Hearing Singing

Name: Hearing Singing | A Guide to Functional Listening and Voice Perception
Brand: Bloomsbury eBooks US
Price: 30.99 EUR
Availability: OnlineOnly

A Guide to Functional Listening and Voice Perception

Ian Howell(Autor*in)

Bloomsbury eBooks US (Verlag)

Erschienen am 26. Februar 2025

254 Seiten

E-Book

ePUB mit Adobe-DRM

Systemvoraussetzungen

979-8-8818-0465-7 (ISBN)

30,99 €inkl. 7% MwSt.

Systemvoraussetzungen

für ePUB mit Adobe-DRM

E-Book Einzellizenz

Als Download verfügbar

Beschreibung

Weitere Details

Weitere Ausgaben

Inhalt

Cover
Half Title
Title Page
Copyright Page
Dedication
Contents
Acknowledgments
Preface
Before We Start
Who Is This Book For?
How to Read This Book
Chapter 1: Introduction
The Purpose of This Book
The Problem
The Argument
The Structure of This Book
A Few Important Guardrails and Bits of Housekeeping
Chapter 2: How We Got Here
The Burden of What Is Known About the Voice
Not All Singing Transmits Language
First Steps Toward Understanding the Timbre of a Voice
What We Choose to Notice
Conclusion
Chapter 3: Refining Models for Understanding the Singing Voice
Current Pedagogic Models
How to Understand Phonation and Resonance in the Vocal Tract
How Does the Ear Work?
The Most Basic Model of the Ear
A Simple Model of the Ear
A More Complex Model of the Ear
Is Sound a Complex Wave or a Spectrum?
Introducing Pitch, Auditory Roughness, and Tone Color
Potential Conclusions and Applications
Discussion Questions
Chapter 4: What Is Timbre?
What Differs? What Is the Same?
Time and Timbre
Potential Conclusions and Applications
Discussion Questions
Chapter 5: Pitch
Pitch and Timbre
How Do We Perceive Pitch?
Where pitch is-and is not-in a spectrum
When Is a Fundamental a Fundamental?
Restating the Perceptual Qualities of Pitch
Unresolved Harmonics: The Noise in Pitched Sound
Issues with the Singer's Formant and Pitch
Beginning to Understand Pitch in Other Voices
Conclusions and Potential Applications
Discussion Questions
Chapter 6: Time-and-Pressure Domain Considerations of Pitch and Timbre
Modeling Voice Production Without the Fourier Transform
The Timing of Timbre
What Is Formant Tuning?
The Pitch Exception of Overtone Singing
The Pitch Exception of Subharmonic Singing
The Timbre Exception of Vocal Fry
The Pitch Exception of Noisy Distortion
Conclusions and Potential Applications
Discussion Questions
Chapter 7: Perceptual Qualities of Auditory Roughness and Pitch Resolution*
What Is Auditory Roughness?
Exploring Auditory Roughness Experientially
Visualizing Critical Bands of Hearing
The Equivalent Rectangular Bandwidth
The Intersection of Pitch Resolution and Buzziness in a Spectrum
The Two-Timbre Model and Beyond
Potential Conclusions and Applications
Discussion Questions
Chapter 8: Tone Color and Brightness
What Is Brightness?
Tone Color: Conflicts between Speech and Musical Sounds
The History of Brightness
What If Formants Have Tone Colors?
Open Questions and Potential Applications
Discussion Questions
Chapter 9: Absolute Spectral Tone Color
ABSOLUTE SPECTRAL TONE COLOR: HISTORY AND DEFINITION
Absolute Spectral Tone Color: Limitations
Exploring Absolute Spectral Tone Color Experientially
Vowels Share Common Tone Colors
Potential Conclusions and Applications
Discussion Questions
Chapter 10: How Pitch, Auditory Roughness, and Tone Color Intersect: Theory and Application
The Timbre of a Formant as Pitch Changes: A Thought Experiment
The Intersection of Auditory Roughness, Pitch Resolution, and Tone Color In A Single Formant
The Tone Color of "Flat" versus "Pointy" Formants
Rules of Thumb
Some Examples of These Intersections
The Obvious True Fundamental
A Combined Perceptual Model
Perceptual Signifiers of Some Common Resonance Strategies
The Tone Color of a Strong 1fo: Solutions for the Treble Staff and Higher
The Tone Color of a Strong 3fo or 2fo: Money Notes across Genres
Hearing the Entire Spectrum
What Can Be Perceived?
Conclusions
Chapter 11: How to Teach Singing
How a Singer Should Think
The Five Steps in All Singing
The Registration Triangle
A Few Practical Things to Keep in Mind
Is It Consistent? Is It Representative?
Different Parts of the Voice
What Does a Resonance Strategy Feel Like?
How the Entire System Works
Respiration
Phonation and Resonation
Acoustical Interactions
Summary
Good Rules of Thumb to Connect Perception to Function
Chapter 12: Pedagogic Practices and Functional Listening Examples
Adjacent or Intermediate Functions and Exercises
Airflow Is Warmth / Warmth Is Airflow
Going on a Brightness Hunt
The Middle-Voice Slide
The Terrible Treble Ah
Same Shape / New Sound for Non-Trebles
Same Shape / New Sound for Trebles
Loud and Exciting Is Not Enough
There Are No Registers, Only Qualities
What Are the Perceptual Qualities of Vocal Registers?
What Are the Perceptual Qualities of Registration?
Thoughts on How Perceptual Qualities Point to Vocal Function
Some Basic Principles and Recurring Behaviors
Epilogue
Glossary
Appendix A
The Waveform
The Spectrum
The Spectrogram
Appendix B
Bibliography
Index
About the Author

Systemvoraussetzungen

Als PDF speichern Als Link merken