Musical acoustics

A simplified version of Dunnwald-; timbre parameters for violin sound [L (bass), ACD-B (nasality), and DE-F (clari-ty)] is used to compare the sound of 15 violins by Antonio Stradivari and 15 by Giuseppe Guarneri del Gesii. The parameters were extracted from ?h-octave band long-time-average spectra obtained from CD recordings of the same musical excerpt played on each of these fine violins. A considerable spread in these parameters and the sound pressure levels (loudness) was found in both groups of Cremonese violins. A simple statistical analysis indicates that tbere seems to be a slight trade-off between overall sound power output and high values for the timbre parameters of the 30 violins. A weak trend was found between production year and parameter values. Guarneri violins tended toward less bass and more nasality, increasing clarity, and stronger sound, especially during the maker's later years. Stradivari's violins indicate an opposite trend over a longer time span: more bass, less nasality, and slightly less loud with time. The brilliance of Stradivari violins (in the set of 15) seems to be unaltered with production year.

Traditionally, musical instrument recognition is mainly based on frequency domain analysis (sinusoidal analysis, cepstral coefficients) and shape analysis to extract a set of various features. Instruments are usually classified using k-NN classifiers, HMM, Kohonen SOM and Neural Networks. In this work, we describe a system for the recognition of musical instruments from isolated notes. We are introducing the use of a Time Encoded Signal Processing method to produce simple matrices from complex sound waveforms, for instrument note encoding and recognition. These matrices are presented to a Fast Artificial Neural Network (FANN) to perform instrument recognition with promising results in organ classification and reduced computational cost. The evaluation material consists of 470 tones from 19 musical instruments synthesized with 5 wide used synthesizers (Microsoft Synth, Creative SB Live! Synth, Yamaha VL-70m Tone Generator, Edirol Soft-Synth, Kontakt Player) and 84 isolated notes from 20 western orchestral instruments (Iowa University Database).

The Clavinet is an electromechanical musical instrument produced in the mid-twentieth century. As is the case for other vintage instruments, it is subject to aging and requires great effort to be maintained or restored. This paper reports analyses conducted on a Hohner Clavinet D6 and proposes a computational model to faithfully reproduce the Clavinet sound in real time, from tone generation to the emulation of the electronic components. The string excitation signal model is physically inspired and represents a cheap solution in terms of both computational resources and especially memory requirements (compared, e.g., to sample playback systems). Pickups and amplifier models have been implemented which enhance the natural character of the sound with respect to previous work. A model has been implemented on a real-time software platform, Pure Data, capable of a 10-voice polyphony with low latency on an embedded device. Finally, subjective listening tests conducted using the current model are compared to previous tests showing slightly improved results.

ABSTRACT The sound of a solid body electric guitar comes from the loudspeaker transducing into sound the string velocity. Because of mechanical string-structure coupling, the string vibration, and therefore the sound, substantially depends on the lutherie parameters. This study focuses on the comparison between ebony-fingerboard and rosewood-fingerboard guitars: is a change in the fingerboard wood perceived by the guitar players? In order to test the hypothesis that it is actually perceived, a psychological investigation is carried out. Two experimental methods are used: a free sorting task with recorded stimuli from the guitars (listening test) and a free verbalisation task where the guitarists play the guitars. In the listening test, the guitarists perceive differences between guitars, but the resulting clusters do not show an ebony/rosewood dichotomy. A linguistic analysis of the verbalisations exhibits psychological descriptors that are relevant for the discrimination of the wood of the fingerboard: PRECISION (referring to how each note stands out from others), and to a lesser extent ATTACK (referring to the guitar's response to musician's gesture) and BALANCE (referring to the frequency content). This study is part of a broader project aiming at establishing an explicite relation between mechanics, perception, and lutherie. A physical interpretation of the psychologically-relevant descriptors is eventually proposed in order to use them as hypotheses in a further hypothetico-deductive approach starting from physics and using psychophysical methods.

In this paper, a physics-based model for a snare drum will be discussed, along with its finite difference simulation. The interactions between a mallet and the membrane and between the snares and the membrane will be described as perfectly elastic collisions. A novel numerical scheme for the implementation of collisions will be presented, which allows a complete energy analysis for the whole system. Viscothermal losses will be added to the equation for the 3D wave propagation. Results from simulations and sound examples will be presented.

This paper presents a family of algorithms that enable music-, film-and game producers to create engaging virtual acoustic environments around the end user and control the positioning of sound sources therein. The problems of addressing multiple formats are discussed, as is image precision vs. real-time motion capability. Progress in lateral source positioning capability and centre channel integration is reported.

