Assessment of the voices distribution in Gospel singing
DOI:
https://doi.org/10.7203/LEEME.27.9823Keywords:
Choir, Gospel, Choral Conducting, Singing, Proprioception, Choral Blending.
Abstract
This article addresses the perceptual effects of the distribution of voices in a choir. An amateur gospel choir was recorded under 16 performance conditions: 4 by distribution of voices (soprano, alto, tenor, bass), 2 by style of choral writing (counterpoint and vertical), 2 by singing conditions (accompanied by instruments and a cappella). Three listening conditions were studied for each of the performance conditions: choristers perception while singing (chorus internal), choristers listening to the playback of recording (chorus external), and professional musicians not linked to the choir (external). Participants indicated the overall sound quality (balance) and if any voice overpowered the others. The results show a strong agreement in the answers, especially those of the choristers while singing (Cronbach's ?=0.93). The “classical” voice distribution (soprano and alto in the front, tenor and bass in the back) was clearly preferred, especially by the choristers (p<.001). The male choristers also preferred a different distribution while singing (male voices in column with the bass in the back, soprano and alto on the sides). The presence of instruments has a limited influence on the assessment of sound quality, even when it was reduced by placing the altos and sopranos on the side of the choir. Sound preference is correlated with the homogeneity of the voices (r=0.32, p<.001). We conclude that the importance of distributing the voices depends on the preference of the choristers who are the most sensitive and coherent in assessing the overall sound.
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