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In oduc ion
In ecen yea s, music isualiza ion echnology has g adually illed
gaps in adi ional a esea ch. Th ough audio spec um analysis,
Mo ion Cap u e sys ems, and AI algo i hms, esea che s can
ans o m subjec i e musical aes he ics in o quan i iable da a. Fo
example, using Sonic Visualize o gene a e spec og ams o ope a
pe o mances allows o p ecise analysis o he co ela ion be ween a
singe 's ib a o equency ( ypically 4-6Hz) and emo ional in ensi y.
Mo ion Cap u e echnology, which acks he mo emen ajec o ies
o ins umen al pe o me s, can es ablish ma hema ical models (e.g.,
he unc ional ela ionship be ween a pianis 's keys oke angle and
onal b igh ness) linking pe o mance ges u es o musical ension.
This empi ical shi has gi en ise o he new ield o "Digi al
Musicology." A Camb idge Uni e si y eam employed machine
lea ning o analyze 6,000 his o ical eco dings, econs uc ing he
e olu iona y pa h o 20 h-cen u y ocal echniques. Thei indings
e ealed ha he ansi ion om ches o abdominal b ea hing suppo
was no linea bu exhibi ed egional discon inui ies. This s udy
in oduces se e al cu en music isualiza ion so wa e ools and
ecen academic achie emen s, wi h a ocus on he empi ical analysis
o he Chinese ocal piece "Phoenix T ee" using he Vmus music
isualiza ion analysis so wa e de eloped by P o esso Yang Jian's
eam a he Shanghai Conse a o y o Music.
1. Types o Music Visualiza ion So wa e
Cu en ly, he mos widely used music isualiza ion so wa e
in e na ionally can be ca ego ized in o eal- ime music isualiza ion
so wa e (sui able o li e pe o mances/in e ac i e scena ios), ideo
edi ing-in eg a ed ools ( o music ideos/social media con en
c ea ion), mobile applica ions (And oid/iOS), open-sou ce and
p o essional analysis ools ( o esea ch/in-dep h analysis), and online
pla o ms & AI ools.
Real- ime music isualiza ion so wa e (sui able o li e
pe o mances/in e ac i e scena ios): 1) Hea yM – Suppo s eal- ime
UAI JOURNAL OF ARTS, HUMANITIES AND SOCIAL SCIENCES
Visualiza ion Resea ch o Vocal Music Wo ks——A Case S udy on he Song
"Phoenix T ee"
JIA LI A iunaa Sh.
G adua e Uni e si y o Mongolia, Ulaanbaa a Mongolia.
Co esponding Au ho : JIA LI A iunaa Sh.
Cu en issues in ocal pe o mance esea ch p ima ily e ol e a ound he insu icien u iliza ion o esou ces such as shee
music, audio- isual ma e ials, and p ac ical pe o mances, as well as he ailu e o in eg a e mode n empi ical me hods wi h
adi ional ocal esea ch app oaches. This s udy ocuses on using he Vmus music isualiza ion analysis p og am o analyze
elemen s such as hy hm, empo, dynamics, and imb e in he simple olk song "Phoenix T ee". By employing measu emen
ools o compa e di e en pe o mance e sions, i demons a es how o achie e be e in e p e a ions o musical wo ks.
KEY WORDS: Visualiza ion, Vocal music, Vocal pe o mance, Wo m plo
Abb e ia ed Key Ti le: UAI J A s Humani Soc Sci
ISSN: 3048-7692 (Online)
Jou nal Homepage: h ps://uaipublishe .com/uaijahss/
Volume- 2 Issue- 10 (Oc obe ) 2025
F equency: Mon hly
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DOI: 10.5281/zenodo.17277096
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audio synch oniza ion and p ojec ion mapping echnology,
ans o ming any su ace in o a dynamic isual in e ace. I is ideal
o la ge-scale e en s like music es i als and a ins alla ions. I s
ad an ages include a use - iendly in e ace, cus omizable empla es,
and mul i-sc een ou pu suppo ; 2) Synes hesia Li e – Fea u es a
modula design, allowing use s o cus omize isual e ec s h ough a
node-based in e ace. I suppo s MIDI con olle eal- ime
manipula ion, making i sui able o elec onic music pe o mances.