Planting bushes and trees in and around sound generating sources is an effective solution for noise pollution.
Urban Planning, Public Education and Awareness.
Regular servicing and tuning of automobiles/ machinery can effectively reduce the noise pollution.
Alteration of roadway surface texture.
Buildings can be designed with suitable noise absorbing material for the walls, windows, and ceilings.
Soundproof doors and windows can be installed to block unwanted noise from outside.
Factories and industries should be located far from the residential areas.
Workers should be provided with equipments such as ear plugs and earmuffs for hearing protection.
Control in the Transmission Path, Control at Source, Control over Vibrations.
Exposure Reduction
Enclosure of machines can reduce noise levels at its source very effectively.
Leakage where pipes pass through walls as well as acoustic leaks between walls, screens or enclosures, can produce large variations in the attenuation achieved. It is therefore important to seal air gaps carefully
Putting major noise sources at one place & separating it from quieter area.
Using acoustic barriers, sound absorbing linings & sound insulating partitions.
Complete or partial enclosure of noisy equipment.
Providing silencers on the intake as well as exhaust side of flow machines like blowers, fans etc.
Insertion of damping material between machine bases and foundations and use of anti vibration mountings.
Regulations should be imposed to restrict the usage of play loudspeakers in crowded areas and public places.
International Co-operation
www.realcopowerprojects.com

Because of the use of guitar distortion, chords used in heavy metal are much more complex than the fingered guitar positions would indicate. Due to harmonic partials generated by distortion most chords have a major quality. However, heavy metal is mostly constructed on minor modes regarding the scalar construction. This creates an apparent modal dichotomy between the vertical and the horizontal harmonic construction. This article discusses acoustic characteristics of distorted guitar chords and a variety of compositional strategies that have been used in dealing with the major and minor thirds in “proto” and “classic” heavy metal music (ca. 1965-1985).

"Unter dem viel beschworenen Stichwort des iconic turn galt die wissenschaftliche Aufmerksamkeit der jüngsten Zeit verstärkt den Bildwelten und visuellen Wandlungsprozessen von Kultur. Über diese einseitige Tendenz hinausgehend fragen die Autoren dieses Bandes nach dem kulturprägenden Potential akustischer Phänomene. Exemplarisch widmen sich die Beiträge dabei einer Figur, deren interdisziplinäre Bedeutung bislang wenig Beachtung fand: der Resonanz.
In der Physik wird Resonanz als Mitschwingen eines Systems verstanden, wenn dessen Eigenfrequenz mit der Anregungsfrequenz einer äußeren Kraft annähernd übereinstimmt. Von ihrer Erforschung in Akustik, Instrumentenbau und Kompositionslehre ausgehend, schlägt die Resonanz aber auch in anderen Disziplinen Wellen. Das Potential der akustischen Figur eröffnet vielfältige modellhafte, metaphorische und methodologische Dimensionen. Der Band verfolgt, wie die Resonanz in Wahrnehmungs- und Körpertheorie, Ästhetik, künstlerischer Praxis sowie naturwissenschaftlicher Evidenzproduktion zwischen Eigen- und Fremddynamik changiert. Ein Schwerpunkt liegt dabei auf der durch den New Historicism angeregten Debatte um Kultur- und Resonanzräume, in der sich die Frage nach der Architektonik synchroner wie diachroner Entwicklungen in Wissenschaft, Kunst und Technik stellt. Das Ziel des Buches ist, entfernte Kulturfelder und bislang unbeachtete historische Bezüge in Resonanz zu versetzen."

Few activities fully engage the brain. Listening to music is one of them. Hearing your favorite song activates sensory, emotional, motor, and creative areas of the brain simultaneously. This book provides a broad introduction to the scientiUc and psychological study of music, exploring how music is processed by our brains, affects us emotionally, shapes our personal and cultural identities, and can be used in therapeutic and educational contexts. Why are some people tone deaf and others musical savants? What do our musical preferences say about our personality and the culture in which we were raised? Why do certain songs remind us so strongly of particular people, places, or events? How can music be therapeutically used to help those with autism, Parkinson's, and other medical conditions? The Science and Psychology of Music: From Beethoven at the O<ce to Beyoncé at the Gym answers these and other questions. This book provides a broad and accessible introduction to the fascinating Yeld of music psychology. Despite its name, music psychology includes a number of Yelds, including neuroscience, psychology, social psychology, sociology, and health. Through a collection of thematically organized chapters, readers will discover how our brains recognize elements of music, how music can affect us and shape our identities, and the many real-world applications for such information. Features Explores a topic that is of great interest to both psychology students and the general public through accessible and engaging content Provides a conceptual framework for readers and through a multi-part format allows them to focus their attention on their particular areas of interest Furthers readers' understanding of how music can affect our wellbeing as it includes both our physical and psychological health Re?ects the subject knowledge of contributing experts in a wide variety of academic disciplines Other Titles of Interest © 2020 ABC-CLIO, LLC.

