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Journal articles on the topic 'Vibrato'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Geringer, John M., and Michael L. Allen. "An Analysis of Vibrato among High School and University Violin and Cello Students." Journal of Research in Music Education 52, no. 2 (2004): 167–78. http://dx.doi.org/10.2307/3345438.

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We investigated vibrato performance of university student and high school string players. Forty violinists and cellists performed an eight-measure passage both with and without vibrato. Analyses indicated that the mean rate of vibrato was approximately 5.5 Hz, with no significant differences between instruments or performer experience level. The mean width of violin vibratos was larger than cello vibratos. Violinists' mean pitch levels were sharper than cellists' in both vibrato and nonvibrato performances. Analysis of intonation patterns within the duration of tones showed that performers wer

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2

MacLeod, Rebecca B. "Influences of Dynamic Level and Pitch Register on the Vibrato Rates and Widths of Violin and Viola Players." Journal of Research in Music Education 56, no. 1 (2008): 43–54. http://dx.doi.org/10.1177/0022429408323070.

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The purpose of this study was to investigate possible influences of pitch register and dynamic level on vibrato rates and widths of university and high school violin and viola players. Analysis showed that pitch register significantly affected the vibrato rates and widths of the performers. Musicians vibrated 0.32 Hz faster and approximately 26 cents wider during high pitches than during low pitches. Dynamic level also significantly affected vibrato width. Performers increased vibrato width approximately 4 cents in the forte passages when compared to the piano passages. Furthermore, violinists

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3

Geringer, John M., Michael L. Allen, and Rebecca B. MacLeod. "Initial Movement and Continuity in Vibrato among High School and University String Players." Journal of Research in Music Education 53, no. 3 (2005): 248–59. http://dx.doi.org/10.1177/002242940505300306.

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The purpose of the present study was to investigate aspects of vibrato performance among high school and university string players. The main questions were to determine whether students consistently initiate vibrato in an upward or downward direction and whether players vibrate continuously when performing slurs. Forty high school and university violin and cello students played exercises that included tones performed with and without vibrato. We measured direction and magnitude of change when initiating vibrato, pitch levels of vibrated and nonvibrated tones, and duration of nonvibrato when pe

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4

Allen, Michael L., John M. Geringer, and Rebecca B. MacLeod. "Performance Practice of Violin Vibrato: An Artist-Level Case Study." String Research Journal os-4, no. 1 (2009): 27–38. http://dx.doi.org/10.1177/1948499209os-400103.

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We investigated performance practice of vibrato with an artist-level violinist whose credits include positions as concertmaster of the New York Philharmonic, Cincinnati Symphony, and the Dallas Symphony Orchestra. The main questions of this case study were to determine mean width, rate, and directional intent of an artist-level violinist. Additionally the present study sought to determine if an artist-level violinist consistently initiated vibrato in an upward or downward direction and whether vibrato was used continuously when performing slurs. We measured pitch levels of vibrated and non-vib

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5

Geringer, John M., Rebecca B. MacLeod, and Michael L. Allen. "Perceived Pitch of Violin and Cello Vibrato Tones Among Music Majors." Journal of Research in Music Education 57, no. 4 (2009): 351–63. http://dx.doi.org/10.1177/0022429409350510.

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The purpose of this study was to investigate the perceived pitch of string vibrato tones. The authors used recordings of acoustic instruments (cello and violin) to provide both vibrato stimulus tones and the nonvibrato tones that listeners adjusted to match the perceived pitch of the vibrato stimuli. We were interested especially in whether there were differences in pitch perception of vibrato tones between string performers ( n = 36) and music majors without string performance experience ( n = 36). Both groups of music major listeners perceived the pitch of vibrato tones very near the mean fr

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6

Pang, Heesuk. "A Study on the Characteristic Analysis of Haegeum Vibrato Based on Monotones." National Gugak Center 48 (October 31, 2023): 37–52. http://dx.doi.org/10.29028/jngc.2023.48.037.

