The Cello tailpiece : how it affects the sound and response of the instrument
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(2) SCIENTIFIC COMMITTEE James Beauchamp, University of Illinois, USA Murray Campbell, University of Edinburgh, UK Stewart Carter, Wake Forest University, USA Thomas Moore, Rollins College, USA Malte Kob, University for Musik Detmold, DE Thomas Rossing, Iowa Sate University, USA David Sharp, Open University, UK Gerhard Widmer, Johannes Kepler University, AT. LOCAL ORGANIZING COMMITTEE Martina Wimmer (secretary) Alexander Mayer (web) Wilfried Kausel Gregor Widholm Sandra Carral Werner Goebl Hannes Vereecke. SPONSORED BY Austrian Acoustics Association (AAA) American Musical Instrument Society (AMIS) Acoustical Society of America (ASA) European Acoustical Association (EAA) European Society for the Cognitive Sciences of Music (ESCOM) Historic Brass Society (HBS). Proceedings of the Second Vienna Talk on Music Acoustics edited by Werner Goebl Institute of Musical Acoustics (Wiener Klangstil), University of Music and Performing Arts Vienna Anton-von-Webern-Platz 1, 1030 Vienna, Austria December 2010 (revised January 12, 2011) ISBN 978-3-900914-07-3 http://viennatalk.mdw.ac.at.
(3) o.Univ.-Prof. Mag. Dr. Werner Hasitschka Rector of the University of Music and Performing Arts Vienna. PREFACE. The Institute of Musical Acoustics („Wiener Klangstil“) celebrates its 30-year anniversary with Vienna Talk 2010, a three-day Symposium on Music Acoustics bringing together internationally renowned researchers, scholars, and instrument makers. The motto “Bridging the Gaps” reflects a central concern of the Institute: to initiate a dialogue between artists, instrument makers and scientists, a dialogue that often does not take place because of existing fundamental differences in terminology, approaches, or simply ways of thinking. Bridges between these disciplines can already be found among the members of the Institute. All of them have, in addition to their education as physicists, technicians, instrument makers, or musicologists, a strong musical background. Since its formation in 1980, the Institute has always been striving to bridge the gaps between music and physics and between artists and scientists. It was established as a competence center of Music Acoustics, a field that did not exist in Austria before. Many innovative ideas and products bear witness of the creative power of the team, such as the measuring systems and techniques for various musical instruments that have been developed to help instrument makers and musicians solve some of their specific problems. Originally founded as a one-man concern to remedy the lack of knowledge about manufacturing original Viennese orchestral instruments, the Institute successfully developed into an internationally recognized research and education center that is considered to be leading in specific areas. We are proud of this Institute, because on the one hand it reflects the wide scientific range of our university, and on the other hand it is representative of the dialogue between arts and sciences. Congratulations for this anniversary and all the best for the future!. Mit besten Grüßen Ihr Werner Hasitschka. 1.
