RESUMO
The objective of the present pluridisciplinary study was to contribute to determine how a diversity of audience differently appreciates several versions resulting from different "restoration" treatments of one single original lyrical recording. We present here a joint analysis coupling psychological and linguistic analyses with acoustic descriptions on a unique research object: a Caruso's piece of song diversely remastered on commercial CDs. Thirty-two subjects were selected contrasted on age ("younger than 30 years" and "older than 60 years") related with their different experience of earlier technical recording devices (rendering through devices such as radio, 78rpm records, CD...) and on expertise concerning musical acoustics (acousticians and/or musicians vs ordinary music lovers). Eleven excerpts of reediting of an opera record interpreted by Caruso were selected from what could found on the market. The listening protocol involved a free categorization task and the selection of excerpts on preference judgments. Each task involved subjects' free commentaries about their choices as a joint output from psychological processing. A cluster analysis scaffold by a psycholinguistic processing of the verbal comments of the categories allowed to identify both commonalities and differences in groupings excerpts by the different groups of the subjects, along a diversity of criteria, varying according to age and expertise. Each excerpt can therefore be characterized both according to psychological and to acoustic criteria. This study has enabled us to develop the idea that a lyric voice is a multifaced object (cultural, esthetic, technical, physical), acoustic parameters being linked to the various sensory experiences and expertises of appraisers. Such pluridisciplinary research and the coupling of the correlated multiplicity of methodologies we developed acknowledge for a better understanding of listening practices and music-lover assessments here concerned with a specific musical style (opera), and a diversity of media technology (analogical or digital records, radio...) but that we expect to be generalized to a wide range of complex musical productions.