I s s andou ea u e is eal- ime audio analysis, gene a ing abs ac
g aphics ha dynamically ma ch he music; 3) Magic Music Visuals
– P o ides eal- ime audio inpu esponse, compa ible wi h
Windows/Mac. I includes a ious dynamic empla es (e.g., pa icle
e ec s, spec al wa e o ms), making i ideal o DJs and VJs o
imp o isa ional c ea ion; and 4) Mo ion Cap u e-T acks he limb
mo emen ajec o ies o ins umen al pe o me s, enabling he
cons uc ion o ma hema ical models ha link pe o mance ges u es
o musical ension (e.g., he unc ional ela ionship be ween a pianis 's
keys oke angle and onal b igh ness).
Figu e 1. Compa ison o Pe o mance Mo emen s Cap u ed by Mo ion Cap u e om Two Musicians
Sou ce: h ps://en.wikipedia.o g/wiki/Mo ion_cap u e .
The abo e is he same musical passages pe o med by wo pianis s,
p esen ed in slow mo ion. This allows o a clea obse a ion o he
dis inc body language exp essions o he pe o me s du ing hei
in e p e a ion o he piece.
Figu e 2. Compa ison o pe o mance mo emen s cap u ed by Mo ion Cap u e om wo musicians.
Sou ce: h ps://en.wikipedia.o g/wiki/Mo ion_cap u e.
This echnology allows o compa a i e analysis o each singe 's body
language when pe o ming he same piece, enabling be e a is ic
in e p e a ion. Howe e , i equi es high echnical p o iciency, and
he Mo ion Cap u e needs o i closely o he singe 's body, which
may a ec hei no mal ocal pe o mance.
Video edi ing-in eg a ed ools (sui able o music ideos/social media
con en c ea ion) include: 1) Adobe A e E ec s–A p o essional-
g ade ool ha achie es high-p ecision isualiza ion h ough audio
spec um and wa e o m e ec plugins. I suppo s 3D laye s and
mo ion g aphics, making i ideal o ilm/TV-le el p oduc ion. Fo
example, i s “Audio Spec um” plugin gene a es bea -synch onized
anima ions; 2) Veed–An online ool o e ing soundwa e empla es
and au oma ic bea -sync unc ionali y, wi h suppo o one-click HD
ideo expo s. I is well-sui ed o quick social media sho ideo
p oduc ion. A key ad an age is i s buil -in oyal y- ee music lib a y,
enabling di ec gene a ion o b anded isual con en ; and 3) CapCu
(In e na ional Ve sion o Jianying)–Fea u es in eg a ed audio
spec um isualiza ion, along wi h noise educ ion and oice
enhancemen , making i a p ac ical choice o musicians c ea ing ly ic
ideos o p omo ional clips.
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Mobile isualiza ion apps (And oid/iOS) encompass: 1) A ee Music
Playe (And oid) – A highly cus omizable isualiza ion ool ha
suppo s colo /shape adjus men s and HD ideo expo s, ideal o
c ea ing pe sonalized music ideos; 2) Mu iz Edge (And oid) –
Displays eal- ime spec um e ec s on sc een edges, op imized o
ull-sc een de ices. I in eg a es wi h hi d-pa y apps like Spo i y and
has low sys em esou ce usage. 3) Lumen (iOS) – A eal- ime isual
syn hesize o mobile, ea u ing MIDI in eg a ion and LED sc een
compa ibili y, sui able o small li e pe o mances o elec onic music
p oduc ion.
Open-sou ce & p o essional analysis ools ( o esea ch/in-dep h
analysis) include: 1) Sonic Visualise – An open-sou ce ool
suppo ing spec og ams, pi ch acking, and mul i-laye anno a ions.
I is widely used in music s uc u e analysis and speech esea ch,
making i highly sui able o academic s udies.
Figu e 3. Sonic Visualise so wa e in e ace.