Collisions play an important role in musical acoustics. Extensive study has already been performed on this subject for a number of systems, with notable examples being the hammer-string collision in the piano, and the mallet- membrane collision relevant in drums.
This paper uses experiments and modelling to investigate collisions in the snare drum. This is an interesting percussion instrument, as two collision mechanisms feature prominently. Initial excitation usually results from collision between a striker, such as a mallet, and the upper (‘batter’) membrane. Ensuing membrane and cavity vibrations then give rise to secondary collisions between the lower membrane and a number of metal wires (‘snares’) that are tensioned across it. These collisions are crucial for the sound qualities of the snare drum, and so a proper understanding of their nature is essential for accurate sound synthesis models.
In this preliminary paper, a simplified experimental setup will be studied, consisting of a drumskin with a single snare stretched across it. The system can be excited either by plucking the string, or by striking the membrane with a mallet. A setup involving a high speed camera and a laser vibrometer will allow the motion of the snare and membrane to be captured.
Experimental results will be used in comparison with a novel numerical model that describes both the mallet-membrane and string-membrane collisions. The interactions are described by a non-linear force expressed in terms of a power law, similar to one used in the past for modelling the hammer-string collision in pianos.

<< The French Baroque Organ Art: Musique, Organ building, Performance >> /
<< L’Art d’orgue Baroque français : Musique, Facture, Interprétation >>

[ Аннотация: ] Настоящая монография представляет собой первое в российском музыковедении исследование, в центре которого — французское органное искусство Барокко как комплексное явление, объединяющее музыку, органостроение и исполнительство.
Опираясь на свой разносторонний опыт, автор выступает одновременно в роли учёного, исполнителя и органного эксперта. В книге впервые предлагаются в переводе на русский язык и анализируются основополагающие документы французского органного Барокко, принадлежащие перу композиторов, органных мастеров, музыкальных мыслителей и учёных.
В результате анализа трёх составляющих французского органного искусства Барокко, рассматриваемого в контексте той эпохи — эстетическом, стилистическом и музыкально-теоретическом (гармония и музыкальная форма), — в книге выявляются сущностные критерии французского органного искусства Барокко и определяются его хронологические рамки.
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[ Abstract: ] The present monograph is the first research in the Russian musical science which focuses on the French Baroque Organ Art as a complex phenomenon involving Music, Organ building and Performance.
Drawing on her rich professional experiences, the author acts in triple role: as a musicologist, concert organist and organ expert. In this book, she presents and analyses the fundamental French Baroque organ documents, which belong to composers, organ builders, philosophers and scientists.
As a result of her analysis of three components of French Baroque Organ Art, placed in the context of that time — aesthetic, stylistic, theoretical and musical (harmony and musical form) —, Marina Tchebourkina reveals an essential and unique character of the French Baroque Organ Art, demonstrates its evolution and determines its chronological limits.
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[ Résumé : ] La présente monographie est le premier ouvrage dans la science musicale russe qui concentre son attention sur l’art d’orgue Baroque français en tant que phénomène complexe réunissant musique, facture et interprétation.
Fort de ses expériences professionnelles, l’auteur agit à la fois en tant que musicologue, organiste et expert d’orgue. Dans le livre sont présentés et analysés les documents fondamentaux dans le domaine de l’orgue Baroque français qui appartiennent aux compositeurs, facteurs d’orgue, philosophes et scientifiques.
À l’issue de l’analyse des trois composantes de l’art d’orgue Baroque français, placées dans le contexte de l’époque — esthétique, stylistique, théorique et musical (harmonie et forme) —, Marina Tchebourkina révèle le caractère essentiel et unique de l’art d’orgue Baroque français, démontre son évolution et détermine ses limites chronologiques.

Da Cage ai Pink Floyd, da Schaeffer e i suoi eredi ai Soft Machine, da Edgar Varèse a Iannis Xenakis, dai compositori acusmatici ai DJ contemporanei, la ricerca elettroacustica ed elettronica ha vissuto e continua a vivere una felicissima stagione in ogni parte del globo; una stagione che è il momento di ricostruire in modo più ampio e, laddove possibile, interpretare, non solo all'interno dei confi ni della storia della musica.

