White Paper: Acoustics Primer for Music Spaces
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Physics of Music PHY103 Lab Manual
Physics of Music PHY103 Lab Manual Lab #6 – Room Acoustics EQUIPMENT • Tape measures • Noise making devices (pieces of wood for clappers). • Microphones, stands, preamps connected to computers. • Extra XLR microphone cables so the microphones can reach the padded closet and hallway. • Key to the infamous padded closet INTRODUCTION One important application of the study of sound is in the area of acoustics. The acoustic properties of a room are important for rooms such as lecture halls, auditoriums, libraries and theatres. In this lab we will record and measure the properties of impulsive sounds in different rooms. There are three rooms we can easily study near the lab: the lab itself, the “anechoic” chamber (i.e. padded closet across the hall, B+L417C, that isn’t anechoic) and the hallway (that has noticeable echoes). Anechoic means no echoes. An anechoic chamber is a room built specifically with walls that absorb sound. Such a room should be considerably quieter than a normal room. Step into the padded closet and snap your fingers and speak a few words. The sound should be muffled. For those of us living in Rochester this will not be a new sensation as freshly fallen snow absorbs sound well. If you close your eyes you could almost imagine that you are outside in the snow (except for the warmth, and bizarre smell in there). The reverberant sound in an auditorium dies away with time as the sound energy is absorbed by multiple interactions with the surfaces of the room. In a more reflective room, it will take longer for the sound to die away and the room is said to be 'live'. -
Acoustic Textiles - the Case of Wall Panels for Home Environment
Acoustic Textiles - The case of wall panels for home environment Bachelor Thesis Work Bachelor of Science in Engineering in Textile Technology Spring 2013 The Swedish school of Textiles, Borås, Sweden Report number: 2013.2.4 Written by: Louise Wintzell, Ti10, [email protected] Abstract Noise has become an increasing public health problem and has become serious environment pollution in our daily life. This indicates that it is in time to control and reduce noise from traffic and installations in homes and houses. Today a plethora of products are available for business, but none for the private market. The project describes a start up of development of a sound absorbing wall panel for the private market. It will examine whether it is possible to make a wall panel that can lower the sound pressure level with 3 dB, or reach 0.3 s in reverberation time, in a normally furnished bedroom and still follow the demands of price and environmental awareness. To start the project a limitation was made to use the textiles available per meter within the range of IKEA. The test were made according to applicable standards and calculation of reverberation time and sound pressure level using Sabine’s formula and a formula for sound pressure equals sound effect. During the project, tests were made whether it was possible to achieve a sound classification C on a A-E grade scale according to ISO 11654, where A is the best, with only textiles or if a classic sound absorbing mineral wool had to be used. To reach a sound classification C, a weighted sound absorption coefficient (αw) of 0.6 as a minimum must be reached. -
Making It Sound As Good As It Tastes: Noise Reverberation Reduction in a Micro Distillery Tasting Room Andrew Sheehy Montana Tech of the University of Montana
Montana Tech Library Digital Commons @ Montana Tech Graduate Theses & Non-Theses Student Scholarship Spring 2016 Making it Sound as Good as it Tastes: Noise Reverberation Reduction in a Micro Distillery Tasting Room Andrew Sheehy Montana Tech of the University of Montana Follow this and additional works at: http://digitalcommons.mtech.edu/grad_rsch Part of the Occupational Health and Industrial Hygiene Commons Recommended Citation Sheehy, Andrew, "Making it Sound as Good as it Tastes: Noise Reverberation Reduction in a Micro Distillery Tasting Room" (2016). Graduate Theses & Non-Theses. 89. http://digitalcommons.mtech.edu/grad_rsch/89 This Publishable Paper is brought to you for free and open access by the Student Scholarship at Digital Commons @ Montana Tech. It has been accepted for inclusion in Graduate Theses & Non-Theses by an authorized administrator of Digital Commons @ Montana Tech. For more information, please contact [email protected]. 1 Making it Sound as Good as it Tastes: Noise Reverberation Reduction in a Micro Distillery Tasting Room Andrew John Sheehy, Dan Autenrieth, Julie Hart, and Scott Risser Montana Tech Publishable Paper submitted to Artisan Spirit Magazine 2 Abstract Noise reverberation in micro distillery tasting rooms can interfere with speech communication and negatively impact the acoustic quality of live music. Noise reverberation was characterized in a tasting room in Butte, MT by calculated and quantified methods. Sound absorbing baffles were then installed in an effort to reduce reverberation and improve room acoustics. The overall reverberation time and speech interference level were decreased by measureable amounts that corresponded with an increase in overall absorption in the space. Reverberation time decreased from 0.85 seconds to 0.49 seconds on average. -
