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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. -
White Paper: Acoustics Primer for Music Spaces
WHITE PAPER: ACOUSTICS PRIMER FOR MUSIC SPACES ACOUSTICS PRIMER Music is learned by listening. To be effective, rehearsal rooms, practice rooms and performance areas must provide an environment designed to support musical sound. It’s no surprise then that the most common questions we hear and the most frustrating problems we see have to do with acoustics. That’s why we’ve put this Acoustics Primer together. In simple terms we explain the fundamental acoustical concepts that affect music areas. Our hope is that music educators, musicians, school administrators and even architects and planners can use this information to better understand what they are, and are not, hearing in their music spaces. And, by better understanding the many variables that impact acoustical environ- ments, we believe we can help you with accurate diagnosis and ultimately, better solutions. For our purposes here, it is not our intention to provide an exhaustive, technical resource on the physics of sound and acoustical construction methods — that has already been done and many of the best works are listed in our bibliography and recommended readings on page 10. Rather, we want to help you establish a base-line knowledge of acoustical concepts that affect music education and performance spaces. This publication contains information reviewed by Professor M. David Egan. Egan is a consultant in acoustics and Professor Emeritus at the College of Architecture, Clemson University. He has been principal consultant of Egan Acoustics in Anderson, South Carolina for more than 35 years. A graduate of Lafayette College (B.S.) and MIT (M.S.), Professor Eagan also has taught at Tulane University, Georgia Institute of Technology, University of North Carolina at Charlotte, and Washington University. -
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 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. -
Musical Mathematics on the Art and Science of Acoustic Instruments
Musical Mathematics on the art and science of acoustic instruments Cris Forster MUSICAL MATHEMATICS ON THE ART AND SCIENCE OF ACOUSTIC INSTRUMENTS MUSICAL MATHEMATICS ON THE ART AND SCIENCE OF ACOUSTIC INSTRUMENTS Text and Illustrations by Cris Forster Copyright © 2010 by Cristiano M.L. Forster All Rights Reserved. No part of this book may be reproduced in any form without written permission from the publisher. Library of Congress Cataloging-in-Publication Data available. ISBN: 978-0-8118-7407-6 Manufactured in the United States. All royalties from the sale of this book go directly to the Chrysalis Foundation, a public 501(c)3 nonprofit arts and education foundation. https://chrysalis-foundation.org Photo Credits: Will Gullette, Plates 1–12, 14–16. Norman Seeff, Plate 13. 10 9 8 7 6 5 4 3 2 1 Chronicle Books LLC 680 Second Street San Francisco, California 94107 www.chroniclebooks.com In Memory of Page Smith my enduring teacher And to Douglas Monsour our constant friend I would like to thank the following individuals and foundations for their generous contributions in support of the writing, designing, and typesetting of this work: Peter Boyer and Terry Gamble-Boyer The family of Jackson Vanfleet Brown Thomas Driscoll and Nancy Quinn Marie-Louise Forster David Holloway Jack Jensen and Cathleen O’Brien James and Deborah Knapp Ariano Lembi, Aidan and Yuko Fruth-Lembi Douglas and Jeanne Monsour Tim O’Shea and Peggy Arent Fay and Edith Strange Charles and Helene Wright Ayrshire Foundation Chrysalis Foundation The jewel that we find, we stoop and take’t, Because we see it; but what we do not see We tread upon, and never think of it. -
HARMONICS and ORGAN PIPES
HARMONICS and ORGAN PIPES rained in this article, as well as other by combining the fundamental tone and points of view well known to students all the harmonics used with it. by DAN BARTON, Organ Builder of sound in organs. Flue pipes are more properly called Illustrated by the Author I give this explanation to prevent a labial pipes as referring to the lips. FOREWORD controversy with a reader who may be Reed pipes are more properly called Knowledge of musical acoustics, espe ac9uainted with some theory differing lingual pipes, referring to the tongue. cially pertaining to harmonics, is nearly w1th the one described in the article here presented . Organ pipe talk can be very The upper part of organ pipes is called all based on