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Vibrato, called nonghyeon or nongeum , is one of the typical performance techniques frequently used in gugak (Korean traditional music). There have been studies that analyzed the characteristics of vibrato of vocal and wind instruments in the field of gugak . However, there are not many studies that objectively analyzed the characteristics of vibrato of haegeum, one of the representative Korean traditional string instruments. This study examines the characteristics of haegeum vibrato, using strong, medium, and soft monotones of haegeum from the digital

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7

Glasner, Joshua D., and John Nix. "Perception of vibrato rate by professional singing voice teachers." Journal of the Acoustical Society of America 152, no. 4 (2022): A54. http://dx.doi.org/10.1121/10.0015518.

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This study sought to investigate how voice clinicians perceive vibrato rate alterations when presented with controlled, synthesized singing voice samples which vary in vibrato rate and vibrato extent. Thirty-four professional voice teachers completed a twelve-item demographic survey and performed a visual sort and rate task (VSR). For the VSR task, each participant listened to twenty synthesized samples and sorted them from slowest vibrato rate to fastest vibrato rate. This task resulted in distance (i.e. individual perception of vibrato rate) and rank-difference measurements for each sample.

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8

Almeida, André, Emery Schubert, and Joe Wolfe. "Timbre Vibrato Perception and Description." Music Perception 38, no. 3 (2021): 282–92. http://dx.doi.org/10.1525/mp.2021.38.3.282.

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In music, vibrato consists of cyclic variations in pitch, loudness, or spectral envelope (hereafter, “timbre vibrato”—TV) or combinations of these. Here, stimuli with TV were compared with those having loudness vibrato (LV). In Experiment 1, participants chose from tones with different vibrato depth to match a reference vibrato tone. When matching to tones with the same vibrato type, 70% of the variance was explained by linear matching of depth. Less variance (40%) was explained when matching dissimilar vibrato types. Fluctuations in loudness were perceived as approximately the same depth as f

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9

Huang, Eleanor. "Investigating the Acoustic Characteristics that Differentiate Naturally Produced Violin Vibrato Tones from Sustained Tones." Theoretical and Natural Science 108, no. 1 (2025): 43–47. https://doi.org/10.54254/2753-8818/2025.22662.

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The purpose of this study is to understand patterns by observing the acoustic characteristics of naturally produced violin vibrato through direct measurement, comparative analysis with sustained tones, and theoretical modeling. Unlike sustained tones, vibrato introduces periodic oscillations in pitch, amplitude, and harmonic content and combines them to create the timbre of the violin. A detailed analysis of bowed vibrato is conducted to explore potential relationships between vibrato and modulation of pitch, amplitude variation, and timbre shifts. Mathematical models are also used to capture

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10

Beauchamp, James W. "Vibrato parameterization." Journal of the Acoustical Society of America 136, no. 4 (2014): 2150. http://dx.doi.org/10.1121/1.4899766.

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11

Steyn, Mikki (Marietjie). "Flute vibrato." Ars Nova 28, no. 1 (1996): 25–41. http://dx.doi.org/10.1080/03796489608566540.

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12

Shi, Yang, and James W. Beauchamp. "Time-scaling vibrato tones while preserving vibrato rate." Journal of the Acoustical Society of America 142, no. 4 (2017): 2606. http://dx.doi.org/10.1121/1.5014540.

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13

Silva, Ana Carla Schmidel Lourenço, Luzia da Silva Caçador, and Lívia Lima Ribeiro. "O vibrato de cantores profissionais da música gospel." Revista CEFAC 16, no. 4 (2014): 1255–65. http://dx.doi.org/10.1590/1982-0216201427212.

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Objetivo verificar as características do vibrato de cantores profissionais de acordo com o estilo da música gospel; e se o comando verbal para a realização do vibrato interfere em suas características. Métodos aprovação do CEP. Analisou-se as características espectrográficas do vibrato de 20 cantores gospel profissionais, 06 homens e 14 mulheres (média de idade: 30 anos), por meio de dois estilos gospel – adoração e pentecostal. Estruturou-se duas situações de gravação – ausência e presença de comando verbal para a realização do vibrato. Todos os participantes responderam ao item de sinais e s

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14

Guzmán, Marco Antonio. "Entrenamiento del vibrato en cantantes." Revista CEFAC 13, no. 3 (2010): 568–78. http://dx.doi.org/10.1590/s1516-18462010005000072.

