There is a phenomenon, experienced with vocalists and with instrumentalists as well, that is very difficult to hear and equally difficult to explain. That is, the possibility of playing ONE note but producing TWO different pitches on that same note. In the case of some operatic voices, they can produce not just TWO, but several pitches at the same time. I don't think that this is ever done on purpose, but is a characteristic of their "instrument" over which they seemingly have little control. The ultimate manifestation of this technique is called "overtone singing", which is a purposeful effort to actually sing two pitches at the same time. There are some pretty convincing demonstrations available online. What I am trying to say is that there are singers who inadvertently encompass some degree of "overtone singing" in their normal singing voice. That might explain one posters dissatisfactions with certain singers who do not "resonate" with his ears ?? In every musical sound, it can be considered that there are TWO characteristics existing in that sound : 1 - The "Core" of the sound 2 - The resonance of the sound. When they are not in tune with each other, a cacophony results. When in tune, a complimentary reinforcing results. A simple example might be to consider the "pluck" of a guitar as the "core" and the resonance of the guitar body as the "resonance". Luthiers will make tiny adjustments to the location of the "sound post" inside a violin to achieve this very subtle result. It is similar to having the front wheels on your car properly aligned so that they roll down the highway in "harmony". I used to demonstrate to students how easy it was to hum a pitch and then while still humming the same pitch, open my mouth and produce a different pitch that conflicted with the humming pitch. A lot of singers --- and instrumentalists --- do the same thing unconsciously. One of the best examples I've ever heard of the perfect "alignment" of pitch and resonance is Leonard Warren, late of The Metropolitan Opera. I used to play his recording of "Colorado Trail" as a demonstration of that perfect alignment. His HUGE voice had a central clarity that was astonishing ! A remarkable bit of trivia about the great bass-baritone was that he never learned to read music !
I hope that my bringing this phenomenon to the discussion might shed light on what exactly it is that we find so attractive in some performers and so distressing in others. Conversely, I may have added further confusion, and for that possibility I apologize.
I hope that my bringing this phenomenon to the discussion might shed light on what exactly it is that we find so attractive in some performers and so distressing in others. Conversely, I may have added further confusion, and for that possibility I apologize.