In Ägypten ist Musik bereits im Alten Reich, zur Zeit der Pyramiden, keineswegs allein als Unterhaltungsfaktor, sondern insbesondere in rituellem Zusammenhang in Tempeln und Gräbern belegt. Zu dieser Zeit sind nicht nur bereits eine diffizile Musikerhierarchie nachzuweisen, sondern auch verschiedene Instrumentengruppen. Aufgrund der hervorragenden Erhaltungsbedingungen sind altägyptische Instrumente nicht nur durch Abbildungen zu erschließen, sondern im Original erhalten. Ferner geben zahlreiche Texte darüber Auskunft, welche Instrumente man nutzte, wer die Musiker waren und wie sie ausgebildet wurden. Selbst Liedtexte sind aus dem Alten Ägypten überliefert, von denen Dr. Köpp-Junk einige vorstellen wird. Die Interpretation und die Herausarbei¬tung der kulturgeschichtli¬chen Bedeutung der Musik erlauben gänzlich neue, weitreichende Erkenntnisse in Hinsicht auf Alltagsleben, Bestattungswesen, Religion, Kult und Königtum.
Heidi Köpp-Junk präsentiert in ihrem Vortrag 6000 Jahre altägyptische Musikgeschichte und demonstriert dies mit über 25 historischen Instrumenten, unter anderem einer Laute aus der Zeit Tutanchamuns. Als absolute Weltpremiere lässt Heidi Köpp-Junk den Klang der Pharaonenzeit wieder auferstehen.

In The 21st-Century Voice: Contemporary and Traditional Extra-Normal Voice, Michael Edward Edgerton considers contemporary vocal techniques within an acoustic and anatomical framework. Throughout, he proposes new directions for vocal exploration. Much more than a historical treatise on 20th-century masterworks or vocal science, The 21st-Century Voice explores experimental methods of sound production, offering a systematic series of approaches and methods for assessing, engaging, and, in some instances, overcoming the assumed limits of vocal singing.

Appearing a decade after the publication of the first edition, this second edition draws on and advances our current understandings of voice production. Divided into four parts—air flow, source, resonance/articulation, and heightened potentials—Edgerton considers crucial matters affecting vocal production, such as

    Registral challenges
    Filtering
    Airflow modification
    Combinatorial, multiphonic principles
    Extreme voice possibilities
    Multidimensional vocal issues


With more than 250 illustrations, 150 associated audio tracks, an extended appendix on voice science, a glossary of key terms, and lists of representative compositions, The 21st-Century Voice will appeal to composers and performers interested in exploring the ever-broadening range of vocal possibilities. Its engagement with the complexities of vocal production should also be relevant to students and scholars of voice science, acoustics, linguistics, computer modeling, and more. 

"Biological cells have the amazing ability to sense a wide variety of stimuli. Recent work suggests cells are also able to sense light, touch and even, to a certain extent, smell. But can cells hear?

This is a surprisingly complex subject. A number of experiments have shown that sound can have an impact on cellular activity, but explanations are elusive. Studies have found mechanical interactions and oscillations in cellular systems, which could plausibly be modified by sound. However, research is at a relatively early stage and it is unclear how sound-based mechanisms would work.
Crucially, we currently do not understand how sound affects molecules. The subject has even been dubbed a ‘black art’4, so how are we to understand the role of sound in the complexity of biology? The confusion seems rooted in the gap between our quantum mechanical and classical understanding of sound; we simply do not know how the two relate. However this is proving a fertile area for insightful new studies."

“This science behind the creation of words, which was neglected for so long, should not be allowed to remain undiscovered,” claims Prabhat Rainjan Sarkar. “This is not only the case here – the same thing has been happening with all of the world’s languages. Wherever there are people, words are created based on these psycho-acoustic notes.” “First a vibration arises in the nerves when an object is seen, then a mental sound is created and finally a word is made based on that sound. In this way the original verbal roots of language are created based on psychic sounds, and different words have been created, and are being created, from these verbal roots.” P. R. Sarkar, (1921-1990), was a master of languages and a spiritual guru in the tradition of Shiva and Krishna, who founded the socio-spiritual movement Ananda Marga (“the Path of Bliss”).  –  Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, May 19, 2021.