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TEMA: El vibrato de la voz es uno de los rasgos acústicos, técnicos y estilísticos más importantes en la caracterización de la cualidad de la voz en cantantes clásicos. Técnicamente, vibrato es una pulsación del tono, usualmente acompañada con pulsaciones sincrónicas de intensidad y timbre. El vibrato puede ser descrito acústicamente por el rate, extent y periodicidad de las modulaciones en frecuencia y modulaciones de la amplitud de la voz. El objetivo del presente artículo es mostrar y explicar un nuevo procedimiento para entrenar y corregir vibrato en cantantes. PROCEDIMIENTOS: Estudiante d

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15

Nix, John, Rosemary A. Lester-Smith, Natalie Cummings, Elizabeth Eidson, and Elaina Derrick. "Singing Teacher Perception of Breathiness in Vibrato and Non-Vibrato Tones." Journal of Singing 81, no. 3 (2024): 315–25. https://doi.org/10.53830/sing.00098.

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Abstract: The ability to vary vibrato for stylistic or ensemble purposes is a sought-after skill for many singers, yet the mechanisms for doing so in a sustainable fashion remain somewhat elusive. These mechanisms are of interest to singing teachers and speech pathologists, who must guide the behaviors of the students and clients they teach. In this research study, the authors explored one set of behaviors—varying the amount of breathiness—often used by singers in singing vibrato and non-vibrato. Teacher evaluations of the amount of breathiness were compared for the two conditions (vibrato and

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16

Hurwitz, David. "Vibrato, the Orchestral Organ and the ‘Prevailing Aesthetic’ in Nineteenth-Century Symphonic Music." Nineteenth-Century Music Review 11, no. 1 (2014): 93–112. http://dx.doi.org/10.1017/s1479409814000160.

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The issue of vibrato's presence in the nineteenth-century orchestral string section has become controversial, with musicians often asked to accept the proposition that vibrato existed rarely, if at all. Fortunately an extensive, hitherto overlooked, body of primary source material exists that goes straight to the heart of the matter, offering a definitive answer to the question of whether or not vibrato was an intrinsic component of period orchestral string sonority. It comes from the organ literature and from the history of the instrument's evolution over the course of the long nineteenth cen

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17

Gillespie, Robert. "Ratings of Violin and Viola Vibrato Performance in Audio-Only and Audiovisual Presentations." Journal of Research in Music Education 45, no. 2 (1997): 212–20. http://dx.doi.org/10.2307/3345581.

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In this study, the researcher compared the ratings assigned to audio and videotaped vibrato performances of inexperienced and experienced violinists and violists. Thirty-three inexperienced players and 28 experienced players were videotaped white performing vibrato. A panel of experts rated the videotaped performances and then 6 months later rated the audio-only portion of the performances on five vibrato factors: width, speed, evenness, pitch stability, and overall sound. Experienced players' vibrato was rated higher for all factors, regardless of mode of presentation. In addition, results re

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18

Neumann, Frederick. "The Vibrato Controversy." Performance Practice Review 4, no. 1 (1991): 14–27. http://dx.doi.org/10.5642/perfpr.199104.01.3.

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19

Marsh, Peter. "Vibrato: Three Perspectives." American String Teacher 39, no. 3 (1989): 34–35. http://dx.doi.org/10.1177/000313138903900315.

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20

Gilbert, J., L. Simon, and J. Terroir. "Vibrato of saxophones." Journal of the Acoustical Society of America 118, no. 4 (2005): 2649–55. http://dx.doi.org/10.1121/1.2036027.

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21

Mishra, Jennifer. "Easing into Vibrato." American String Teacher 53, no. 4 (2003): 84–87. http://dx.doi.org/10.1177/000313130305300412.

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22

Dromey, Christopher, Neisha Carter, and Arden Hopkin. "Vibrato Rate Adjustment." Journal of Voice 17, no. 2 (2003): 168–78. http://dx.doi.org/10.1016/s0892-1997(03)00039-0.

