Jaan Ro
Biographic Data
| ID | 3743605 |
|---|---|
| NAME | Jaan Ro |
| GIVEN NAMES | Jaan |
| FAMILY NAME | Ro |
| SIGNATURE | RO J |
| AFFILIATIONS | Estonian Academy of Music and Theatre, Estonia |
| ORCID | 0000-0003-0457-0265 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 13 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Managing Reverberant Acoustics in Singing by Extending the Plosive Closures in Vowel–Plosive–Vowel Sequences
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…
Vokaalide ja klusiilide intensiivsussuhted laulmisel teksti arusaadavuse mõjutajana
Aim. The objective of this study is to ascertain (1) whether there is a tendency in operatic singing by which, compared to speaking, the intensity of all speech sounds is greater, but the intensity of voiceless plosive bursts increases proportionally less than that of vowels, which may make the recognition of plosives more difficult; and (2) whether pronouncing the bursts of voiceless plosives more strongly would improve their recognition. Method…
Õpimustritest muusikateose omandamisel klaveri algõppes
This article was inspired by the first author’s observations in the teaching process, which refer to different learning patterns in studying a piece of music. I have noticed that although I teach all the students by using quite the same methods, part of them remember the pieces rather quickly and they prefer to play and practise them from memory. Some others, on the other hand, prefer to play from notes, and they continue doing it during the whol…
Conflicts in music in the South Caucasus
This article explores how music is employed in the service of nationalist ideas by two Caucasian peoples: the Azeris and the Armenians. The small-scale case study reported here focuses on a folk song that is popular in both nations (known respectively as Sari Gelin/Sari Aghjik) and on its reception in social media. The paper shows that doctrinal, national myths cultivated in Armenia and Azerbaijan are remarkably similar and have a stronghold in t…
Temporaalne variatiivsus eestikeelsete laulude esitamisel kui kompromiss kõne ja muusika vahel
loetud tekstide vahel näitas, et muusikalise rütmi
Sõnadest meloodiani
Estonian children’s improvisational songs, the nature of performance and songs’ coherence with the Western tonal musical canon
In this preliminary study, improvisational songs of 43 Estonian children (22 girls, 21 boys, M age = 5.5 years, age range: 2–8 years) were collected using the AIRS Test Battery of Singing Skills (ATBSS). Improvisational songs from two tasks of the ATBSS (song completion and song creation) were evaluated by three experts according to the performance’s coherence with the relevant criteria of children’s songs in the Western musical canon (a song has…
Tripartite Unity
A successful singing lesson requires coordinated efforts from the three parties involved: student, teacher, and accompanist. Results are reported of a survey in which 32 statements were rated on a 5-point Likert scale by high-school students, university students, and professional singers from an opera chorus. The statements were related to studentsâ expectations of their teacher and accompanist during individual singing lessons. Participants were…
Comparison of rhythm in musical scores and performances as measured with the pairwise variability index
This paper tests two hypotheses: (1) the normalized Pairwise Variability Index (nPVI) values computed on the basis of recorded performances may be higher than the nPVI values computed for the same works as musical scores, and (2) the musical nPVI values for different composers may vary substantially within one culture even within a short time-span. In Study 1, samples from the vocal works of four Estonian composers, Artur Kapp (1878–1952), Mart S…
The Temporal Structure of Estonian Runic Songs
The Kalevala, or runic, songs is a tradition at least a few thousand years old. It was shared by Finns, Estonians and other speakers of smaller Baltic-Finnic languages inhabiting the eastern side of the Baltic Sea in North-Eastern Europe. This book offers a combined perspective of a musicologist and a linguist to the structure of the runic songs. Archival recordings of the songs originating mostly from the first half of the 20th century were used…
Priorities in Voice Training
The voices of 42 students studying classical opera singing at the Estonian Academy of Music were investigated to find any objectively definable qualities possibly correlating with the length of training. Each student's singing of a four-bar seven-word initial phrase from a well-known Estonian classical solo was recorded. The recordings were digitalized and subjected to acoustic analysis yielding the long-term average spectrum (LTAS) for each voic…
Trade-off between quantity and stress in Estonian folksong performance
This paper is concerned with the issue of how speech and music prosodies are matched to each other in folksong performance. We consider speech and music to be two more or less autonomous structures which both are required to be accommodated in singing performance according to a certain modus vivendi. Under some conditions, this necessity for coexistence may lead to a conflict between the two media which, as we believe, is caused by the different …
Lost Prosodic Oppositions
This study examined the temporal structure of three recorded South-Eastern Estonian laments, a vocal style close to the old folksong tradition of the same region. A one-to-one correspondence was found between syllables in the text and notes in the melody. The duration of more than 700 syllables was measured. Syllable duration was found to vary by a considerable amount. In spoken language, the three quantities of disyllabic Estonian words are sign…
Trade-off between quantity and stress in Estonian folksong performance
This paper is concerned with the issue of how speech and music prosodies are matched to each other in folksong performance. We consider speech and music to be two more or less autonomous structures which both are required to be accommodated in singing performance according to a certain modus vivendi. Under some conditions, this necessity for coexistence may lead to a conflict between the two media which, as we believe, is caused by the different …