This thesis addresses the perceptual evaluation of violins from the player perspective. Three carefully controlled violin-playing studies were carried out, wherein experienced musicians assessed violins of different make and age, and described their choices in open-ended questionnaires. The focus was gradually narrowed from examining overall preference (Study 1) to the evaluation of certain perceptual attributes of the violin (Studies 2 and 3). Two distinct yet complementary approaches were followed: a systematic investigation into the reliability of preference judgments, and an exploratory analysis of concepts emerging from impromptu preference verbalizations.

Study 1 examined both intra- and inter-player consistency in repetitive violin preference
rankings. It was found that violinists are self-consistent when evaluating different instruments but a significant lack of agreement between musicians was observed. Study 2 investigated the origin of inter-individual differences and measured the extent to which different attributes of the instrument influence preference. Results showed that whereas violinists tend to agree of what particular qualities they look for in an instrument—preference was strongly associated with sound richness and, to a lesser extent, dynamic range—the perception of the same attributes widely varies across
individuals. Study 3 focused on the evaluation of richness and dynamic range in constrained (playing only certain notes on certain registers) vs. unconstrained (playing a certain excerpt from the classical repertoire) tasks. The perception of richness from playing vs. listening tasks (using recorded sounds from the playing task) was also examined. Results suggested that specifying the musical material and technique
removes a significant amount of inter-player variability: the more focused the task, the more self-consistent violinists are and the more they agree with each other.

From verbal responses collected in the first and second studies, a categorization scheme emerged that illustrates the complex links between the different player-typical concepts (e.g., response, clarity, balance), properties (e.g., ease, richness, projection), and underlying themes (handling, sound and their relevance to the individual). A psycholinguistic analysis of the quality-relevant lexicon showed a diversity of linguistic devices borrowed mainly from four semantic fields (perceptual dimensions) related to texture-temperature (smooth vs. rough), action-presence (resonant vs. muted), size-volume (deep vs. flat) and light (dark vs. bright). Richness, associated with the perceived amount of low-to-mid harmonics in the sound, was identified as a key perceptual factor in evaluating violin quality.

Sound synthesis based on physical models of musical instruments is, ultimately, an exercise in numerical simulation. As such, for complex systems of the type seen in musical acoustics, simulation can be a computationally costly
undertaking, particularly if simplifying hypotheses, such
as those of traveling wave or mode decompositions are not
employed. In this paper, large scale time stepping methods, such as the finite difference time domain and finite
volume time domain methods are explored for a variety of
systems of interest in musical acoustics, including brass instruments, percussion instruments based on thin plate and
shell vibration, and also their embeddings in 3D acoustic
spaces. Attention is paid here to implementation issues,
particularly on parallel hardware, which is well-suited to
time stepping methods operating over regular grids. Sound
examples are presented.

Apresentamos neste trabalho uma introdução às definições de onda sonora, vibração e estudo do movimento harmônico tal como definições musicais de melodia e harmonia. Descrevemos o processo histórico da divisão numérica do intervalo musical e apresentamos os questionamentos sobre sua aceitação devido à limitação do ouvido humano em perceber tons diferentes. Utilizando uma visão analítica sobre esses aspectos e considerando a evolução musical, mostramos que a gama musical a qual possui o maior número de frações de denominadores baixos é ideal para exprimir a música que a percepção humana, em geral, é capaz de discernir. Repetimos esta característica para investigar e comparar a percepção musical para duas espécies de pássaros e relacioná-las à percepção musical humana.

İki bölümden oluşan yazının bu birinci bölümünde müzikal akustik
bilim dalı çerçevesinde, müziğin sayısal temelleri açıklanarak Müzikal
Akustik biliminin bakış açısıyla temel ses bilgisi incelenmiştir. Önce ses
dalgalarının fiziksel yapısı incelenmiş, soyut biçimdeki ses kavramının
üretilmesi, davranışı ve grafiksel gösterimle yorumlanması hakkındaki
temel bilgiler açıklanmıştır. Müzikal sesler arasındaki matematiksel
ilişkiye dikkat çekilmiş ve sayısal oranlar verilmiştir. Ses ait temel birimler tanımlanmış ve kulak tarafından algılamanın temel bilgileri verilmiştir. Kulağın duyması hakkında üretilen duyma teorileri belirtilmiş ardındankulağın biyolojik yapısı temel düzeyde şekillerle açıklanmıştır.

