An investigation of choral blending through soundfield capture, acoustic evaluation, and perceptual analysis methods
An investigation of choral blending through soundfield capture, acoustic evaluation, and perceptual analysis methods
Kathleen Ying-Ying Zhang (McGill University) & Jithin Thilakan (Detmold University of Music)
May 1st, 2021
ABSTRACT:
In ensemble terms, "blend" is the "fusion of multiple timbres into a single timbral image" [Sandell]. It occurs, in a sense, when a group of musicians becomes collectively more than a sum of their distinctive parts. Often the end-goal of orchestration and performance, how and when blended sound occurs (as well as how much control musicians have on achieving it) has been the subject of study [Lembke]. This project focuses on a vocal subset of ensemble blend referred to as the "often adjudicated but seldom researched" choral blend [Killian, Basinger]. Singers "employ a built-in neurological instrument" to differing effects when they are performing solo or as part of a choir [Cook-Cunningham]. In the latter circumstance, constant aural feedback for tuning and synchronization is a necessary part of the practice one that has now been disrupted by the necessity of distancing in the wake of the COVID-19 pandemic. By exploring the relationship between spatial distance and choral blend, this project aims to be the initial step in creating a body of research within ACTOR to evaluate choral blend from the perspectives of both singers and listeners. This research is in dialogue with previous ACTOR-adjacent work on ensemble blend. In the proposed study, we will examine choral blend from the listener perspective using methodology established by a study on blend perception of an orchestral violin section [Ioannou, Kob] [de Francisco, et al.]. The results of these studies could be compared in order to understand similarities and differences between two types of sectional performers. We also plan to introduce various 3D capture systems, including first and higher-order ambisonics microphones, into the material used for testing. This will expand the recording and reproduction techniques used, and examine how the timbral influence of soundfield capture compares to channel-based techniques. Finally, we would like to lay the groundwork for future study and begin to bring the experiences of performers into our conversation about blend through the use of a pilot survey.