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23

Coleman, Robert F., Jean Hakes, Douglas M. Hicks, John F. Michel, Lorraine A. Ramig, and Howard B. Rothman. "Discussion on vibrato." Journal of Voice 1, no. 2 (1987): 168–71. http://dx.doi.org/10.1016/s0892-1997(87)80041-3.

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24

Michelin, Stève. "Le Grand Vibrato." Revue Possibles 42, no. 1 (2018): 150–51. http://dx.doi.org/10.62212/revuepossibles.v42i1.192.

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25

Besouw, Rachel M. Van, Jude S. Brereton, and David M. Howard. "Range of Tuning for Tones With and Without Vibrato." Music Perception 26, no. 2 (2008): 145–55. http://dx.doi.org/10.1525/mp.2008.26.2.145.

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PREVIOUS STUDIES ON VIBRATO PITCH HAVE attempted to determine the "principal pitch" of vibrato tones and not the range of tuning for such tones in a melodic context. This study investigates the range of acceptable tuning (RAT) for tones with and without vibrato, using repeating ascending and descending three-tone arpeggios. The second tone in each sequence was modulated or unmodulated with an initial pitch that was flat or sharp. With each repetition the pitch of the second tone increased or decreased by 3 cents depending upon the initial pitch condition. Participants indicated when they perce

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26

Berger, Hanna, and Sarah R. Smith. "Comparison of vocal vibrato across multiple singers and vowels." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A108. http://dx.doi.org/10.1121/10.0018327.

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Vibrato is a common technique used by singers to add expressiveness to their voice, which involves oscillating slightly above and below the target pitch. Analyzing the features of vibrato could be useful in projects such as identifying singers based on their voice or creating a more realistic autotune. The parameters of the vibrato explored included frequency modulation width, frequency modulation rate, and amplitude modulation width. To collect data on these parameters, various singers of different voice parts were recorded singing scales on different vowels with and without vibrato. The sing

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27

Hakes, Jean, Thomas Shipp, and E. Thomas Doherty. "Acoustic characteristics of vocal oscillations: Vibrato, exaggerated vibrato, trill, and trillo." Journal of Voice 1, no. 4 (1988): 326–31. http://dx.doi.org/10.1016/s0892-1997(88)80006-7.

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28

Sun, Ting, Hong Zhi Yu, and Ya Sheng Jin. "The Acoustic Analysis of the Male’s F0 in Mongolia Folk Long Song’s Vibrato." Advanced Materials Research 926-930 (May 2014): 1846–49. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.1846.

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This paper focuses on the F0 in Mongolia folk long song’s vibrato, with the basic voice parameters, it is found that the three styles of the vibrato: symmetrical style, right-side style, left-side style. On the one hand, this paper explains the acoustic characters of the Mongolia folk long song’s vibrato, and on the other hand, the results of this paper can be the references for establishing the standards of the oral cultures’ digital protections.

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29

Дрожжина, Наталя, та Володимир Откидач. "ВОКАЛЬНА МЕТОДИКА ЕЛІЗАБЕТ ХОВАРТ «THE TEACHER’S VOCAL POWER METHOD TOOLKIT» В ПРОЄКЦІЇ НА ЕСТРАДНИЙ СПІВ: АНАЛІЗ ТА СИСТЕМАТИЗАЦІЯ ГОЛОВНИХ ПІДХОДІВ В РОБОТІ НАД ВІБРАТО". Мистецтво в культурі сучасності: теорія та практика навчання 1, № 5 (2025): 129–37. https://doi.org/10.31652/3041-1017-2025(5-1)-16.

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In search of new ways of teaching, Ukrainian pop vocal teachers are incorporating the methods of well-known contemporary foreign masters (Seth Riggs, Joe Estill, Katherine Sadolin, Cheryl Porter, etc.) into their practice, as well as creating their own methods (ImproviNation by Iryna Tsukanova). Special attention should be paid to the work on vibrato, which is an important element in the vocalist's technique in any style. The scientific novelty of the study is determined by the purpose of the article - to identify and systematize the main approaches of E. Howard in working on vibrato and to re

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30

Wang, Yuzhe (Adrian). "A Research for Vibrato on Violin in Baroque and Romantic Period." Arts Studies and Criticism 6, no. 1 (2025): 83. https://doi.org/10.32629/asc.v6i1.3604.