Sou ce: Sonic Visualise APP
2) Py hon + LibROSA – Combines Py hon lib a ies o audio ea u e
ex ac ion (e.g., bea acking, Mel spec og ams), making i ideal o
de eloping cus omized isualiza ion algo i hms; 3) Audaci y – A ee
audio edi o o e ing basic spec um analysis unc ions, sui able o
en y-le el use s pe o ming simple audio isualiza ion; 4)
Twis edWa e – A c oss-pla o m audio edi ing ool compa ible wi h
Mac, Windows, iOS/iPadOS, and web b owse s, enowned o i s
e iciency and mul i-scena io adap abili y. I s key ad an ages include
eal- ime wa e o m display and ins an undo/ edo unc ionali y,
making i well-sui ed o educa o s demons a ing audio edi ing
echniques.
Figu e 4. Twis edWa e so wa e in e ace.
Sou ce: Twis edWa e APP
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5) Vmus.ne . De eloped by P o esso Yang Jian's eam a he
Shanghai Conse a o y o Music, Vmus.ne is an online music
isualiza ion ool specializing in eal- ime pe o mance analysis, wi h
pa icula s eng hs in empo, dynamics, and hy hm analysis. I
gene a es in ui i e empo-dynamics cu es ha clea ly display
pe o mance nuances such as c escendo/dec escendo and uba o. I s
dis inc i e Pe o mance Wo m ea u e p esen s a h ee-dimensional
dynamic model illus a ing he in e play be ween empo, dynamics
and empo al p og ession, making i pa icula ly e ec i e o
analyzing he accumula ion and elease o musical ension. The IOI
de ia ion analysis quan i a i ely measu es he disc epancy be ween
ac ual no e du a ions and heo e ical alues, e ealing pe o me s'
indi idualized hy hmic ea men s (e.g., elonga ion o comp ession
o double-do ed hy hms). Fo ins ance, Ma ia Callas' d ama ic
ension-building echniques in La T a ia a - including p olonged B-
la no es and manipula ed double-do ed hy hms - can be e icien ly
analyzed h ough his pla o m. No ably, Vmus.ne o e s excep ional
accessibili y and compa ibili y as a b owse -based ool equi ing no
ins alla ion. Use s can simply d ag-and-d op audio iles o immedia e
analysis, wi h expo able isuals sui able o di ec inclusion in
academic pape s o p esen a ion ma e ials. I s s eamlined in e ace
acili a es apid isualiza ion gene a ion, p o ing especially aluable
o eal- ime class oom demons a ions. Howe e , he pla o m does
p esen ce ain limi a ions: i s analy ical dimensions emain
cons ained, p ima ily ocusing on empo al-domain pa ame e s
( empo, dynamics, hy hm) while lacking ad anced spec al analysis
capabili ies (such as o man acking o ha monic s uc u e
decomposi ion). The sys em canno p ocess mul i- ack audio
alignmen o complex anno a ion equi emen s. Fu he mo e,
compa ed o in e na ional coun e pa s like Sonic Visualise ,
Vmus.ne aces challenges in echnical main enance and upda es due
o ela i ely limi ed de elopmen unding and smalle eam size,
esul ing in less equen so wa e enhancemen s.
Figu e5. Vmus.ne so wa e in e ace.
Sou ce: Vmus.ne
Online pla o ms & AI ools include: Rende o es – O e s empla e-
based music isualiza ion gene a ion wi h suppo o 3D scenes and
anima ed ex , ideal o quickly p oducing comme cial p omo ional
ideos; 2) Syqel – AI-powe ed pla o m ha gene a es dynamic isual
e ec s in eal- ime, ea u ing cloud-upda ed empla es sui able o
use s wi h limi ed design expe ience; and 3) Spec e – An online ool
suppo ing pa icle e ec s and ly ic synch oniza ion, p o iding high-
esolu ion, wa e ma k- ee expo s pe ec o independen musicians
p omo ing hei wo k.
While cu en so wa e o en p o es o e ly complex, limi ing he
widesp ead adop ion o such analy ical me hods in he music
communi y, esea che s and en husias s now ha e access o a simple
ye powe ul solu ion: he VMUS.ne online music pe o mance
analysis pla o m.
Howe e , hese echnological ad ancemen s also p omp e lec ion.
AI-gene a ed music may adhe e o composi ional ules bu lacks he
human wa m h o his o ical con ex . Empi ical music esea ch
enables p ecise quan i a i e analysis, aiding pe o me s in echnical
execu ion, ye isks diminishing he a 's exp essi e dep h. This
me hodological e olu ion ep esen s bo h an oppo uni y and a
challenge o digi al humani ies in a esea ch—enhancing analy ical
capabili ies while es ing he academic communi y's alue judgmen s.
