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The Emotional Characteristics of Western Classical Solo Singing Voices With Different Pitch, Dynamics, and Vowel
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Dissertation
The Emotional Characteristics of Western Classical Solo Singing Voices With Different Pitch, Dynamics, and Vowel
2021
Overview
Research has shown that different musical instruments have unique emotional characteristics;voice research has investigated the timbre and low-level acoustic features of the soprano voiceand their correlation with emotional expressiveness. This thesis investigates how pitch,dynamics, and vowel influence the emotional characteristics of the western classical solosinging voices. Listening tests were conducted whereby listeners gave absolute judgments overten emotional categories on the soprano, mezzo-soprano, alto, countertenor, tenor, baritone,and bass voice tones, comprised of two dynamic levels (loud, soft), three pitches (octave-stepswithin individual voices), and five vowels (A, E, I, O, U); the data were subsequentlyanalyzed via logistic regression.Regarding dynamics, loud tones dominated the high-arousal categories (Happy, Heroic,Comic, Angry, Scary) whereas soft tones dominated the low-arousal categories (Romantic,Calm, Mysterious, Shy, Sad). Regarding pitch trends across the low-to-high pitch range,Happy, Heroic, Romantic, and Comic were overall upward; Mysterious, Shy, Scary, and Sadwere undulating yet overall flat; Calm was asymmetric arch-shaped with peaks at A2 and E3;Angry was irregularly sawtooth-shaped. Regarding vowel, the low-arousal categories(Romantic, Calm, Mysterious, Shy, Sad) and overall had a similar vowel profile of Adownward to E then upward to I, O, U; there were no discernible vowel profile similaritiesamong the remaining high-arousal categories. The overall vowel strength-of-expressivenessranking was U first, followed by O and A, with I and E last; synthesized vocal/choralinstruments typically only supply A, O, and U vowel samples. Among the voices, thesoprano and countertenor had comparatively lower significant differences between the vowels; vice versa for the baritone.Overall, pitch had the strongest marginal effect on the emotional characteristics, closelyfollowed by dynamics, with both effects approximately twice as strong as the vowel marginaleffect. These results give a quantified preliminary perspective on how pitch, dynamics, andvowel shape emotional expression in the western classical solo singing voices.
Publisher
ProQuest Dissertations & Theses
Subject
ISBN
9798209785019