theory. The definition of body, tubes and resonators. theory is, "A more or less plausible or confusing to one who is not fully ac . In ~eferring to the number of sets of scientifically accepted general principle quainted with the subject. Some parts pi,pes rn an organ, they are designated as offered to explain phenomena, conjec are called by different names and in some ranks of pipes, as an organ consisting of ture or assumption without proof ." In instances different parts are designated ten ranks. In referring to one set of other words, someone 's opinion. by the same name. To make it clear to pipes, it is designated as a stop as a Many years ago I made a study of har those not fully conversant with organ violin stop or a flute stop. -
Musical Acoustics Research Library (MARL) M1711
http://oac.cdlib.org/findaid/ark:/13030/kt6h4nf6qc Online items available Guide to the records of the Musical Acoustics Research Library (MARL) M1711 Musical Acoustics Research Library (MARL) Finding aid prepared by Processed by Andrea Castillo Dept. of Special Collections & University Archives Stanford University Libraries. 557 Escondido Mall Stanford, California, 94305 Email: [email protected] August 2011 Guide to the records of the M1711 1 Musical Acoustics Research Library (MARL) M1711 Title: Musical Acoustics Research Library (MARL) Identifier/Call Number: M1711 Contributing Institution: Dept. of Special Collections & University Archives Language of Material: Multiple languages Physical Description: 59.39 Linear feet(138 manuscript boxes, 3 card boxes) Date (inclusive): 1956-2007 Abstract: The MARL collection is dedicated to the study of all aspects of musical acoustics. The collection, established in 1996, came about through the joint effort of the representatives of the Catgut Acoustical Society (CAS), founded by Carleen M. Hutchins and devoted to the study of violin making; Stanford’s Center for Computer Research in Music Acoustics (CCRMA), and Virginia Benade, the widow of the wind instrument acoustician Arthur Benade. MARL consists of the research materials from acousticians around the world who were dedicated to studying different aspects of violin making, which make up the Catgut Acoustical Society papers, and the archives of three prominent wind instrument acousticians of our time, John Backus, John W. Coltman, and especially Arthur H. Benade, which deal not only wiht wind instruments, but also room acoustics, and the interplay between acoustical physics and the mechanisms of auditory processing. The collection consists of papers, photographs, media, digital materials, wood samples, clarinet mouth pieces, and lab equipment Physical Location: Special Collections materials are stored offsite and must be paged 36 hours in advance. -
Foundations in Music Psychology
Foundations in Music Psy chol ogy Theory and Research edited by Peter Jason Rentfrow and Daniel J. Levitin The MIT Press Cambridge, Mas sa chu setts London, England © 2019 Mas sa chu setts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. This book was set in Stone Serif by Westchester Publishing Ser vices. Printed and bound in the United States of Amer i ca. Library of Congress Cataloging- in- Publication Data Names: Rentfrow, Peter J. | Levitin, Daniel J. Title: Foundations in music psy chol ogy : theory and research / edited by Peter Jason Rentfrow and Daniel J. Levitin. Description: Cambridge, MA : The MIT Press, 2019. | Includes bibliographical references and index. Identifiers: LCCN 2018018401 | ISBN 9780262039277 (hardcover : alk. paper) Subjects: LCSH: Music— Psychological aspects. | Musical perception. | Musical ability. Classification: LCC ML3830 .F7 2019 | DDC 781.1/1— dc23 LC rec ord available at https:// lccn . loc . gov / 2018018401 10 9 8 7 6 5 4 3 2 1 Contents I Music Perception 1 Pitch: Perception and Neural Coding 3 Andrew J. Oxenham 2 Rhythm 33 Henkjan Honing and Fleur L. Bouwer 3 Perception and Cognition of Musical Timbre 71 Stephen McAdams and Kai Siedenburg 4 Pitch Combinations and Grouping 121 Frank A. Russo 5 Musical Intervals, Scales, and Tunings: Auditory Repre sen ta tions and Neural Codes 149 Peter Cariani II Music Cognition 6 Musical Expectancy 221 Edward W. Large and Ji Chul Kim 7 Musicality across the Lifespan 265 Sandra E. -
Monochord Matters