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This paper explores the evolution of vibrato on the violin from the Baroque to Romantic period, focusing on its frequency and stylistic changes. In the Baroque era, vibrato was used sparingly, mainly in solo or expressive passages, while in the Romantic period, it became a key expressive tool. Through a comparative analysis of J.S. Bach and Felix Mendelssohn's works and performances by various violinists, the study shows how vibrato evolved from an ornamental technique to a central means of conveying emotion in music.

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31

Julea, Violeta. "Vibrato in the modern pop-music: technological and performing aspects." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(45) (August 2024): 35–40. http://dx.doi.org/10.55383/amtap.2023.2.06.

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In the center of the author’s attention is one of the most important vocal methods – the vibrato widely used both in the professional music of academic tradition, especially in the opera genre, as well as in various genres of pop-music, rock or jazz. The author examines the physiological aspects of the given method, explains how the sound is emitted when vibrato is applied. Types of realization of this procedure are differentiated: with the oscillation of the sound in the ascending or descending direction, with the oscillation of the vocal „mask” or of the vocal cords, etc. The author proposes

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32

de Lisle, Rae, Dale B. Speedy, and John M. D. Thompson. "Rehabilitation of a Cellist Whose Vibrato Was Affected by Focal Dystonia." Medical Problems of Performing Artists 27, no. 4 (2012): 227–30. http://dx.doi.org/10.21091/mppa.2012.4042.

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Focal dystonia can result in a variety of technical problems in the performing musician, most often affecting control of finger movement, and embouchure. Less common is the effect of focal dystonia on the vibrato of string players. The professional cellist in our study presented with difficulty controlling her vibrato, which fluctuated both in speed and amplitude, causing an inconsistency of sound. This study investigated whether instrumental retraining could alleviate her condition. We report the novel finding that instrumental retraining can significantly improve the symptoms of a dystonic v

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33

Patterson, Anne Marie. "1, 2, 3, Vibrato!" American String Teacher 71, no. 2 (2021): 61–64. http://dx.doi.org/10.1177/0003131321998587.

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34

Titze, Ingo R. "Mechanisms of vocal vibrato." Journal of the Acoustical Society of America 98, no. 5 (1995): 2956. http://dx.doi.org/10.1121/1.414040.

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35

Nandamudi, Srihimaja, and Ronald C. Scherer. "Flow vibrato in singers." Journal of the Acoustical Society of America 136, no. 4 (2014): 2295. http://dx.doi.org/10.1121/1.4900299.

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36

Klose, Robert. "Concepts in Teaching Vibrato." American String Teacher 39, no. 3 (1989): 36–37. http://dx.doi.org/10.1177/000313138903900316.

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37

Rothman, Howard B. "Vibrato: Why Study It?" Perspectives on Voice and Voice Disorders 13, no. 2 (2003): 29–31. http://dx.doi.org/10.1044/vvd13.2.29.

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38

Moorcroft, Lynda, Dianna T. Kenny, and Jennifer Oates. "Vibrato Changes Following Imagery." Journal of Voice 29, no. 2 (2015): 182–90. http://dx.doi.org/10.1016/j.jvoice.2014.06.002.

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39

Myers, Denise, and John Michel. "Vibrato and pitch transitions." Journal of Voice 1, no. 2 (1987): 157–61. http://dx.doi.org/10.1016/s0892-1997(87)80039-5.

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40

Bejjani, F. J., and L. Pavlidis. "Kinetics of violin vibrato." Journal of Biomechanics 23, no. 7 (1990): 730. http://dx.doi.org/10.1016/0021-9290(90)90242-u.

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41

Ippolito, Anthony C. "Electronic vibrato or celeste." Journal of the Acoustical Society of America 77, no. 2 (1985): 781. http://dx.doi.org/10.1121/1.392299.