I n the past few years, a considerable re-awakening of interest has been noted in the hydraulic musical automata which, from the Late Renaissance Italy and subsequently in other European countries. The present volume aims at documenting the development of such automata, together with other kinds of ingenia, in Italy, setting them in their European context and investigating both mechanisms and their symbolism. comprising ten chapters, deals with water organs (including the musical compositions with which they were provided) and several automata of Heronian design, such as the Fountain of the Owl, the androids of the Farnese court, the hydraulic imitation of the explosion of the Catherine Wheel, and the one illustrating the myth of Faun and the nymph Echo. The various systems for producing the pressurised air needed for their and we shall see that shortly afterwards they were also adopted in industry, for forges and melting furnaces. The seven last chapters of the volume, on the other hand, deal with ingenia of various kinds which, unlike the water organs, were not always hydraulically activated or had programmable functions. This is the case of fountains and statues provided with curious acoustic effects, as well as sounding automatisms activated by thermal energy (such as, for example, sunlight), or by counter-weights. To these Kircher, those constructed for the Imperial Court of Peking (including an ingenious harpsichord-organ-viol invented by Kircher), several reconstructions of Vulcan's forge and the creation of various sounding monsters, once very fashionable. The volume closes with Michele Todini's famous "Galleria armonica" and with a special type of hydraulis made in Naples in the Late Renaissance. has taught musical acoustics at the University of Lecce and historical organs at the Gregorian University of Rome. He has also lectured at the Laboratorio di acustica musicale e architettonica of the Fondazione Scuola di San Giorgio -CNR in Venice. He has published three books and about 130 articles, and was awarded the 2008 Frances Densmore English on musical instruments published in 2006-7. In 1999-2003 he was also one of the two consultants involved in the reconstruction of the Villa d'Este water organ, at Tivoli.

The purpose of this document is to provide conductors with an overview of all of the completed, revised and/or edited scores of Edgar Varèse by Chou Wen-chung, his protégé beginning in 1949, as background to the revision of Octandre (1921, rev. 1980). Entrusted with Varèse’s manuscripts shortly before his death in 1965, Chou completed the unfinished Nocturnal (New York, 1973) and Tuning Up (New York, 1998), based on Varèse's sketches, and prepared several new editions of Varèse’s works including Amériques (New York, 1972 and 1996); Intégrales (New York, 1980); Octandre (New York, 1980); Dance for Burgess (New York, 1998); Ecuatorial (New York, 2000); and Étude pour Espace (New York, 2009). Brief biographical information is followed by published and new evidence to document the relationship between Edgard Varèse and Chou Wen-chung, as well as salient issues related to publishers. Professor Chou’s notes from the revised or completed scores, and the transcripts of telephone interviews are included as appendices.

Architecture of modern day concert halls has changed significantly from the concert halls from 17 th , 18th and 19 th century. This is due to technological advancements and improvements on acoustical science. With more understanding about the way sound behaves, architects have more chance of getting the job more accurately. Apart from architecture of concert halls there is vertical definition and horizontal definition which is to do with music composers and singers. Music composers such as Mozart have done their masterpieces specifically keeping in mind about the concert hall they are going to perform. Today with the movement of globalization, we can expect to play more than one style of music in a concert hall and therefore we need the acoustic considerations to be precise when it comes to different styles of music. This paper looks into the problematic areas of getting the acoustics correct with new innovative architectural and engineering models and how the musical influences fit in or clash. Can we arrive at a perfect architectural model with perfect acoustics? Are we ready to put them into practice? A deeper understanding of the behaviour of sound and analysing the elements of architecture and music which goes hand in hand, will lead us to a universal solution.

Bu çalışmada bir müzik aleti olan Kanun'un ses tablası 4 farklı kalınlığa inceltildi, her bir kalınlık için ses kayıtları alındı ve tını özellikleri ortaya konulmaya çalışıldı. Kaydedilen seslerin şiddet değişimleri ve harmoniklerinin dağılımları incelendi. Helmholtz ve Miller'in önermeleri doğrultusunda sesler birbirleriyle kıyaslandı ve kalınlık değişiminin sesler üzerindeki etkisi ortaya konmaya çalışıldı. Ses şiddet değişimi grafiklerine göre kalınlık azaldıkça atak oluşma ve zayıflama sürelerinin arttığı gözlendi. En çok sayıda ve en uzun süreli kararlı hal davranışı, en az ara harmoniklere sahip, harmoniklerin en net ve belirgin olduğu sesler 0.35 cm kalınlığındaki ses tablasında gözlendi. Sahip olduğu ses aralığındaki en tiz ve en pest ses bölgelerinde harmonik dağılımlarının düzensizleştiği ve bu bölgelerde şiddetlerinin temel harmoniklerinden daha zayıf kaldığı gözlendi. Anahtar Kelimeler: Müzik Fiziği, Müzik Aletlerinin Frekans Analizi ABSTRACT In this study, the musical instrument Qanun's sound table was made thinner to four different thickness, sound records was taken for every thickness and tried to investigate the timbre properties. Sound intensity variations of recorded sounds and intensity distributions of harmonics were investigated. According to Helmholtz's and Miller's proposing, tones are compared with each other and tried to establish the effect of sound changing on the tones. According to the sound intensity graphics attack and decay times of tones increased with the decreasing thickness of the sound. The most numerous and most long-term steady-state behaviour with lowest intermediate harmonics, harmonics of the sounds are clear and distinct at the sound table of 0.35 cm thickness. Harmonics distribution becomes irregular in the highest and lowest sound parts and their intensities were weaker than the fundamental harmonics.