Ul ima ely, his au ho ad oca es o a balanced app oach: in eg a ing
adi ional esea ch me hods wi h echnological ools o achie e mo e
holis ic and meaning ul in e p e a ions o musical wo ks.
2. Visualiza ion-Based Music Resea ch
on he A Song "Phoenix T ee"
2.1 Analysis o Musical S uc u e
"Phoenix T ee" is a ly ical Chinese a song composed by Xi Qiming
wi h ly ics by Yang Zhanye. O iginally pe o med by Chinese
sop ano Chen Yan, i was included in he 2010 album "In Sea ch o
Los Elegance." This a song depic s au umn winds us ling h ough
phoenix ees, using image y o alling lea es and ui s as me apho s
o he passage o ime, exp essing nos algia o childhood and you h
while con empla ing he cycle o li e.
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The piece is w i en in E- la majo wi h a 4/4 ime signa u e, ma ked
"Andan ino" a app oxima ely 76 bea s pe minu e. Comp ising 25
measu es in o al, i ollows a compound bina y o m (A-B) ha
e lec s he adi ional musical na a i e s uc u e o "in oduc ion-
de elopmen - ansi ion-conclusion."
2.2 Visualiza ion Analysis o "Phoenix T ee"
Focusing on he isualiza ion analysis o he a song "Phoenix T ee,"
his s udy employs h ee analy ical ools om Vmus.ne so wa e: he
Spec og am, Music Wo m Plo , and Tempo-Dynamics Plo o
de ailed examina ion. Below a e he speci ic analy ical me hods o
each isualiza ion ype, along wi h p ac ical examples om "Phoenix
T ee." Th ough quan i a i e analysis o ocal e sions ega ding pi ch
con ol, hy hmic ea men , and emo ional exp ession, his app oach
aids in s udying pe o mance s yles and a ec i e in e p e a ion.
The ollowing diag ams p esen a isual compa ison o measu es 1-
19 (Sec ion A) om he song "Phoenix T ee" pe o med by ocalis s
Chen Yan and Huang Lu. In his s udy, using he Tempo-Dynamics
Plo , we model he ela ionship be ween ins an aneous empo
a ia ions (BPM) and ela i e dynamics ( olume) in each measu e,
enabling quan i a i e compa ison o he wo pe o me s' dis inc
app oaches o hy hmic luidi y, ph asing ension, and ly ical
exp ession.
Figu e6. Vmus.ne CHEN YAN‘Phoenix T ee’Tempo-Dynamics Plo
Sou ce: Vmus.ne
Figu e7. Vmus.ne HUANG LU‘Phoenix T ee’Tempo-Dynamics Plo
Sou ce: Vmus.ne
The black cu e ep esen s he end o ins an aneous empo changes
o e ime (by measu e numbe ); he g ay shaded a ea indica es he
dynamic ange wi hin each measu e; he blue dashed line shows he
a e age empo o he en i e sec ion; he ed dashed line ma ks he
cu en compa ison poin ; and he ed iangle symbols deno e
measu e s a ing poin s o hy hmic e e ence.
F om he abo e compa ison, i can be concluded ha :
Dimension
CHEN
YAN（Figu e7）
HUANG
LU（Figu e7）
A e age
Tempo
Sligh ly slowe
(abou 13.8 BPM)
Sligh ly as e (abou
15.2 BPM)
O e all
Fluc ua ion
Range
Mo e s able con ol,
max luc ua ion
<4BPM
Highe luc ua ion
equency, max
ampli ude eaching
6BPM
Rhy hm
Pa abolic s uc u e:
D ama ic " as -slow-
Pa e n
"accele a ion in
middle, decele a ion
a bo h ends"
as " al e na ing pa e n
Wid h o
G ay
Shaded A ea
O e all na owe ,
luc ua ing be ween
app oxima ely 10-14,
p og essing s eadily,
mee ing adi ional
ly ical singing
equi emen s.
Wide shaded a eas,
ex eme ampli ude in
some measu es (e.g., 9,
16), showing
" apezoidal peak-
alley" al e na ion wi h
s ong emo ional ension
S ylis ic
App oach
S uc u al in eg i y,
hy hmic s abili y,
and ly icism, leaning
owa ds academic
and echnically
igo ous s yle.