Lost Prosodic Oppositions
This study examined the temporal structure of three recorded South-Eastern Estonian laments, a vocal style close to the old folksong tradition of the same region. A one-to-one correspondence was found between syllables in the text and notes in the melody. The duration of more than 700 syllables was measured. Syllable duration was found to vary by a considerable amount. In spoken language, the three quantities of disyllabic Estonian words are sign…
Lost Prosodic Oppositions
This study examined the temporal structure of three recorded South-Eastern Estonian laments, a vocal style close to the old folksong tradition of the same region. A one-to-one correspondence was found between syllables in the text and notes in the melody. The duration of more than 700 syllables was measured. Syllable duration was found to vary by a considerable amount. In spoken language, the three quantities of disyllabic Estonian words are sign…
Trade-off between quantity and stress in Estonian folksong performance
This paper is concerned with the issue of how speech and music prosodies are matched to each other in folksong performance. We consider speech and music to be two more or less autonomous structures which both are required to be accommodated in singing performance according to a certain modus vivendi. Under some conditions, this necessity for coexistence may lead to a conflict between the two media which, as we believe, is caused by the different …
Priorities in Voice Training
The voices of 42 students studying classical opera singing at the Estonian Academy of Music were investigated to find any objectively definable qualities possibly correlating with the length of training. Each student's singing of a four-bar seven-word initial phrase from a well-known Estonian classical solo was recorded. The recordings were digitalized and subjected to acoustic analysis yielding the long-term average spectrum (LTAS) for each voic…
The Temporal Structure of Estonian Runic Songs
The Kalevala, or runic, songs is a tradition at least a few thousand years old. It was shared by Finns, Estonians and other speakers of smaller Baltic-Finnic languages inhabiting the eastern side of the Baltic Sea in North-Eastern Europe. This book offers a combined perspective of a musicologist and a linguist to the structure of the runic songs. Archival recordings of the songs originating mostly from the first half of the 20th century were used…
Comparison of rhythm in musical scores and performances as measured with the pairwise variability index
This paper tests two hypotheses: (1) the normalized Pairwise Variability Index (nPVI) values computed on the basis of recorded performances may be higher than the nPVI values computed for the same works as musical scores, and (2) the musical nPVI values for different composers may vary substantially within one culture even within a short time-span. In Study 1, samples from the vocal works of four Estonian composers, Artur Kapp (1878–1952), Mart S…
Tripartite Unity
A successful singing lesson requires coordinated efforts from the three parties involved: student, teacher, and accompanist. Results are reported of a survey in which 32 statements were rated on a 5-point Likert scale by high-school students, university students, and professional singers from an opera chorus. The statements were related to studentsâ expectations of their teacher and accompanist during individual singing lessons. Participants were…
Sõnadest meloodiani
Estonian children’s improvisational songs, the nature of performance and songs’ coherence with the Western tonal musical canon
In this preliminary study, improvisational songs of 43 Estonian children (22 girls, 21 boys, M age = 5.5 years, age range: 2–8 years) were collected using the AIRS Test Battery of Singing Skills (ATBSS). Improvisational songs from two tasks of the ATBSS (song completion and song creation) were evaluated by three experts according to the performance’s coherence with the relevant criteria of children’s songs in the Western musical canon (a song has…
Conflicts in music in the South Caucasus
This article explores how music is employed in the service of nationalist ideas by two Caucasian peoples: the Azeris and the Armenians. The small-scale case study reported here focuses on a folk song that is popular in both nations (known respectively as Sari Gelin/Sari Aghjik) and on its reception in social media. The paper shows that doctrinal, national myths cultivated in Armenia and Azerbaijan are remarkably similar and have a stronghold in t…
Temporaalne variatiivsus eestikeelsete laulude esitamisel kui kompromiss kõne ja muusika vahel
loetud tekstide vahel näitas, et muusikalise rütmi
Õpimustritest muusikateose omandamisel klaveri algõppes
This article was inspired by the first author’s observations in the teaching process, which refer to different learning patterns in studying a piece of music. I have noticed that although I teach all the students by using quite the same methods, part of them remember the pieces rather quickly and they prefer to play and practise them from memory. Some others, on the other hand, prefer to play from notes, and they continue doing it during the whol…
Vokaalide ja klusiilide intensiivsussuhted laulmisel teksti arusaadavuse mõjutajana
Aim. The objective of this study is to ascertain (1) whether there is a tendency in operatic singing by which, compared to speaking, the intensity of all speech sounds is greater, but the intensity of voiceless plosive bursts increases proportionally less than that of vowels, which may make the recognition of plosives more difficult; and (2) whether pronouncing the bursts of voiceless plosives more strongly would improve their recognition. Method…
Managing Reverberant Acoustics in Singing by Extending the Plosive Closures in Vowel–Plosive–Vowel Sequences
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…
Linguistics (7 works) · Psychology (7 works) · Art (6 works) · Computer Science (5 works) · Diverse Music Education Insights (5 works) · Estonian (5 works) · Neuroscience and Music Perception (5 works) · Phonetics and Phonology Research (5 works) · Acoustics (4 works) · Literature (4 works)