Acoustic and perceptual differences between novice and professional music theatre singers

Abstract

Research examining contemporary commercial music (CCM) styles of singing has increased significantly over the last ten years. While acoustic analysis has helped define which characteristics define various vocal genres, discrepancy still exists in how those acoustic characteristics are perceived, described, and evaluated. The current study recorded novice and professional musical theatre singers performing belt, legit, and mix vocal samples. Three acoustic analyses were applied to the excerpted recordings from each singer using the Praat voice and speech analysis software: The spectral slope of the long term average spectrum (LTAS) was calculated, as well as the noise to harmonic ratio (NHR), and the dominant harmonic (1st, 2nd, or 3rd) was noted for each sample. Results were compared across pitch, style (belt v. legit), and training level (professional v. novice). Finally, raters listened to the recordings and rated each sample on the basis of style (belt v. legit), roughness (rough v smooth), and tone quality (brassy v flutey, and bright v dark). A 120mm liechert scale was provided to each rater for each of the rating variables. Results of the perceptual assessments were compared with acoustic measures to elucidate discrepancies in how ccm characteristics are perceived.