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Introduction to Database of Traditional Japanese Singing with Examples of Comparative Studies on Formant Shifts and Vibrato Among Genres

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Introduction to Database of Traditional Japanese Singing with Examples of Comparative Studies on Formant Shifts and Vibrato Among Genres Acoust. Sci. & Tech. 29, 1 (2008) #2008 The Acoustical Society of Japan PAPER Introduction to database of traditional Japanese singing with examples of comparative studies on formant shifts and vibrato among genres Ichiro Nakayama1;à and Masuzo Yanagida2;y 1Osaka University of Arts, 469, Higashiyama, Kanan-cho, Minamikawachi-gun, Osaka, 585–8555 Japan 2Faculty of Engineeering, Doshisha University, 1–3, Tatara-Miyakodani, Kyo-Tanabe, 610–0321 Japan ( Received 28 February 2007, Accepted for publication 9 September 2007 ) Abstract: Introduced is a database used for research consisting of songs sung in traditional Japanese and western styles to clarify the acoustical differences between them. Seventy-eight top-class singers covering 31 music genres are recorded in this database including 18 ‘‘Living National Treasures’’ singing in traditional Japanese styles. The database includes the five vowels of Japanese uttered naturally and sung by the singers in the style of their genre. Recordings were made in anechoic chambers using a digital tape recorder. The database consists of 18 CDs and an explanatory book. Shown in this paper are examples of comparative studies on the acoustical features of vibrato in traditional Japanese singing and bel canto, together with studies on formant shifts from natural utterance to singing. Keywords: Traditional Japanese singing, Bel canto, Fundamental frequency, Vibrato, Formant frequency PACS number: 43.75.Rs [doi:10.1250/ast.29.58] required are songs performed by the same professional 1. INTRODUCTION singers in both western style and traditional Japanese style, Since the Meiji era, when a new government was set but it is almost impossible to find singers who can sing in up after the end of the Tokugawa feudal government, the both styles at a professional level, except a few extraordi- Japanese music education system has taken western singing nary cases such as Keiko Aoyama [1] and Ruriko Uchida as the nominal way of singing even for songs with Japanese [2]. Thus, the most important point in the compilation of verses. Comparing Japanese verses sung in western style this type of database is to employ excellent singers as and those sung in traditional Japanese style, however, subjects. people perceive a clear difference in singing. The authors We introduce a database consisting of the same songs have investigated the acoustical differences between tradi- sung in both traditional Japanese style and western style tional Japanese singing and western bel canto, on the basis recorded on 18 CDs. Seventy-eight top-class singers were of their doubts about adopting western singing styles to employed, including 18 ‘‘Living National Treasures,’’ to Japanese verses. sing songs covering 31 music genres including traditional For comparative studies it is necessary to have Japanese styles. Singers were asked to sing common verses controlled materials having the same features except for in the style of their professional genre, and provide the point to be investigated. However, there are no suitable samples of the five Japanese vowels utterred naturally materials allowing such a comparison between western and in singing style. Recordings were made in anechoic music and traditional Japanese music. Thus, song data on a chambers using measuring microphones and a digital tape common verse sung in western style and in traditional recorder. Japanese style are required. The songs should be properly In the second half of this paper we discuss examples of sung by reliable singers of the genre. Most urgently comparative studies on formant shifts from natural utter- ance to a singing voice for singers of western music and Ãe-mail: [email protected] Noh actors, and a comparison of the acoustical features of ye-mail: [email protected]. vibrato between traditional Japanese singing and bel canto. 58 I. NAKAYAMA and M. YANAGIDA: TRADITIONAL JAPANESE SINGING 2. BACKGROUND TO RECORDING To investigate the differences between genres quanti- tatively, intraclass variance among singers should be investigated as well as interclass differences. Thus, song data obtained from amateurs and beginners are required for statistical discussion in addition to song data obtained from excellent singers of various genres. It is not, however, so difficult to find amateur singers and beginners of any music genre, to willingly participate in recording in anechoic chambers without copyright problems. Thus, the database does not contain songs by amateurs or beginners, but includes only those sung by excellent singers of the genre, including 18 Living National Treasures renowned for