A 24-dimensional model for the ‘harmonic content’ of pieces of music has proved to be remarkably robust in the retrieval of polyphonic queries from a database of polyphonic music in the presence of quite significant noise and errors in either query or database document. We have further found that higher-order (1st- to 3rd-order) models tend to work better for music retrieval than 0th-order ones owing to the richer context they capture. However, there is a serious performance cost due to the large size of such models and the present paper reports on some attempts to reduce dimensionality while retaining the general robustness of the method. We find that some simple reduced-dimensionality models, if their parameter settings are carefully chosen, do indeed perform almost as well as the full 24-dimensional versions. Furthermore, in terms of recall in the top 1000 documents retrieved, we find that a 6-dimensional 2nd-order model gives even better performance than the full model. This represents a potential 64-times reduction in model size and search-time, making it a suitable candidate for filtering a large database as the first stage of a two-stage retrieval system.

The acoustical features of kettledrums have been analyzed by means of modal analysis and acoustic radiation (p/v ratio͒ measurements. Modal analysis of two different kettledrums was undertaken, exciting the system both by a hammer and a shaker. Up to 15 vibrational modes were clearly identified. Acoustic radiation was studied using two ways. Based on previous experiments of other researchers, a new parameter, called intensity of acoustic radiation (IAR), has been defined and measured. Results show a strict relationship between IAR and the frequency response function ͑FRF, which is the v/F ratio͒, and IAR also strongly relates the modal pattern to acoustic radiation. Finally, IAR is proposed for vibro-acoustical characterization of kettledrums and other musical instruments such as strings, pianos, and harpsichords.

In this paper, a simple finite difference scheme for a rect-angular dynamic nonlinear plate, under free boundary con-ditions is presented. The algorithm is straightforward to program, and is capable of reproducing, to a first approx-imation, the behaviour of various percussion instruments whose timbre depends crucially on nonlinear effects (due to high-speed strikes), including transient pitch glides and the buildup of high-frequency energy. Though computa-tionally intensive, algorithms such as that presented here promise more faithful sound synthesis and, as with all phys-ical model inspired synthesis algorithms, require the specifi-cation of only a few, physically meaningful parameters. Full details of the algorithm, including the setting of boundary conditions and computational demands are provided. Nu-merical simulation results are presented.

The study of mosque acoustics, with regard to acoustical characteristics, sound quality for speech intelligibility, and other applicable acoustic criteria, has been largely neglected. In this study we discuss how mosque design is influenced by worship considerations. In this study the acoustical characteristics of typically constructed contemporary mosques without domes in Saudi Arabia had been investigated. Extensive field measurements had been taken in varies representative mosques of different forms and architectural features in order to characterize their acoustical quality and to identify the impact of its prayer hall form on their acoustics performance. Objective room-acoustic indicators such as reverberation time (RT) and the early decay time (EDT) have been tested. The speech transmission index (STI) had been measured without the operation of existing sound reinforcement systems. The results will show the acoustical quality in the investigated mosques, unoccupied case.

Mit einem Minimum an mathematischen Formeln und in leicht verständlicher Sprache bietet das vorliegende Buch auf dem aktuellen Stand der Forschung eine grundlegende Einfüh-rung in die einzelnen Fachgebiete der Musikal ischen Akustik (Instrumenten-, Raum-und Psychoakustik, Auditorische Szenenanalyse, Musikalische Wahrnehmung und Klangsyn-these) sowie in die Geschichte, Perspektiven und Methoden dieses vielschichtigen Bereichs der Musikwissenschaft. Am Beispiel einer Konzertsituation wird der Weg von der Schallerzeugung am Musikinstru-ment bzw. der Singstimme über die Schallausbreitung im Raum bis hin zum Ohr des Zuhörers und der dahinter stattfindenden kognitiven und alltagsrelevanten Schallverarbeitung erläu-tert. Hierbei werden sowohl die aktuellen Messmethoden und akustischen Ana lyseverfahren berücksichtigt als auch die Funktionsweise und Geschichte der elektronischen Musikinstru-mente und der modernen Audiotechnik.