Exp essi e ension,
hy hmic eedom,
d ama ic - sui able o
s age
pe o me s/emo ion-
d i en singe s
Chen Yan adop s a empo model mo e aligned wi h he "La go can abile" adi ion, emphasizing na u al ansi ions be ween ph ases
while pu suing cohe ence and dep h. Huang Lu, howe e , a o s a
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" uba o" app oach, inco po a ing signi ican decele a ion a key
emo ional poin s (e.g., measu es 9-11), demons a ing acu e
sensi i i y o musical d ama ic ension. In measu es 14-17, Chen Yan
main ains a mode a e empo wi h g adually es ained dynamics,
c ea ing a linge ing esonance e ec . Huang Lu, howe e , execu es
sudden accele ando coupled wi h in ensi ied dynamics in measu es
15-16, p oducing an emo ional ca ha sis ha ans o ms melancholic
sen imen in o wha migh be pe cei ed as ocal ou c y o libe a ion
in he coda. Rega ding dynamic con ol, Chen Yan main ains
ema kable consis ency, p io i izing ph asal con inui y and e ical
laye ing. Huang Lu employs a "sec ional in ensi ica ion wi h e minal
elease" s a egy, u ilizing dynamic luc ua ions o ampli y he
music's exp essi eness.
The empo-dynamics plo isualiza ion no only p o ides quan i a i e
e idence o s udying he a song "Phoenix T ee" bu also e eals he
unde lying emo ional logic, b ea h con ol, empo o ganiza ion, and
dynamic exp ession s a egies ac oss di e en pe o mance s yles.
This c oss-dimensional in e p e a ion om " isual music image y" o
" ocal exp ession s yle" assis s singe s in: iden i ying s eng hs and
blind spo s in hei pe o mance s yle; selec ing app op ia e hy hmic
and dynamic s a egies o he emo ional co e o he wo k; and
achie ing h ee-dimensional uni y in "music- ex -emo ion"
in eg a ion based on ly ical con en .
The ollowing p esen s an in-dep h, p o essional compa a i e analysis
o he spec og ams o he wo pe o me s in he a song "Phoenix
T ee." These images, based on equency ( e ical axis, Hz) and ime
(ho izon al axis, measu e di isions), use colo in ensi y o ep esen
sound s eng h and equency componen s, e ealing c i ical ocal
cha ac e is ics such as pi ch con ol, esonance usage, dic ion cla i y,
and emo ional ension.
Figu e8. Vmus.ne CHEN YAN‘Phoenix T ee’Spec og am
Sou ce: Vmus.ne
Figu e9. Vmus.ne HUANG LU‘Phoenix T ee’Spec og am
Sou ce: Vmus.ne
High- equency ange (8.84 kHz - 22.1 kHz)
Chen Yan's e sion: Be ween measu es 10-1 o 17-1, he high-
equency componen s a e clea and concen a ed, wi h he blue-g een
a ea showing good ex ension, indica ing excellen b ea h suppo and
b igh egis e ansi ions in he uppe ange. Pa icula ly in he
climac ic sec ion o he main melody o "Phoenix T ee," he head
esonance con ol is s able, wi h a s ong sense o e e be a ion.
Huang Lu's e sion: In he same sec ion, he high- equency
dis ibu ion appea s ela i ely spa se and less sus ained, e lec ing a
mo e conse a i e app oach in he uppe ange, o en using mixed o
co e ed esonance echniques, sac i icing some pene a ion powe o
enhance emo ional so ness.
Mid- equency ange (2.21 kHz–8.84 kHz)
Chen Yan: This equency ange shows consis en ly s able g een
dis ibu ion wi h clea imb al cha ac e is ics and high speech
in elligibili y. Pa icula ly in he "emo ional ansi ion zone" be ween
measu es 5-1 o 13-1, he mid- equency peaks emain s able, bes
demons a ing he coo dina ion o a icula ion and esonance in he
pe o mance.
