Science topic
Musical Acoustics - Science topic
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.
Questions related to Musical Acoustics
The monochord page in Wikipedia implies that the diatonic scale is determined by the monochord instrument to be ratios defined by the position of a movable fulcrum.
However, on musical strings found on instruments such as the guitar or violin, the string is not a monochord because the detainment of the string allows the fundamental mode to resonate between only two points, and not three.
It follow then that the fundamental of the monochord has a wavelength 2L while the musical string has a fundamental which is 1.
Significantly the musical string does not depend in any way on the length, tension, mass, or composition (within a bound range useful for harmonic oscillations) because the only requirement is the 12th fret is placed at the string midpoint and then one half the string is divided into 12 equal frequency units using the 12th root of 2. This is the geometric equivalent of the construction of the square root of 2 by the unit square.
My question is whether the monochord and the musical string are in fact the same because it seems the monochord overtones are multiples of 2L and the musical string does not depend on L at all because it is normalized for length.
The string is 1. It is one thing, always the same, a constant. It is not 1L. Its just 1. It always has the same shape, which is detained in a concatenation. So the idea that the string is the sum of all the possible modes of vibration is wrong. There is only one mode and that is the fundamental. This means the natural overtones are not the defined mutliples of the fundamental. The multiples are the octave, and any subset of the octave is also a multiple. You have a ruler and then 12 equal subunits.
The monochord investigates the effect of changing the wavelength and frequency as continiuous variables, but the music string (which is formed by the union of the pitch value and string position sets on the fundamental) are constants that cannot be continuous because the fundamental is a standing wave.
If multiples of the fundamental are defined by the frets that detain the fundamental, then the definition of the overtones is mathematically distinct from the monochord overtones which are degenerate (that is not nondegenerate) forms based on a lower mode of vibration than actually exists.
Doesn't this mean the string under the square root of 2 is always tempered and the problem tempering the piano results because the strings on piano have different lengths?
Dear All,
Please give me your recommendations (or some papers) how I can examine acoustic properties of the titanium printed flute.
How in general acoustic properties in metals are examined and evaluated?
Sincerely yours,
Anastasia
I saw different examples in 3d-printing of musical instruments from polymers and from wood, but not a lot from metals.
I am looking for examples of additive manufacturing of musical instruments specifically from metals, using not only geometrical capabilities of 3d-printing, but also mechanical and acoustic properties of printed metal.
Can you please provide some papers. Thanks.
I would like to know about acoustical behaviour of Brass in Brass musical instruments.
I need this to calculate further statistics with these results.
I have the records of hydrophone deployed in a river I would like to find such a method to separate the water turbulence from other signals.
My understanding is that the signals of sound intensity Sound to Noise Ratio (SNR) comprises both water turbulence and bedload noises in addition to some cases the noise which comes from human activities like (transportation, etc.).
I am interested to find a way to decompose those signals. Is there any direction!
I would like to investigate the sound characteristics of traditional musical instrument with the skin goat as the membrane, like percussion. I need some references and publications related to the sound characteristics of traditional musical instruments using membrane. Any suggestions will be appreciated.
Since our study of the Baschet acoustical system to analyze the functional element of every possible sound device, we noticed some inconsistencies on the notion of "Idiophones", as it was set by HornBostel and Sachs nearly a century ago.The idea of an Idiophone is that it produces the vibrations and radiates them as a result of its own body properties (tension and radiating surface). This is clear for bells, cymbals, gongs, etc. But probably because of the western lack of familiarity with other organologic principles, many instruments had been also clasified as Idiophones, just because their activation is done by stricking or plucking.
The definition of Idiophone seemend to be acurated in its principle, but then we lack a taxonomical family for lamelophones and other similar structures using rods, tines, and other clamped elements.
The confusion on this subject is missleading not just for classificatory purposes, but specially because it creates an intellectual misunderstanding for the acoustical research and disclosure on both idiophones and the other instruments classified as it by mistake (suck as Kalimbas, Zanzas, Toy-Pianos, Daxophones, Baschet Sound Sculptures, etc... wich all need to have added radiators and some tensioning devices to the oscillators)
The building processes, and the real-time manipulations during onthe performance are completely different, and so are the reseaches on their acoustical behaviour. We are preparing a paper on the subject, while reading Margaret Kartomi's book "On concepts and classifications of musical instruments", but we would like to know if there is any particular study on the organology of idiophones, discerning the real ones from those other structures, that deserve to have a taxa on their own.
I need to know how music processing can be carried out using Java. Please suggest any references or sites if any.
I want to know a PDE of the special strings of violin for example (A string) at the special frequency for example (440 Hz). Could anyone help me?
I am looking for some new materials, which can be fabricated and applied as a tweeter membrane. Any tips ?
I am looking at the positive effects of low frequencies in music, predominantly below 50Hz. This involves aural as well as mechanosensations. I am interested in seeing if reinforcing the low frequency content below 50Hz can help produce a more immersive listening experience at lower overall sound pressure levels (particularly when measured using the A weighting scale). Trouser flapping bass.
an approach for aggregation along frames.
For instance, any research about how to use the different tuning systems and/or the equal temperament when there is a guitar in the ensemble.
I exploit this phenomenon in several compositions but do not fully understand it. Assume here that I have a single stringed guitar, and ignore microphonic feedback from the pickups.
When a string vibrates and the gain is high enough to cause feedback, the pitch of the feedback is a harmonic of the vibrating string. If I then change the angle or position of the guitar relative to the amplifier, the pitch changes to another harmonic of the string. What's happening here? is it the phase relationship changing as I move?
Example here:
I'm a composer working with multiple coupled cymbals, exciting their resonant frequencies using sinewaves, especially to exploit the multiphonic possibilities of exciting multiple or connected vibrational modes and the inherent nonlinearities in this system (especially when multiple coupled cymbals interfere with each other).
Research by Chaigne, Touze, Thomas and Amabili is my starting point for the theory but they are studying what happens across bifurcation points while I'm more interested in exploring the bifurcation point itself as a tipping point between comparable but qualitatively different harmonic regimes.