, and microphone location<em>. Journal of Voice</em>, 21(5), 568-575.</p> <p>Rossing, T. D., Sundberg, J. y Ternstrom, S. (1986). Acoustic comparison of voice use in solo and choir singing. <em>Journal of the Acoustical Society of America</em>, 79, 1975-1985.</p> </div> <p style="text-align: justify;">------. (1987). Acoustic comparison of soprano solo and choir singing. <em>Journal of the Acoustical Society of America</em>, 82, 830-836.</p> <p style="text-align: justify;">Sundberg, J. (1999). The Perception of Singing. En D. Deutsch (ed.), <em>The Psychology of Music.</em></p> <p style="text-align: justify;">San Diego, CA: Academic Press. 171-214.</p> <p style="text-align: justify;">Ternstrom, S. (1994). Hearing myself with the others: Sound levels in choral performance measured with separation of the own voice from the rest of the choir. <em>Journal of Voice</em>, 8(4), 293- 302.</p> <p style="text-align: justify;">Tocheff, R. D. (1990). <em>Acoustical placement of voices in choral formations. </em>(Tesis doctoral, Ohio State University, EEUU) Dissertation Abstracts International, 51 (12), 4055A. AAT9111807</p> | - |
| dc.source | Electronic Journal of Music in Education; Núm. 27 (2011): Revista Electrónica de LEEME; 17-34 | en-US |
| dc.source | Revista Electrónica de LEEME; Núm. 27 (2011): Revista Electrónica de LEEME; 17-34 | es-ES |
| dc.source | 1575-9563 | - |
| dc.subject | es-ES | |
| dc.subject | Coro; Góspel; dirección coral; canto; propiocepción; mezcla coral. | es-ES |
| dc.subject | en-US | |
| dc.subject | Choir; Gospel; Choral Conducting; Singing; Proprioception; Choral Blending. | en-US |
| dc.title | Evaluación de las distribuciones vocales en el canto Góspel | es-ES |
| dc.title | Assessment of the voices distribution in Gospel singing | en-US |
| dc.type | info:eu-repo/semantics/article | - |
| dc.type | info:eu-repo/semantics/publishedVersion | - |
| dc.type | Artículo revisado por pares | es-ES |
| dc.type | es-ES | |
| dc.type | en-US | |
| Aparece en las colecciones: | Institut Universitari de Creativitat i Innovacions Educatives - ICIE - Cosecha | |
Ficheros en este ítem:
No hay ficheros asociados a este ítem.
Los ítems de DSpace están protegidos por copyright, con todos los derechos reservados, a menos que se indique lo contrario.