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42

Lucena, Henrique, and William Teixeira. "O vibrato no violoncelo." Orfeu 7, no. 2 (2022): e0105. http://dx.doi.org/10.5965/2525530407022022e0105.

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Este trabalho consiste em uma pesquisa sobre o vibrato, partindo do questionamento sobre sua utilização em termos mecânicos e stilísticos. Objetiva-se assim o conhecimentosistemático e aplicado à performance do violoncelo nos importantes períodos da história do repertório do instrumento. Por meio de artigos e outras menções esparsas presentes em métodos musicais, foi realizado umlevantamento de observações por pesquisadores e violoncelistas direcionando a uma abordagem aplicada a peças representativas dos períodos em pauta, a saber, dos compositores J. S. Bach, J. Haydn, H. Villa-Lobose Lucian

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43

Moreno Fuentes, Elena, and Manuel Ruiz Estrada. "La enseñanza del vibrato en el saxofón: análisis de las percepciones pedagógicas de los docentes." Escuela Abierta 28 (February 12, 2025): 3–22. https://doi.org/10.29257/ea28.2025.01.

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The article addresses discrepancies in vibrato teaching among saxophone teachers at the Conservatorio Profesional de Música “María de Molina.” Through student audition observations, significant differences in vibrato application were identified. To investigate this, a diagnostic test using a questionnaire covering socio-demographic and methodological aspects was conducted, ensuring confidentiality. The results were analyzed to extract pedagogical implications and prepare an educational intervention proposal. Common methodological aspects were highlighted, and alternatives were explored to addr

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44

Bottalico, Pasquale, Natalia Łastowiecka, Joshua D. Glasner, and Yvonne Gonzales Redman. "Singing in different performance spaces: The effect of room acoustics on vibrato and pitch inaccuracy." Journal of the Acoustical Society of America 151, no. 6 (2022): 4131–39. http://dx.doi.org/10.1121/10.0011675.

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Previous literature suggests that musical performers may be influenced to some extent by the acoustic environment in which they sing or play. This study investigates the influence of room acoustics on singers' voice production, by analyzing consecutive sung performances of classically trained students in five different performance spaces. The analyzed voice parameters were vibrato rate, extent, and pitch inaccuracy. Nine classically trained student-singers performed the same aria unaccompanied on a variable starting pitch that was consistent between spaces. Variance in vibrato rate and pitch i

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45

Smith, Sarah R., Erin Driscoll, and Mark Bocko. "Understanding the coherence properties of musical vibrato signals." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A288. http://dx.doi.org/10.1121/10.0023550.

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In the field of optics, coherence theory is used to characterize the relative correlation of optical fields at different points in space and time. While this framework has found fewer applications in acoustics outside of an imaging context, recent work has explored the possibility of characterizing rooms and other acoustical systems based on the coherence properties of naturally occurring reverberant sounds. Additionally, the cross-correlation functions used in coherence theory also underly many auditory perceptual models which leverage interaural correlations to estimate interaural time diffe

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46

Zaslaw, Neal. "Vibrato in Eighteenth Century Orchestras." Performance Practice Review 4, no. 1 (1991): 28–33. http://dx.doi.org/10.5642/perfpr.199104.01.4.

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47

Fidlar, Dorothy, and Charles Wendt. "Teaching Vibrato to Cello Students." American String Teacher 39, no. 1 (1989): 58–60. http://dx.doi.org/10.1177/000313138903900121.

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48

Michel, Christa R., and Michael J. Ruiz. "The physics of singing vibrato." Physics Education 52, no. 4 (2017): 045010. http://dx.doi.org/10.1088/1361-6552/aa6d99.

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49

Rothman, Howard B., and A. Antonio Arrayo. "Acoustic parameters of violin vibrato." Journal of the Acoustical Society of America 80, S1 (1986): S87. http://dx.doi.org/10.1121/1.2024013.

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50

Fritz, Claudia, Jim Woodhouse, Brian Moore, and Ian Cross. "Perceptual studies of violin vibrato." Journal of the Acoustical Society of America 123, no. 5 (2008): 3446. http://dx.doi.org/10.1121/1.2934258.

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