How do scoops influence the perception of singing accuracy?
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1 How do scoops influence the perception of singing accuracy? Pauline Larrouy-Maestri Neuroscience Department Max-Planck Institute for Empirical Aesthetics Peter Q Pfordresher Auditory Perception and Action Laboratory Psychology Department University at Buffalo
2 Musical errors Contour error Interval error Tonality error Larrouy-Maestri, P., Lévêque, Y., Schön, D., Giovanni, A., & Morsomme, D. (2013). The evaluation of singing voice accuracy: A comparison between subjective and objective methods. Journal of Voice.
3 Musical errors Contour error Interval error Tonality error Larrouy-Maestri, P., Lévêque, Y., Schön, D., Giovanni, A., & Morsomme, D. (2013). The evaluation of singing voice accuracy: A comparison between subjective and objective methods. Journal of Voice. Larrouy-Maestri, P., Magis, D., Grabenhorst, M., & Morsomme, D. (revision). Layman versus professional musician: Who makes the better judge? PlosOne
4 Pitch fluctuations within tones Trained singers Vocal generosity effect (Hutchins et al., 2012) Complex signal (e.g. Larrouy-Maestri et al., 2014a; Sundberg, 2013) including vibrato (Ekholm et al., 1998; Garnier et al., 2007; Rothman et al., 1990) Influence on the perception of pitch accuracy (Larrouy-Maestri et al., 2014b) Untrained singers Something happens at the start Stevens & Miles (1928) Few studies (Hutchins & Campbell, 2009; Saitou, Unoki, & Akagi, 2005) + Check poster of J. Mantell! è Pitch fluctuations within tones? Data analysis of Pfordresher & Mantell (2014) 12 inaccurate and 17 accurate singers Melodies of 4 notes: 1854 tones
5 Pitch fluctuations within tones Cents Accurate singers Inaccurate singers Scoop at the start Asymptote Scoop at the end è How do scoops influence the perception of singing accuracy?
6 Experiments Two melodies Manipulations of one tone Asymptote Scoops at the start and/or at the end 102 undergrads in 4 Experiments For each melody Pairwise comparison Ranking from most out of tune to most in tune è Reliability è Effect of one/several manipulations on the rating
7 1. Do Scoops matter? PITCH PITCH TIME TIME + 50 cents - 50 cents
8 1. Do Scoops matter? Scoops None Start End è Effect of Asymptote (f(2,100) = , p <.001), but also of Scoops (f(1,50) = 35.03, p <.001) è Interaction Asymptote*Scoops (f(2,100) = 7.17, p <.001) è None > Start > End: Perfect > Motor adjustment > Lack of stability
9 2. Focus on the Scoops None Start End Start and End Asymptote: Ideal All kinds of scoops
10 2. Focus on the Scoops: Relation with contour Melody 1: Relation perturbation/contour PITCH TIME No continuity Semi continuity Full continuity None Start End Start and End
11 2. Focus on the Scoops: Relation with contour Melody 2: Relation perturbation/contour No continuity Semi continuity Full continuity PITCH TIME None Start End Start and End
12 2. Focus on the Scoops: Relation with contour è Clear preference for NO continuity (f(2,102) = 66.66, p <.001): Role in segmentation between tones (glides make difficult to find the tone) è Argument for sequential process?
13 Summary Scoops matter, particularly at the end Preference for «no continuity» Relation with the global pitch of the tone è How do scoops influence the perception? sequential process averaging process è Continuity versus Compensation New manipulations: Asymptote AND Start/End Same procedure with new participants
14 3. Continuity effect è Confirm the preference for No continuity (except for Melody 1, flat tone)
15 3. Compensation effect è Confirm the preference for Compensation (except for Melody 2, sharp tone)
16 3. Continuity vs. Compensation? Continuity Compensation ns *** * <.05 ** <.01 *** <.001 ** ns Both seem relevant It depends on the melody Weird profile for flat tone in Melody 1 (continuity) Weird profile for sharp tone in Melody 2 (compensation) Because of the characteristic of these melodies? è What about melodies with different patterns?
17 4. Continuity vs. Compensation? Continuity Compensation ns *** * <.05 ** <.01 *** <.001 ** ns * ** * *** All melodies *** ***
18 Take home message Scoops in singing performances Influence of Scoops in melodic perception Global deviation of the tones does not tell the full story Tolerance regarding motor constraints Glides (i.e., continuity) make the melody sounds out of tune è Opportunity to refine objective tools for pitch accuracy evaluation Multiple perspectives Sequential: Preference for non-continuity/segmentation Global: Average within tones è Next step to answer this question: Rate, magnitude
19 Undergrad assistance from UB Zahra Malakotipour Malak Sharif Paul Kovacs grant BCS Michael Wright Thank you for your attention!
20 Reference Ekholm, E., Papagiannis, G. C., & Chagnon, F. P. (1998). Relating objective measurements to expert evaluation of voice quality in western classical singing: Critical perceptual parameters. Journal of Voice, 12, Garnier, M., Henrich, N., Castellengo, M., Sotiropoulos, D., & Dubois, D. (2007). Characterisation of voice quality in Western lyrical singing: From teachers judgements to acoustic descriptions. Journal of Interdisciplinary Music Studies, 1, Hutchins, S., & Campbell, D. (2009). Estimating the time to reach a target frequency in singing. Ann N Y Acad Sci, 1169, Hutchins, S., Roquet, C., & Peretz, I. (2012). The Vocal Generosity Effect: How Bad Can Your Singing Be? Music Perception, 30(2), Larrouy-Maestri, P., Magis, D., Grabenhorst, M., & Morsomme, D. (revision). Layman or professional musician: Who makes the better judge? PlosOne. Larrouy-Maestri, P., Lévêque, Y., Schön, D., Giovanni, A., & Morsomme, D. (2013). The evaluation of singing voice accuracy: A comparison between subjective and objective methods. Journal of Voice, 27(2), 259.e251-e255. Larrouy-Maestri, P., Magis, D., & Morsomme, D. (2014a). Effects of melody and technique on acoustical and musical features of Western operatic singing voices. Journal of Voice. Larrouy-Maestri, P., Magis, D., & Morsomme, D. (2014b). The evaluation of vocal accuracy: The case of operatic singing voices. Music perception. Pfordresher, P. Q., & Mantell, J. T. (2014). Singing with yourself: evidence for an inverse modeling account of poor-pitch singing. Cognitive Psychology, 70, Rothman, H. B., Rullman, J. F., & Arroyo, A. A. (1990). Inter-and intrasubject changes in vibrato: Perceptual and acoustic aspects. Journal of Voice, 4, Saitou, T., Unoki, M., & Akagi, M. (2005). Development of an F0 control model based on F0 dynamic characteristics for singing-voice synthesis. Speech Communication, 46(3-4), Stevens, F. A., & Miles, W. R. (1928). The first vocal vibrations in the attack in singing. Sundberg, J. (2013). Perception of Singing. In D. Deutsch (Ed.), The psychology of music (pp ). San Diego, CA: Academic Press.
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