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(5) CONTENTS. (alphabetically by first author). Andreas Arzt, Gerhard Widmer Robust ‘any-time’ music tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Patricia Lopes Bastos Small holes of wonder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 James W. Beauchamp In search for a source/filter model for brass instruments . . . . . . . . . . . . . . . . . . . . . . 13 James W. Beauchamp Perceptually correlated parameters of musical instrument sounds . . . . . . . . . . . . . . . . . 17 Ingrid Bendl Tools for the analysis of acoustical and physiological characteristics of the singing voice . . . . . 21 Matthias Bertsch Visualization of brass players’ warm up by infrared thermography . . . . . . . . . . . . . . . . . 24 Erica Bisesi, Richard Parncutt An accent-based approach to automatic rendering of piano performance . . . . . . . . . . . . . 26 Anders Buen What is Old Italian violin timbre? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Estefanía Cano, Christian Dittmar, Sascha Grollmisch Acoustics and signal processing in the developement of music education software . . . . . . . 153 Sandra Carral, Christophe Vergez, Cornelis J (Kees) Nederveen The characteristic sound of the oboe: Can it be played with a single reed and still maintain its tone colour? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Stewart Carter Victor-Charles Mahillon‘s theories on the construction of mouthpieces for brasswinds . . . . . . 39 Vasileios Chatziioannou, Maarten van Walstijn Parameter optimisation for woodwind single-reed models . . . . . . . . . . . . . . . . . . . . . 43 Marthe Curtit, Fazli Yahaya, Jean-Pierre Dalmont, Joël Gilbert, Olivier Cottet Bore reconstruction based on input impedance measurement . . . . . . . . . . . . . . . . . . . 47 Ekaterina Davidenkova, Irina Aldoshina History of electro-musical instruments in Russia in the first half of the 20th Century . . . . . . . 51 Matthias Demoucron The violinist’s bestiary: characterizing bowing parameters of technical bow strokes . . . . . . . . 55 Vincent Doutaut Innovative aid for instrument making: a collaborative approach between workshops and research laboratories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Eric Fouilhe, Giacomo Goli, Anne Houssay, George Stoppani The Cello tailpiece: How it affects the sound and response of the instrument . . . . . . . . . . . 63 Jobst P. Fricke Neurobiological statistics for interpreting problems of musical consonance perception . . . . . . 68 Nicola Granzotto, Paolo Ruggeri Drum sets characterization in acoustic laboratory . . . . . . . . . . . . . . . . . . . . . . . . . 73 3.
(6) Tobias Grosshauser, Thomas Hermann Sensor fusion and multi-modal feedback for musical instrument learning and teaching. . . . . . 77 Knut Guettler Bowing gesture analysis for whom, why, and how? . . . . . . . . . . . . . . . . . . . . . . . . . 81 Dmitri Kartofelev, Anatoli Stulov Influence of the edge of the cast-iron frame curvature on the spectrum of the piano string vibrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Wilfried Kausel, Daniel W. Zietlow, Thomas R. Moore Transmission line modelling of acoustical systems with vibrating walls . . . . . . . . . . . . . . 89 Jeannine Lambrechts-Douillez Availibility of historic musical instruments for research. . . . . . . . . . . . . . . . . . . . . . . 93 Angela Lohri, Sandra Carral, Vasileios Chatziioannou Combination tones in the violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Alexander Mayer, Herbert Rust An artificial excitation mechanism for an acoustical comparison of the hammered dulcimer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Arnold Myers, Robert W. Pyle, Joël Gilbert, Murray Campbell The influence of bore size on brassiness potential . . . . . . . . . . . . . . . . . . . . . . . . . 102 Cornelis J (Kees) Nederveen Effect of transverse acoustic flow on the input impedance of rapidly flaring horns. . . . . . . . 106 Zdenek Otcenasek, Pavel Dlask Possibility of ESPI visualization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Robert W. Pyle Is it the player or is it the instrument? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Robert W. Pyle The influence of mouthpiece cup shape on “brassiness”. . . . . . . . . . . . . . . . . . . . . . 117 Christoph Reuter, Herbert Griebel Jaco – High-quality sinusoid tracks and envelopes . . . . . . . . . . . . . . . . . . . . . . . . 121 Bernard Richardson Guitar making – the acoustician’s tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Bernard Richardson Mode studies of plucked stringed instruments: Application of holographic interferometry . . . 129 Erwin Schoonderwaldt Control and coordination of complex bowing patterns . . . . . . . . . . . . . . . . . . . . . . 133 Sadjad Siddiq Physical modelling of the Sitar string . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Lamberto Tronchin, Andrea Venturi The use of Volterra series for simiulating the nonlinear behaviour of musical instruments . . . . 141 Pei Ju Tsai, Sandra Carral Comparison of three Chinese traditional pipa music schools with the aid of sound analysis . . . 145 Gunter Ziegenhals To the influence of the wall oscillations at brass instruments. . . . . . . . . . . . . . . . . . . 149. 4.
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