语音特征歌剧和音乐剧唱腔方面为什么如此不同?
论文作者:EVA BJÖRKNER论文属性:硕士毕业论文 dissertation登出时间:2016-04-21编辑:anne点击率:15760
论文字数:8656论文编号:org201604162133241650语种:英语 English地区:新西兰价格:$ 44
关键词:歌剧演唱音乐剧演唱声音源声门下压力
摘要:本文在歌剧和音乐剧演唱的声音特点方面。该研究的共同目标是确定呼吸、发声和索纳托利党凸语音音色的差异特点,演唱风格的会计。
不同形状的VPOS建议歌手可以使用VPO细‐调声道共振特性,因此声音的音色。听力测试显示额定鼻音的VPO之间不存在相关性。语音质量称为“喉音”,一个术语有时用于表征语音和非‐经典”的歌手,是相对于声门下压力检查(P衬底)和共振峰频率。声道的形状是由磁共振成像。四个元音的低沉的版本显示咽的一个典型的缩小。喉音的特点是增加的第一共振峰频率和共振峰高降低。同时,声源参数分析表明,超‐功能语音生产。女性音乐剧歌手通常使用两音域(胸部和头部)。声源参数,包括封闭‐商数,峰‐到‐脉冲峰值幅度、最大流量偏差率和归一化振幅商(NAQ),分析了十个等距的声门下压力的较宽的范围内的声音的响度。胸部登记表现出更高的价值,在所有的声门参数除了NAQ。歌剧男中音歌唱家的声音进行分析,以探讨振幅商数(AQ),信息的力量和标准化版本NAQ,建议反映声门内收。发现基频值之间而AQ基本不受影响的差异NAQ。声音音色与音乐剧和歌剧歌手。声音来源的声门下压力的测量参数的功能,覆盖范围广,声音的响度,表明两组不同的P衬底系统。音乐剧歌手用较高的压力,产生更高的声压水平,并没有表现出歌剧歌手的特性,更高的共振峰的聚类。音乐剧和歌剧歌手显示高度控制和一致的行为,每个风格特点。一个共同的特点是声门下压力的精确控制,而喉和声带条件不同的演唱风格。此外,歌剧院的歌手往往比音乐剧院的歌手有更强的声音来源。
Abstract摘要
This
thesis addresses aspects of voice characteristics in operatic and
Musical theatre singing. The common aim of the studies was to identify respiratory, phonatory and resonatory characteristics accounting for salient voice timbre differences between singing styles.The velopharyngeal opening (VPO) was analyzed in professional operatic singers, using nasofiberscopy. Differing shapes of VPOs suggested that singers may use a VPO to fine‐tune the vocal tract resonance characteristics and hence voice timbre. A listening test revealed no correlation between rated nasal quality and the presence of a VPO.The voice quality referred to as “throaty”, a term sometimes used for characterizing speech and “non‐classical” vocalists, was examined with respect to subglottal pressure (Psub) and formant frequencies. Vocal tract shapes were determined by magnetic resonance imaging. The throaty versions of four vowels showed a typical narrowing of the pharynx. Throatiness was characterized by increased first formant frequency and lowering of higher formants. Also, voice source parameter analyses suggested a hyper‐functional voice production.Female musical theatre singers typically use two vocal registers (chest and head). Voice source parameters, including closed‐quotient, peak‐to‐peak pulse amplitude, maximum flow declination rate, and normalized amplitude quotient (NAQ), were analyzed at ten equally spaced subglottal pressures representing a wide range of vocal loudness. Chest register showed higher values in all glottal parameters except for NAQ.Operatic baritone singer voices were analyzed in order to explore the informative power of the amplitude quotient (AQ), and its normalized version NAQ, suggested to reflect glottal adduction. Differences in NAQ were found between fundamental frequency values while AQ was basically unaffected.Voice timbre differs between musical theatre and operatic singers. Measurements of voice source parameters as functions of subglottal pressure, covering a wide range of vocal loudness, showed that both groups varied Psub systematically. The musical theatre singers used somewhat higher pressures, produced higher sound pressure levels, and did not show the opera singers’ characteristic clustering of higher formants.Musical theatre and operatic singers show highly controlled and consistent behaviors, characteristic for each style. A common feature is the precise control of subglottal pressure, while laryngeal and vocal tract conditions differ between singing styles. In addition, opera singers tend to sing with a stronger voice source fundamental than musical theatre singers.
Contents目录
Contents 1
Abbreviations 2
List of publications 3本
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