Huang Lu: The mid- equency ange appea s ulle , wi h dis inc
g een "concen a ion zones" no ably be ween measu es 7-1 o 14-1,
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indica ing he s ong abili y in imb al consis ency and esonance
con ol. Howe e , compa ed o Chen Yan, he equency a ia ions
a e sligh ly less p onounced, showing ela i ely s eady dynamic
laye s.
Low- equency ange (0–2.21 kHz)
Chen Yan: The balanced dis ibu ion o ed and o ange a eas indica es
s able lowe egis e usage wi h app op ia e glo al closu e. The low-
equency ene gy emains consis en h oughou he piece wi hou
no iceable gaps, making i well-sui ed o emphasizing a "na a i e"
one.
Huang Lu: The low- equency pe o mance is sligh ly weake in
measu es 1-1 o 6-1 bu s eng hens no iceably in measu es 10-1 o
15-1. This likely e lec s a delibe a e s a egy o enhance emo ional
exp ession by employing ches esonance o con ey a "whispe ed"
sen imen .
Chen Yan's high- equency ea men demons a es g ea e
pene a ion and spa ial p esence, making i ideal o ly ical and
exp essi e passages, while Huang Lu adop s a mo e es ained and
in ospec i e app oach wi h sub le emo ional deli e y. In he mid-
equency ange, Chen Yan emphasizes cla i y and dimensionali y,
whe eas Huang Lu p io i izes so ness and uni o mi y. In he low-
equency ange, Chen Yan main ains balanced con ol, while Huang
Lu s a egically enhances speci ic sec ions o c ea e in imacy,
showcasing he s onge d ama ic cons uc ion skills. Be ween
measu es 10-1 o 13-1, Chen Yan exhibi s a b oade equency span
(ex ending om 2kHz o 19kHz), e lec ing he bold handling o
egis e ansi ions h ough mixed head and ches oice echniques,
c ea ing an aes he ic ension o " imb e leaps." In con as , Huang Lu
op s o a na owe equency band in he same passage,
demons a ing ine ansi ional con ol and a ocus on na u al
ph asing and linguis ic low. F om he pe spec i e o spec og am
analysis, he wo ocalis s Chen Yan and Huang Lu ep esen wo
dis inc in e p e i e app oaches o "Phoenix T ee": one emphasizes
bo h echnical mas e y and d ama ic ension while ocusing on
s uc u al a ia ions (Chen Yan), while he o he ea u es in ospec i e
emo ional low wi h e ined a icula ion (Huang Lu). Th ough
de ailed analysis o equency, ene gy, esonance and o he
dimensions, we can gain deepe insigh s in o he pe sonalized
pe o mance app oaches in Chinese a songs, while also p o iding
bo h echnical and aes he ic e e ences o eaching and pe o mance.
The Music Wo m Plo is a h ee-dimensional isualiza ion me hod
ha in eg a es ime, empo, and dynamics, whe e he X-axis
ep esen s dynamics (dB) indica ing olume in ensi y, he Y-axis
ep esen s empo (BPM) e lec ing he speed o pe o mance, and he
colo a ia ions and pa h ajec o ies e eal he e ol ing emo ional
ension and dynamic con ol du ing he ocal pe o mance. This
isualiza ion e ec i ely cap u es nuanced aspec s such as b ea h
con ol, hy hmic lexibili y, and emo ional luc ua ions, which a e
o he wise challenging o quan i y, making i pa icula ly aluable o
compa a i e analysis.
Figu e10. Vmus.ne CHEN YAN‘Phoenix T ee’Music Wo m Plo
Sou ce: Vmus.ne
Figu e11. Vmus.ne HUANG LU‘Phoenix T ee’Music Wo m Plo
Sou ce: Vmus.ne
In e ms o dynamic con ol (X-axis), Chen Yan's dynamics ange
p edominan ly be ween 22dB-28dB, wi h highe a e age le els
indica ing obus b ea h suppo and esonance echniques (likely
blending ches and head esonance) o emphasize emo ional dep h.
Key ph ases such as“我站在梧桐树下”(I s and benea h he phoenxi
ee") exhibi in ensi ied dynamics o d ama ic exp ession. Fo
Huang Lu, HER dynamic ange is concen a ed be ween 9dB o 16dB,
gene ally so e , demons a ing mo e delica e and gen le imb e
con ol, p esen ing a mo e "in o e ed" singing s yle ha emphasizes
e ined ph asing and a icula ion. The wo singe s employ wo dis inc
in e p e i e app oaches: Chen Yan exhibi s a "b oad dynamic ange"
exp essi e s a egy, while Huang Lu adop s a "local mic o-dynamic
ea men " as he co e o he singing echnique.