El curso de Acústica Musical pretende proporcionar al músico y al musicólogo los conocimientos de acústica de interés para la realización de su trabajo. Puede ser seguido también por cualquier aficionado a la música. Se trata de un curso multimedia, que no utiliza aparato matemático alguno, sino gráficas y vídeos a modo de laboratorio virtual de acústica. Va acompañado de 53 imágenes y 88 vídeos, a los cuales se accede on-line haciendo clic sobre el enlace que aparece a pie de las figuras. Se ocupa de temas de acústica y psicoacústica, bajo la perspectiva de la música, estudiando desde la naturaleza vibratoria del movimiento mecánico que produce el sonido, hasta las peculiaridades de la voz musical. Atiende en especial al sonido armónico o musical, con sus parámetros de frecuencia, amplitud, periodo y fase, y explica los fenómenos acústicos que intervienen en la generación del sonido musical y en sus cualidades tímbricas (las ondas estacionarias, la resonancia, los batidos, la consonancia, las envolventes de amplitud y de frecuencia, etc.). A la vez, presenta dos herramientas que permiten el estudio directo del sonido musical: el espectrograma y el melograma. Así mismo, proporciona un conocimiento básico sobre cómo funciona nuestra percepción auditiva y cómo ello afrecta a la manera en la que oímos la música.

ÖZET_ Telli çalgılar temel olarak, çeşitli sayıda gerilmiş tel ve çalım esnasında telde oluşan titreşimlerin aktarılmasıyla ses oluşumunun gerçekleştiği geniş yüzeyli bir gövdeden oluşur. Her çalgıya özel olarak tasarlanan gövdeler, telli çalgıların ses karakterini belirleyen en önemli bölümleridir. Bu nedenle çalgı gövdesinin titreşim modlarının incelenmesi ve bunların çalgının ses oluşumundaki etkilerinin ortaya konması önem arz etmektedir. Bu çalışmada, on adet ud çalgısına gezici çekiç testi, eşik mobilitesi ölçümü ve ses yayınım analizi uygulanmıştır. Elde edilen bulgular aynı grafik üzerinde karşılaştırmalı bir şekilde verilerek; çalgıların gövde titreşimlerinin doğal frekansları, mod şekilleri, faz ilişkileri ve sönüm değerlerinin ses oluşumu üzerindeki etkileri araştırılmıştır. Anahtar Kelimeler: ud, telli çalgılar, deneysel modal analiz, eşik mobilitesi ölçümü, ses yayınım analizi

ABSTRACT_ The stringed instruments consist basically of various number of stretched strings and a large surface body where sounds are produced via transmitting vibrations from the strings during playing. The bodies designed specifically for each instrument are the most important parts of the stringed instruments that determine the sound character. Therefore, it is important to examine the vibration modes of the instrument body and to reveal their effects on the sound production process of the instrument. In this study, roving hammer test, bridge mobility measurement and sound radiation analysis were applied to ten ouds. The findings were presented in a comparative way on the same graph, and, the effects of natural frequencies, mode shapes, phase relations and damping values on the sound production were investigated.

Para apuntar a una nueva y más completa teoría musical debemos entender que la misma se basa en métodos que pretenden ser científicos y que en su época fueron inexpugnables, pero que analizados con los conceptos de hoy pueden ser cuestionados, ampliados y reformulados. Este documento propone un repaso y estudio de los conceptos básicos de la teoría músical, emparejados con la terminología de los conocimientos actuales en acústica.
Palabras Clave: Terminología, Sonido, Acústica, Teoría Musical.

The article deals with ancient bells cast in bronze, formed of terra cotta or hammered of iron sheet. It shows an overview of typologies of Egyptian, Grecian and Roman bells. Differences of typologies are demonstrated. The possible origin of three rare bell finds could be determined. To round up acoustical phenomenona are illustrated. Abstrakt: Antike Glocken aus Bronze, gebranntem Ton und Eisen sowie deren gängige Typologien ägyptischer, griechischer und römischer Glockenfunde werden in einem Überblick präsentiert. Dabei werden diverse Unterschiede demonstriert. Drei seltene Glockenfunde, deren Ursprung ermittelt wurden konnte, werden vorgestellt. Akustische Eigenheiten der Glocken bilden den Abschluss des Artikels.