Reverb 101: Room Reverberation and Better Listening Experiences
Reverb 101: Room Reverberation and Better Listening Experiences A great listening experience involves more than just high-quality audio equipment—the way sound moves around the room matters just as much. You don’t have to be an expert acoustician to create an impressive listening environment —just an understanding of some basic acoustic concepts will get you well on your way. The Basics of Reverberation Reverberation (or reverb) is important to think about when planning the acoustical treatments for your room. To define reverb, we first need to understand how sound travels from the source to your ear. When sound is emitted, sound waves take off in every direction. Some waves will travel the straight path from the source to your ear, and the rest will bounce around the room, ricocheting off of hard surfaces until they reach your ear or lose steam and die out. You hear the unadulterated direct sound first—then you start hearing indirect sounds as they arrive. Given that sound travels roughly 770 miles per hour, this happens very fast, and your brain interprets all the copies of sound together as one. The ratio of direct and indirect sounds determines the sound quality. That is where reverberation comes in. Reverberation is the collection of indirect sounds in an enclosed space. The more sound copies that pile up, the muddier the sound becomes. How Does Reverberation Affect the Listening Experience? When direct sound and reverberation combine in a favorable ratio, the sound is rich and full. The effect can bring music to life and even smooth out transitions between musical notes, creating a pleasant, desirable sound. -
Web-Based Psychoacoustics: Hearing Screening, Infrastructure, And
bioRxiv preprint doi: https://doi.org/10.1101/2021.05.10.443520; this version posted May 11, 2021. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. Web-based Psychoacoustics: Hearing Screening, Infrastructure, and Validation Brittany A. Moka, Vibha Viswanathanb, Agudemu Borjiginb, Ravinderjit Singhb, Homeira Kafib, and ∗Hari M. Bharadwaja,b aDepartment of Speech, Language, and Hearing Sciences, Purdue University, West Lafayette, IN, United States bWeldon School of Biomedical Engineering, Purdue University, West Lafayette, IN, United States Abstract Anonymous web-based experiments are increasingly and successfully used in many domains of behavioral research. However, online studies of auditory perception, especially of psychoacoustic phe- nomena pertaining to low-level sensory processing, are challenging because of limited available control of the acoustics, and the unknown hearing status of participants. Here, we outline our approach to mitigate these challenges and validate our procedures by comparing web-based measurements to lab- based data on a range of classic psychoacoustic tasks. Individual tasks were created using jsPsych, an open-source javascript front-end library. Dynamic sequences of psychoacoustic tasks were imple- mented using Django, an open-source library for web applications, and combined with consent pages, questionnaires, and debriefing pages. Subjects were recruited via Prolific, a web-based human-subject marketplace. Guided by a meta-analysis of normative data, we developed and validated a screening pro- cedure to select participants for (putative) normal-hearing status; this procedure combined thresholding of scores in a suprathreshold cocktail-party task with filtering based on survey responses. -
Musical Acoustics - Wikipedia, the Free Encyclopedia 11/07/13 17:28 Musical Acoustics from Wikipedia, the Free Encyclopedia
