Intonation and Staying in Tune in A Cappella Choral Singing. / Howard, David Martin.

The Oxford Handbook of Singing. ed. / Graham F. Welch; John Nix; David M. Howard. Oxford University Press, 2015. (Oxford Handbooks).

Research output: Chapter in Book/Report/Conference proceedingChapter

Published

Standard

Intonation and Staying in Tune in A Cappella Choral Singing. / Howard, David Martin.

The Oxford Handbook of Singing. ed. / Graham F. Welch; John Nix; David M. Howard. Oxford University Press, 2015. (Oxford Handbooks).

Research output: Chapter in Book/Report/Conference proceedingChapter

Harvard

Howard, DM 2015, Intonation and Staying in Tune in A Cappella Choral Singing. in GF Welch, J Nix & DM Howard (eds), The Oxford Handbook of Singing. Oxford Handbooks, Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199660773.013.28

APA

Howard, D. M. (2015). Intonation and Staying in Tune in A Cappella Choral Singing. In G. F. Welch, J. Nix, & D. M. Howard (Eds.), The Oxford Handbook of Singing (Oxford Handbooks). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199660773.013.28

Vancouver

Howard DM. Intonation and Staying in Tune in A Cappella Choral Singing. In Welch GF, Nix J, Howard DM, editors, The Oxford Handbook of Singing. Oxford University Press. 2015. (Oxford Handbooks). https://doi.org/10.1093/oxfordhb/9780199660773.013.28

Author

Howard, David Martin. / Intonation and Staying in Tune in A Cappella Choral Singing. The Oxford Handbook of Singing. editor / Graham F. Welch ; John Nix ; David M. Howard. Oxford University Press, 2015. (Oxford Handbooks).

BibTeX

@inbook{ab5be018376d4574a486bccea14f8962,
title = "Intonation and Staying in Tune in A Cappella Choral Singing",
abstract = "The tendency for singers to use non-equal temperament when singing unaccompanied or a cappella can have a large effect on the overall pitch stability of a piece of music, especially if there are several modulations. This chapter describes the background to this effect in terms of the temperament that is naturally adopted in a cappella singing and demonstrates how it can be predicted in practice. Results are presented from experimental measurements of the pitches used by a four-part SATB (soprano, alto, tenor, bass) quartet when they sing specially composed exercises and items from the a cappella choral repertoire, and these demonstrate the effect in practice. These experiments make use of four electrolaryngographs to measure the fundamental frequencies from each singer with an absence of cross interference. Pitch shifts that follow the trends suggested by the predictions are demonstrated for both the exercises and items from the a cappella choral repertoire.",
keywords = "in-tune singing, pitch stability, equal temperament, a cappella, choral repertoire",
author = "Howard, {David Martin}",
note = "M1 - Chapter",
year = "2015",
doi = "10.1093/oxfordhb/9780199660773.013.28",
language = "English",
isbn = "9780199660773",
series = "Oxford Handbooks",
publisher = "Oxford University Press",
editor = "Welch, {Graham F. } and John Nix and Howard, {David M. }",
booktitle = "The Oxford Handbook of Singing",

}

RIS

TY - CHAP

T1 - Intonation and Staying in Tune in A Cappella Choral Singing

AU - Howard, David Martin

N1 - M1 - Chapter

PY - 2015

Y1 - 2015

N2 - The tendency for singers to use non-equal temperament when singing unaccompanied or a cappella can have a large effect on the overall pitch stability of a piece of music, especially if there are several modulations. This chapter describes the background to this effect in terms of the temperament that is naturally adopted in a cappella singing and demonstrates how it can be predicted in practice. Results are presented from experimental measurements of the pitches used by a four-part SATB (soprano, alto, tenor, bass) quartet when they sing specially composed exercises and items from the a cappella choral repertoire, and these demonstrate the effect in practice. These experiments make use of four electrolaryngographs to measure the fundamental frequencies from each singer with an absence of cross interference. Pitch shifts that follow the trends suggested by the predictions are demonstrated for both the exercises and items from the a cappella choral repertoire.

AB - The tendency for singers to use non-equal temperament when singing unaccompanied or a cappella can have a large effect on the overall pitch stability of a piece of music, especially if there are several modulations. This chapter describes the background to this effect in terms of the temperament that is naturally adopted in a cappella singing and demonstrates how it can be predicted in practice. Results are presented from experimental measurements of the pitches used by a four-part SATB (soprano, alto, tenor, bass) quartet when they sing specially composed exercises and items from the a cappella choral repertoire, and these demonstrate the effect in practice. These experiments make use of four electrolaryngographs to measure the fundamental frequencies from each singer with an absence of cross interference. Pitch shifts that follow the trends suggested by the predictions are demonstrated for both the exercises and items from the a cappella choral repertoire.

KW - in-tune singing

KW - pitch stability

KW - equal temperament

KW - a cappella

KW - choral repertoire

U2 - 10.1093/oxfordhb/9780199660773.013.28

DO - 10.1093/oxfordhb/9780199660773.013.28

M3 - Chapter

SN - 9780199660773

T3 - Oxford Handbooks

BT - The Oxford Handbook of Singing

A2 - Welch, Graham F.

A2 - Nix, John

A2 - Howard, David M.

PB - Oxford University Press

ER -