Rega ding empo con ol (Y-axis di ec ion), Chen Yan’s empo
luc ua es app oxima ely be ween 12.5 and 15.5 BPM, wi h a
ajec o y showing h ee downwa d-upwa d-downwa d shi s,
indica ing he equen use o uba o, pa icula ly slowing down a
emo ional climaxes ("d agging" he bea ) o enhance exp essi eness.
He app oach demons a es g ea e hy hmic lexibili y. Huang Lu’s
empo emains s able be ween 13 and 16 BPM wi h minimal
luc ua ions, e lec ing a mo e me ically ancho ed pe o mance ha
p io i izes s uc u al cla i y and hy hmic con inui y. He s yle leans
owa d hy hmic con ol.
As o pa h s uc u e and musical ension, Chen Yan's wo m plo
ea u es hick, spi aling ajec o ies wi h h ee-phase ension
buildup, demons a ing a laye ed exp essi e app oach - a
"p og essi e- ension ocal a chi ec u e" ha emphasizes s uc u al
in ensi ica ion like poe ic p og ession. Huang Lu's wo m plo shows
Resea ch Pape
This wo k is licensed unde a C ea i e Commons A ibu ion-NonComme cial 4.0 In e na ional License.
DOI: 10.5281/zenodo.17277096
Page 8
a diagonally ascending pa h wi h mino luc ua ions, indica ing a
"s able-g adual emo ional deli e y" whe e ension is achie ed in one
cohesi e mo ion, ocusing on holis ic emo ional de elopmen akin o
ink-wash pain ing's luid sub le y.
Analysis Dimension
Chen Yan
Huang Lu
Dynamic Range
22~28 dB, wide and exp essi e
9~16 dB, concen a ed and delica ely so
Tempo Fluc ua ion
Signi ican a ia ion, ee hy hm
Minimal a ia ion, s eady hy hm
Pe o mance S yle
Emo ionally in ense wi h s ong b ea h suppo
Res ained and in ospec i e wi h smoo h ph asing
Resonance S a egy
Mixed esonance o enhanced ension
B igh head-dominan esonance pu suing
cla i y
Tension Cons uc ion
Mul i-s age p og essi e de elopmen
Linea lowing p og ession
Quan i a i e analysis h ough Vmus.ne 's Music Wo m Plo clea ly
e eals he unde lying dynamic ension and hy hmic s uc u e in
ocal pe o mances, which holds signi ican impo ance o
compa ing a is ic s yles and indi idual in e p e a ion app oaches in
a songs.
Conclusion
This s udy ocuses on he pe o mance s yles o he Chinese a song
"Phoenix T ee," employing music isualiza ion echniques o explo e
new app oaches o ocal pe o mance analysis. The s udy begins by
ca ego izing cu en music isualiza ion echnologies, cla i ying hei
applica ion alue in music s uc u e analysis and pe o mance s yle
compa ison, wi h pa icula emphasis on he unc ional ea u es and
ope a ional ad an ages o Vmus.ne so wa e. Subsequen ly, using
wo pe o mance e sions o "Phoenix T ee" by Chen Yan and Huang
Lu as esea ch subjec s, he s udy conduc s a compa a i e analysis
ac oss mul iple dimensions—including hy hmic con ol, emo ional
exp ession, equency ene gy dis ibu ion, and esonance s a egies—
by in eg a ing empo-dynamics plo s and Spec og am. The esul s
indica e ha Chen Yan's e sion is mo e s able and e ined, wi h
concen a ed equency spec a, e lec ing he discipline o adi ional
academic aining, while Huang Lu's one exhibi s g ea e a ia ion in
empo and dynamics, wi h b oade equency dis ibu ion,
demons a ing dis inc pe sonalized exp ession. The esea ch
demons a es ha music isualiza ion no only helps e eal
pe o me s' echnical and exp essi e cha ac e is ics in dep h bu also
p o ides scien i ic and isual suppo o he eaching and analysis o
a song pe o mance.
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