ABSTRACT
The primary purpose of the study was to examine the effect of four virtual wind ensemble formations (blocked sections, families, random and center) on listeners’ preferences for and perceptions of overall wind ensemble sound. A secondary purpose of the study was to examine participants’ responses under two listening conditions: headphones and speakers. Participants were music majors at a large Southeastern university (N = 120). Instrument sections in the university wind ensemble were recorded separately playing their part to a Bach chorale. Four seating formations were produced in a virtual environment by placing the separate audio tracks at one of five pan settings. The tracks were then mixed to produce four recordings that varied with regard to instrument section placement. Participant preferences for the four formations were determined via paired comparisons. Formation excerpts in each pair were presented simultaneously with a switching device that enabled listeners to alternate between synchronized versions of each excerpt. After listening to each pair of excerpts, participants were asked to indicate their preference for excerpt A or B or whether they heard no difference. If they preferred excerpt A or B, they were asked to indicate their degree of preference, and then the musical factor that most contributed to their response (tempo, volume, balance/blend, pitch/intonation, or tone quality). Frequency of preference responses indicated that three formations (random, families and blocked-section) were preferred significantly more than the fourth formation (center). No significant difference was found between the random, families and blocked-section formations. Results revealed that balance/blend was the musical factor that most significantly contributed to participants’ preference responses. Results also indicated a significant difference between preference responses for random and blocked-section formations made under the headphone and speaker listening conditions. Implications for practice suggest that specific formations may contribute to better communication among players, and between the conductor and the ensemble, but do not necessarily influence listeners’ preferences for overall sound.