MONOCHORD METAPHORS or THE POWER OF HARMONIA typeset at ear press : 2014 : healdsburg MONOCHORD METAPHORS or The Power of Harmonia Bhishma Xenotechnites 2014 AUTHOR’S NOTE The following remarks were written for and are dedicated to my friend and colleague Lloyd Rodgers, who for several years gave a seminar for music students at the California State University, Fullerton, on the theory and practice of the monochord ( and who tells me that his students re- ferred to the instrument as “the god machine” ) . I regret any and all errors, lapses and misapprehensions I may have committed in what follows, and any resulting distrac- tions. My grateful thanks to Ear Press of Healdsburg, California for the exemplary typesetting and production of this booklet. Bhishma Xenotechnites x-xi.2014 Corvallis, Oregon A stretched string is a thing of beauty, and the laws governing its performance are relatively simple. —Harry Partch, Genesis of a Music ( New York : Da Capo, 1994 ), 100. 1. “Tone” comes from Greek teinein, “to stretch.” 2. Very few examples in nature of a stretched string ; one is spider-web ; spiders respond to vibrations (periodic or not) of their web strands. 3. Which was first — musical bow or shooting bow? origins obscure, controversial ( see end-note on Homer and Genji ). 4. On Musical Bow see also Ground Harp ( New Grove ). 5. Monochord may be the first scientific instrument ( in modern sense ), except for the gnomon ( a pole registering time of day, solstice and equinox ). Very old : for Greek use, see David Creese’s book. The heliochronometer was a !1 stretched string whose shadow, like that of a sundial, was accurate enough to be used by the French railways in the 19th century to synchronize its watches and clocks. -
The Physics of Music and Musical Instruments
THE PHYSICS OF MUSIC AND MUSICAL INSTRUMENTS f1 f3 f5 f7 DAVID R. LAPP, FELLOW WRIGHT CENTER FOR INNOVATIVE SCIENCE EDUCATION TUFTS UNIVERSITY MEDFORD, MASSACHUSETTS TABLE OF CONTENTS Introduction 1 Chapter 1: Waves and Sound 5 Wave Nomenclature 7 Sound Waves 8 ACTIVITY: Orchestral Sound 15 Wave Interference 18 ACTIVITY: Wave Interference 19 Chapter 2: Resonance 20 Introduction to Musical Instruments 25 Wave Impedance 26 Chapter 3: Modes, overtones, and harmonics 27 ACTIVITY: Interpreting Musical Instrument Power Spectra 34 Beginning to Think About Musical Scales 37 Beats 38 Chapter 4: Musical Scales 40 ACTIVITY: Consonance 44 The Pythagorean Scale 45 The Just Intonation Scale 47 The Equal Temperament Scale 50 A Critical Comparison of Scales 52 ACTIVITY: Create a Musical Scale 55 ACTIVITY: Evaluating Important Musical Scales 57 Chapter 5: Stringed Instruments 61 Sound Production in Stringed Instruments 65 INVESTIGATION: The Guitar 66 PROJECT: Building a Three Stringed Guitar 70 Chapter 6: Wind Instruments 72 The Mechanical Reed 73 Lip and Air Reeds 74 Open Pipes 75 Closed Pipes 76 The End Effect 78 Changing Pitch 79 More About Brass Instruments 79 More about Woodwind instruments 81 INVESTIGATION: The Nose flute 83 INVESTIGATION: The Sound Pipe 86 INVESTIGATION: The Toy Flute 89 INVESTIGATION: The Trumpet 91 PROJECT: Building a Set of PVC Panpipes 96 Chapter 7: Percussion Instruments 97 Bars or Pipes With Both Ends Free 97 Bars or Pipes With One End Free 99 Toward a “Harmonic” Idiophone 100 INVESTIGATION: The Harmonica 102 INVESTIGATION: The Music Box Action 107 PROJECT: Building a Copper Pipe Xylophone 110 References 111 “Everything is determined … by forces over which we have no control. -
An Early Eighteenth-Century Discussion of Musical Acoustics by Étienne Loulié Richard Semmens
Document generated on 09/26/2021 9:25 p.m. Canadian University Music Review Revue de musique des universités canadiennes An Early Eighteenth-Century Discussion of Musical Acoustics by Étienne Loulié Richard Semmens Number 2, 1981 URI: https://id.erudit.org/iderudit/1013750ar DOI: https://doi.org/10.7202/1013750ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Semmens, R. (1981). An Early Eighteenth-Century Discussion of Musical Acoustics by Étienne Loulié. Canadian University Music Review / Revue de musique des universités canadiennes, (2), 177–206. https://doi.org/10.7202/1013750ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1981 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ AN EARLY EIGHTEENTH-CENTURY DISCUSSION OF MUSICAL ACOUSTICS BY ETIENNE LOULIÉ Richard Semmens The seventeenth century was a period of dynamic discovery in the physical sciences. The studies of astronomy and dynamics underwent perhaps the most noteworthy meta• morphoses (see Toulmin 1961:4). In astronomy, the impr0Vement of the telescope by Galileo Galilei provided an alarming confirmation of Copernicus's theory, On the Revolution of the Celestial Orbs (1543).