traditional Japanese singing. Some of the singers are regarded as the last survivors of the genre, among them Haru Kobayashi, who passed away in 2005 at the age of 105, was ‘‘the last Goze’’ (a blind Fig. 1 Shibun Uji (Itchu-bushi) and Buncho Uji female street singer/player), Musashi-Daijo Wakamatsu, (Shamisen), Living National Treasures, in anechoic chamber of the former Institute of Industrial Research, who passed away in 1999, was the last performer of University of Tokyo, Roppongi, Tokyo, taken on Sekkyo-bushi, and Hojun Nagata, who is the last living September 21, 1999. blind Biwa-Monk. Ten singers included in the database have passed away since recorded for this database. Thus, the recording was the last chance to construct this typed of and reciting Japanese language’’ [3], consisting of 18 database to preserve examples of Japanese singing. CDs containing 900 tracks with a total duration of 19 hours and an explanatory book 172 pages long. The database was 3. RECORDING published in December 2002. Singers were asked to sing a common Japanese verse, Excerpts of movie recordings taken along with the and all recordings were made in anechoic chambers with sound recording are now being edited to be summarized only the exception of Haru Kobayashi. Her singing was on a DVD to be published in 2008 with an attached recorded in a Japanese style room in a sanatorium with explanatory booklet in English or Japanese according to absorbing materials placed on the floor and walls. The the buyer’s preference. The DVD itself will be helpful for frequency characteristics of the recording system were kept understanding traditional Japanese singing. flat by employing measuring microphones (B&K Type Table 1 shows all the singers or players included in 4190 (1/2 inch) Â2) and a digital tape recorder (DAT, the database classified by music genre. Recorded songs Sony TCD-D10). marked with ‘‘#’’ can be heared at the home page of The main microphone was placed 50 cm in front of the the Japan Arts Council [4] as audio samples of various singer and 10 cm below the horizontal line. Although a traditional Japanese singing styles. Singers marked with submicrophone was placed parallel to the main microphone ‘‘ Ã’’ are Living National Treasures and ‘‘—’’ indicates that and 5 cm apart, recording using the submicrophone was not the person is deceased. used in the final CD. The loudness of singing was left up to 4. FEATURES OF THE DATABASE the singers’ preference to allow singers to sing naturally, and the recording level was adjusted according to the The database has the following features or merits: loudness of singing so that the level meter of the recording (1) Both intergenre and intragenre comparison of singing DAT remained between À6 and À3 dB during rehearsal. style is possible by employing a common verse. The final recording level on the CD was adjusted to a (2) The common verse, written by Tsutomu UEHATA, is maximal level of À3 dB for each track to avoid saturation, ‘‘ Kaede irozuku yama no asa wa,’’ meaning ‘‘Colored even of impulsive sounds by accompanying instruments. by autumn leaves, mountains in morning are ...,’’ The recording took place over five years from where ‘‘irozuku’’ should be ‘‘iroduku’’ in orthographic December 1996 until December 2001. Figure 1 shows a Roman expression but is written as above in consid- photograph of the recording, where the main microphone is eration of English speaking readers, because the the lower one in the photo. The result of the recording is sound for /du/ is the same as that for /zu/ in current the database introduced here, titled ‘‘Singing, chanting Japanese. The verse was sung in an arbitrary but 59 Acoust. Sci. & Tech. 29, 1 (2008) Table 1 Singer List (#: included in HP of Japan Arts Council, Ã: Living National Treasure, —: Deceased) Genre School/Sect JAC Singer LNT Dec Notes Shinto prayers Norito ASAKAWA, Hajime Tanzan shrine Ancient Songs Imperial Agency # BUNNO, Hideaki Shomyo Hosso sect MATSUKUBO, Shuin Yakushi-ji Tendai sect AMANO, Denchu — Jikko-in Shingon sect # KOJIMA, Yusho Konzo-in Shingon sect WADA, Yushin Sainan-in Shinshu sect OTANI, Ennei E. Hongan-ji Johdo-Shinshu INOUE, Sonmei W. Hongan-ji Nichiren sect HAYAMI, Nisshu Honmyo-in Sohtoh sect NARASAKI, Tugen Zuio-ji Ohbaku sect UEMI, Yuji Mampuku-ji Noh Kanze school KANZE, Tetsunojo à — Shite Kita school # AWAYA, Kikuo à — Shite Hosho school HOSHO, Kan à Waki Kyogen Okura school SHIGEYAMA, Sensaku à Okura school SHIGEYAMA, Sennojo Izumi school NOMURA, Man à Biwa-gaku Mohsoh Biwa NAGATA, Hojun Blind monk Heike Biwa # IMAI, Tsutomu Heikyoku Satsuma school MORINAKA, Shisui Chikuzen school YAMAZAKI, Kyokusui à — Chikuzen school OKUMURA, Kyokusui Jiuta Nogawa school KIKUHARA, Hatsuko à — Rel. Ikuta sch. Nogawa school KIKUHARA, Koji Rel. Ikuta sch. Kyushu FUJII, Kunie à — Ikuta school Yanagawa school TAKAHASHI, Kaname Rel. Ikuta sch. Yanagawa school # HAYASHI, Mieko Rel. Ikuta sch. So-kyoku Yamada
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