Musical acoustics - Wikipedia, the free encyclopedia 11/07/13 17:28 Musical acoustics From Wikipedia, the free encyclopedia Musical acoustics or music acoustics is the branch of acoustics concerned with researching and describing the physics of music – how sounds employed as music work. Examples of areas of study are the function of musical instruments, the human voice (the physics of speech and singing), computer analysis of melody, and in the clinical use of music in music therapy. Contents 1 Methods and fields of study 2 Physical aspects 3 Subjective aspects 4 Pitch ranges of musical instruments 5 Harmonics, partials, and overtones 6 Harmonics and non-linearities 7 Harmony 8 Scales 9 See also 10 External links Methods and fields of study Frequency range of music Frequency analysis Computer analysis of musical structure Synthesis of musical sounds Music cognition, based on physics (also known as psychoacoustics) Physical aspects Whenever two different pitches are played at the same time, their sound waves interact with each other – the highs and lows in the air pressure reinforce each other to produce a different sound wave. As a result, any given sound wave which is more complicated than a sine wave can be modelled by many different sine waves of the appropriate frequencies and amplitudes (a frequency spectrum). In humans the hearing apparatus (composed of the ears and brain) can usually isolate these tones and hear them distinctly. When two or more tones are played at once, a variation of air pressure at the ear "contains" the pitches of each, and the ear and/or brain isolate and decode them into distinct tones. -
Music and Science from Leonardo to Galileo International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca
MUSIC AND SCIENCE FROM LEONARDO TO GALILEO International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) The present conference has been made possibile with the friendly support of the CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE MUSIC AND SCIENCE FROM LEONARDO TO GALILEO Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Virtual conference 13-15 November 2020 Programme Committee: VICTOR COELHO (Boston University) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) RUDOLF RASCH (Utrecht University) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) ef Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) FRIDAY 13 NOVEMBER 14.45-15.00 Opening • FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) 15.00-16.00 Keynote Speaker 1: • VICTOR COELHO (Boston University), In the Name of the Father: Vincenzo Galilei as Historian and Critic ef 16.15-18.15 The Galileo Family (Chair: Victor Coelho, Boston University) • ADAM FIX (University of Minnesota), «Esperienza», Teacher of All Things: Vincenzo Galilei’s Music as Artisanal Epistemology • ROBERTA VIDIC (Hochschule für Musik und Theater Hamburg), Galilei and the ‘Radicalization’ of the Italian and German Music Theory • DANIEL MARTÍN SÁEZ (Universidad Autónoma de Madrid), The Galileo Affair through -
Musical Elements in the Discrete-Time Representation of Sound
0 Musical elements in the discrete-time representation of sound RENATO FABBRI, University of Sao˜ Paulo VILSON VIEIRA DA SILVA JUNIOR, Cod.ai ANTONIOˆ CARLOS SILVANO PESSOTTI, Universidade Metodista de Piracicaba DEBORA´ CRISTINA CORREA,ˆ University of Western Australia OSVALDO N. OLIVEIRA JR., University of Sao˜ Paulo e representation of basic elements of music in terms of discrete audio signals is oen used in soware for musical creation and design. Nevertheless, there is no unied approach that relates these elements to the discrete samples of digitized sound. In this article, each musical element is related by equations and algorithms to the discrete-time samples of sounds, and each of these relations are implemented in scripts within a soware toolbox, referred to as MASS (Music and Audio in Sample Sequences). e fundamental element, the musical note with duration, volume, pitch and timbre, is related quantitatively to characteristics of the digital signal. Internal variations of a note, such as tremolos, vibratos and spectral uctuations, are also considered, which enables the synthesis of notes inspired by real instruments and new sonorities. With this representation of notes, resources are provided for the generation of higher scale musical structures, such as rhythmic meter, pitch intervals and cycles. is framework enables precise and trustful scientic experiments, data sonication and is useful for education and art. e ecacy of MASS is conrmed by the synthesis of small musical pieces using basic notes, elaborated notes and notes in music, which reects the organization of the toolbox and thus of this article. It is possible to synthesize whole albums through collage of the scripts and seings specied by the user. -
Musical Acoustics Timbre / Tone Quality I
