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Selle kollektsiooni püsiv URIhttps://hdl.handle.net/10062/95120

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The role of voiced consonant duration in sung vowel-consonant and consonant-vowel recognition
(Acoustical Society of America, 2025) Vurma, Allan; Meister, Einar; Meister, Lya; Ross, Jaan; Raju, Marju; Kala, Veeda; Dede, Tuuri
Sung text intelligibility is often a problem, especially in reverberant acoustics, at high pitch, and in the presence of a loud accompaniment. This study aims to discover whether elongating the duration of voiced consonants /m/, /n/, /l/, and /v/ in sung vowel-consonant (VC) and consonant-vowel (CV) sequences improves their recognition. Perception tests were conducted with 42 participants, and the data were analyzed using generalized linear mixed models. Results showed that consonant durations of 20–35 ms are sufficient for a near-perfect recognition when singing at close-to speaking pitch in non-reverberant acoustics and without accompaniment. However, in reverberant acoustics for VC sequences, longer consonant durations allow the reverberation from the preceding vowel to fade more fully during the consonant, reducing masking by the room reverberation and thereby improving recognition. Also, elongating consonant duration up to about 200 ms (or even longer) improved consonant recognition in the case of stimuli with added Brown Noise, imitating orchestral accompaniment, whereas only negligible impact on the order of succession (CV versus VC) was observed. Recognition tended to be poorer at higher pitch and with longer reverberation
Managing reverberant acoustics in singing by extending the plosive closures in vowel-plosive-vowel sequences
(University of California, 2025) Vurma, Allan; Meister, Einar; Meister, Lya; Ross, Jaan; Raju, Marju; Kala, Veeda; Dede, Tuuri
Poor intelligibility of sung text often occurs in reverberant rooms due to masking by the reverberation tail of the singer’s voice. This study investigates whether elongating the plosive closure phase can improve the recognition of voiceless plosives in vowel–plosive–vowel sequences sung in reverberant rooms. We hypothesize that a longer plosive closure allows the reverberation tail from the preceding vowel to decay before the plosive burst, thus reducing masking and enhancing plosive recognition. In Experiment I, 34 listeners heard stimuli (sung single-pitch vowel–plosive–vowel sequences) via headphones, with artificial reverberation and/or Brown Noise added to simulate different acoustics. Experiment II involved 33 listeners in a concert hall, where stimuli were played from a loudspeaker on the stage, and Brown Noise was played from a separate sound system. The plosive closure phase in the stimuli was edited using PRAAT software to durations 60 ms, 150 ms, or 260 ms. Recognition of plosives improved by up to 25 percentage points with longer closure phases, depending on the acoustic condition, burst intensity, and vowel pitch. Older listeners, and listeners seated in the back rows of the concert hall, showed poorer recognition. Extending the plosive closure phase generally did not improve plosive recognition in non-reverberant acoustics.
Michael Hahn – ein Schütz-Schüler und seine musikalische Umgebung in Narva um 1670
(Internationale Heinrich-Schütz-Gesellschaft, 2012) Siitan, Toomas; Linfield, Eva, toimetaja; Krummacher, Friedhelm, toimetaja; Breig, Werner, toimetaja; Werbeck, Walter, toimetaja
Von der Semantik der textlichen und musikalischen Symmetrie der Bachkantate "Gottes Zeit ist die allerbeste Zeit" (BWV 106)
(Klett-Cotta, 2010) Siitan, Toomas
Codex der Preetzer Benediktinerinnen in dem Estnischen Historischen Museum zu Tallinn
(Swedish Society for Music Research, 1996) Siitan, Toomas
Viini salvestised ja Berliini salvestised
(Eesti Kirjanike Liit, 2018) Ross, Jaan
Functions and Techniques of Critique in Contemporary Estonian Theatre
(Narr Verlag, 2018) Linder, Eva-Liisa
This article examines the techniques of scenic criticism in contemporary Estonian theatre. The examples vary in scale and style from the huge political show Unified Estonia by Theatre NO99 (2010) with 7500 participants, which investigated the crisis of democracy in a posttotalitarian country, to the self-ironic search for identity of the small ethnic community called Setos in How to Sell a Seto? (2012). This theatrical piece tackled tragic autobiographical choices of young Setos: old traditions versus contemporary trends, village versus city, building or selling their symbolic capital.
Neo-Mythologism in the Music of Arvo Pärt, Veljo Tormis, and Bronius Kutavičius
(Lithuanian Academy of Music and Theatre, 2021) Tool, Aare
The music of Arvo Pärt, Veljo Tormis, and Bronius Kutavičius written since the 1970s has previously been accommodated under various descriptive terms, such as “holy”, “magical”, or “Baltic” minimalism, to mention just a few examples. This article aims to outline some of the common features between the ethnographic/ritual creative practices of Tormis and Kutavičius on the one hand, and Pärt’s music on the other, drawing on the concept of neo-mythologism—a term for the trends in 20th-century music (Adamenko 2007) characterized by a preoccupation with repetition, symmetry, binary oppositions, and special (visual) symbols (mythologems). Neo-mythologism is a threefold phenomenon, which encompasses topics (literary allusions), musical structure, and presentation/reception. Therefore, it is important to observe neo-mythologism also in the visual representations of music, such as theatrical and video productions (Adam’s Passion by Arvo Pärt and Robert Wilson, 2015). Carl Jung’s notions of the “collective unconscious” and “archetypes”, with an emphasis on the intuitive and elusive, had a considerable impact on the Estonian cultural scene in the late 1960s and 1970s, and served as a driving force of the innovative literary and theatrical movements in that period. Neo-mythologism can be proposed as a general term for the various ethnographic, religious, and ritual phenomena of creativity in the Baltic countries in the 1970s and 1980s.
Kurblugu Helme ja Paistu orelite hävitamisest 1329. aastal paganlike leedulaste poolt
(National Archives of Estonia, 2018) Siitan, Toomas
Rising and Falling Tonality in Seto Multipart Songs (South-East Estonia). The Kergütämine Technique and its Functions
(2021) Pärtlas, Žanna; Stanevičiūtė, Rūta, toimetaja
Changing pitch level (tonality) in traditional unaccompanied vocal music is a widespread but little studied phenomenon (Alekseyev 1986; Ambrazevičius 2014, 2015; Scherbaum & Mzhavanadze 2020). There is a well-known tendency towards gradual upward transposition, but the focus of this study is the much rarer phenomenon of abrupt downward modulation following a gradual rise in pitch regularly practiced in the multipart songs of the Seto (Southeast Estonia) and known as kergütämine (“relief ”). This study is the first attempt to describe this unusual technique by means of an acoustic analysis of samples belonging to the “primary” tradition. The main research material is composed of nine songs performed by the choirs of three prominent Seto lead singers, Anne Vabarna (b. 1877), Kreepa Pihlaste (b. 1892), and Veera Pähnapuu (b. 1916). The results of the analysis not only allow a thorough description of this technique, but also enable us to test three main hypotheses regarding the functions of kergütämine: 1) as a practical necessity to facilitate singing; 2) as a semantic and compositional device associated with the verbal text; 3) as an ancient custom that should be maintained. As a result of the study, one further explanation is proposed, namely that a rapid pitch rise originally had an independent aesthetic value and emotional and ritual functions in the Seto tradition, and the role of kergütämine was not to restrain the rise but to promote it, giving the choir “space” for more rapid ascent.

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