Musical Acoustics Lecture 13 Timbre / Tone quality I Musical Acoustics, C. Bertulani 1 Waves: review distance x (m) At a given time t: y = A sin(2πx/λ) A time t (s) -A At a given position x: y = A sin(2πt/T) Musical Acoustics, C. Bertulani 2 Perfect Tuning Fork: Pure Tone • As the tuning fork vibrates, a succession of compressions and rarefactions spread out from the fork • A harmonic (sinusoidal) curve can be used to represent the longitudinal wave • Crests correspond to compressions and troughs to rarefactions • only one single harmonic (pure tone) is needed to describe the wave Musical Acoustics, C. Bertulani 3 Phase δ $ x ' % x ( y = Asin& 2π ) y = Asin' 2π + δ* % λ( & λ ) Musical Acoustics, C. Bertulani 4 € € Adding waves: Beats Superposition of 2 waves with slightly different frequency The amplitude changes as a function of time, so the intensity of sound changes as a function of time. The beat frequency (number of intensity maxima/minima per second): fbeat = |fa-fb| Musical Acoustics, C. Bertulani 5 The perceived frequency is the average of the two frequencies: f + f f = 1 2 perceived 2 The beat frequency (rate of the throbbing) is the difference€ of the two frequencies: fbeats = f1 − f 2 € Musical Acoustics, C. Bertulani 6 Factors Affecting Timbre 1. Amplitudes of harmonics 2. Transients (A sudden and brief fluctuation in a sound. The sound of a crack on a record, for example.) 3. Inharmonicities 4. Formants 5. Vibrato 6. Chorus Effect Two or more sounds are said to be in unison when they are at the same pitch, although often an OCTAVE may exist between them. -
A Guide to Office Acoustics
A GUIDE TO OFFICE ACOUSTICS www.acousticguide.org www.thefis.org Acoustic rafts, allowing the soffit to be exposed while reducing reverberation. First edition published April 2011 A GUIDE TO This edition published April 2015 OFFICE ACOUSTICS ISBN 978-0-9565341-1-8 World copyright reserved Copyright © 2015 FIS Published by FIS No part of this document may be reproduced or transmitted in any form or by any means electronic, chemical or mechanical, including photocopying, any information storage or retrieval system without licence or other permission in writing from the copyright owner. While every care has been taken to ensure the accuracy of the details presented in this document, we regret that FIS cannot be held responsible for any errors or omissions contained herein. 2 3 Artwork provides absorption to reduce reverberation. CONTENTS 1 Foreword . .. .. .. .. .7 . 5 Design guide to office acoustics . 19. 6 Terminology . 43 2 Introduction . .. .. .. .. .9 . Acoustic control. 19 7 Case studies . .. .. .. 51. Ceilings . .22 3 Basic acoustics . .. .. .. .. 11. Partitions. 24 8 Standards . .. .. .. 63. Doors. 30 4 Noise in offices . .. .. .. 15. Raised access flooring . .31 9 Acoustic research . .. .. .65 . Acoustic cavity barriers . .32 Noise sources . .15 Screens and furniture. 33 10 Acknowledgements . .. .. .71 . Mandatory requirements. 17 Floorcoverings. 33 The role of the acoustician. 17 Secondary glazing. 33 Internal finishes. 34 Design considerations. 34 Flanking sound. 34 Sibilance and grazing reflections. 35 Ventilation . .35 Integrating acoustic absorption into building services systems . .36 Sound rating and performance descriptors . .36 Reverberation control . .36 Intelligibilty. 36 Open plan environments . .37 Cellular environments . .39 Atria. 39 Background noise. 39 Proprietary introduced sound masking. -
Analysis of Reverberation Times and Energy Decay Curves of 1/12 Octave Bands in Performance Spaces Considering Musical Scale
Buenos Aires – 5 to 9 September, 2016 Acoustics for the 21st Century… PROCEEDINGS of the 22nd International Congress on Acoustics Concert Hall Acoustics: Paper ICA2016-676 Analysis of reverberation times and energy decay curves of 1/12 octave bands in performance spaces considering musical scale Akiho Matsuo(a), Toshiki Hanyu(b), Kazuma Hoshi(c) (a) Nihon University, Japan, [email protected] (b) Nihon University, Japan, [email protected] (c) Nihon University, Japan, hoshi@ arch.jcn.nihon-u.ac.jp Abstract Generally in the room acoustic design field, the reverberation times of 1 octave bands or 1/3 octave bands are analyzed for evaluating acoustic conditions in performance spaces such as concert halls. The center frequency in the octave bands is defined by engineering frequency intervals such as 250 Hz, 500 Hz, and 1000 Hz in the conventional analysis method. However, this definition of center frequency is not always adequate for evaluating performance spaces because music is composed of musical notes based on a musical scale, which is different from engineering frequency scales. Therefore, we studied the analysis of reverberation times and energy decay curves in 1/12 octave bands based on an equal tempered scale. Reverberation times in several concert halls were analyzed by this method. Distributions of reverberation times of 1/12 octave bands between concert halls were obtained. Next, instrumental sounds of varying pitches were convolved with impulse responses, and the reverberation times of the different pitches were analyzed from the convolved signals. As a result, variation of the reverberation times of the 1/12 octave bands and that of the different pitches corresponded well.