Acoustics of Musical Instruments PDF
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Modern Acoustics and Signal Processing Antoine Chaigne Jean Kergomard Acoustics of Musical Instruments Foreword by Murray Campbell Modern Acoustics and Signal Processing Editor-in-Chief WilliamM.Hartmann,EastLansing,USA EditorialBoard YoichiAndo,Kobe,Japan WhitlowW.L.Au,Kane’ohe,USA ArthurB.Baggeroer,Cambridge,USA NevilleH.Fletcher,Canberra,Australia ChristopherR.Fuller,Blacksburg,USA WilliamA.Kuperman,LaJolla,USA JoanneL.Miller,Boston,USA AlexandraI.Tolstoy,McLean,USA Moreinformationaboutthisseriesathttp://www.springer.com/series/3754 The ASA Press TheASA Press imprintrepresentsa collaborationbetweenthe AcousticalSociety ofAmericaandSpringerdedicatedtoencouragingthepublicationofimportantnew booksinacoustics.Publishedtitlesareintendedtoreflectthefullrangeofresearch inacoustics.ASAPressbookscanincludealltypesofbookspublishedbySpringer andmayappearinanyappropriateSpringerbookseries. EditorialBoard JamesCottingham(Chair),CoeCollege DianaDeutsch,UniversityofCalifornia,SanDiego TimothyF.Duda,WoodsHoleOceanographicInstitution RobinGlosemeyerPetrone,ThresholdAcoustics MarkHamilton,UniversityofTexasatAustin WilliamHartmann,MichiganStateUniversity JamesF.Lynch,WoodsHoleOceanographicInstitution PhilipMarston,WashingtonStateUniversity ArthurPopper,UniversityofMaryland MartinSiderius,PortlandStateUniversity AndreaSimmons,BrownUniversity NingXiang,RensselaerPolytechnicInstitute WilliamYost,ArizonaStateUniversity Antoine Chaigne • Jean Kergomard Acoustics of Musical Instruments Foreword by Murray Campbell 123 AntoineChaigne JeanKergomard InstituteofMusicAcoustics CNRSLaboratoiredeMécaniqueet UniversityofMusicandPerformingArts d’Acoustique(LMA) Vienna(MDW) Marseille,France Vienna,Austria Originaledition:Acoustiquedesinstrumentsdemusique,SecondEdition ©ÉditionsBelin-Paris,2013 ISSN2364-4915 ISSN2364-4923 (electronic) ModernAcousticsandSignalProcessing ISBN978-1-4939-3677-9 ISBN978-1-4939-3679-3 (eBook) DOI10.1007/978-1-4939-3679-3 LibraryofCongressControlNumber:2016933347 ©Springer-VerlagNewYork2016 Thisworkissubjecttocopyright.AllrightsarereservedbythePublisher,whetherthewholeorpartof thematerialisconcerned,specificallytherightsoftranslation,reprinting,reuseofillustrations,recitation, broadcasting,reproductiononmicrofilmsorinanyotherphysicalway,andtransmissionorinformation storageandretrieval,electronicadaptation,computersoftware,orbysimilarordissimilarmethodology nowknownorhereafterdeveloped. Theuseofgeneraldescriptivenames,registerednames,trademarks,servicemarks,etc.inthispublication doesnotimply,evenintheabsenceofaspecificstatement,thatsuchnamesareexemptfromtherelevant protectivelawsandregulationsandthereforefreeforgeneraluse. Thepublisher,theauthorsandtheeditorsaresafetoassumethattheadviceandinformationinthisbook arebelievedtobetrueandaccurateatthedateofpublication.Neitherthepublishernortheauthorsor theeditorsgiveawarranty,expressorimplied,withrespecttothematerialcontainedhereinorforany errorsoromissionsthatmayhavebeenmade. Printedonacid-freepaper ThisSpringerimprintispublishedbySpringerNature TheregisteredcompanyisSpringer-VerlagNewYork AcousticalSociety ofAmerica The mission of the Acoustical Society of America (www.acousticalsociety.org) is to increase and diffuse the knowledge of acoustics and promote its practical applications.TheASAisrecognizedastheworld’spremierinternationalscientific societyinacoustics,andcountsamongitsmorethan7,000members,professionals inthefieldsofbioacoustics,engineering,architecture,speech,music,oceanography, signalprocessing,soundandvibration,andnoisecontrol. Sinceitsfirstmeetingin1929,TheAcousticalSocietyofAmericahasenjoyed a healthy growth in membership and in stature. The present membership of approximately7,500includesleadersinacousticsintheUnitedStatesofAmerica andothercountries.TheSocietyhasattractedmembersfromvariousfieldsrelatedto soundincludingengineering,physics,oceanography,lifesciences,noiseandnoise control,architecturalacoustics;psychologicalandphysiologicalacoustics;applied acoustics; music and musical instruments; speech communication; ultrasonics, radiation, and scattering; mechanical vibrations and shock; underwater sound; aeroacoustics; macrosonics; acoustical signal processing; bioacoustics; and many moretopics. To assure adequate attention to these separate fields and to new ones that may develop, the Society establishes technical committees and technical groups chargedwithkeepingabreastofdevelopmentsandneedsofthemembershipintheir specializedfields.Thisdiversityandtheopportunityitprovidesforinterchangeof knowledgeandpointsofviewhasbecomeoneofthestrengthsoftheSociety. The Society’s publishing program has historically included the Journal of the Acoustical Society of America, the magazine Acoustics Today, a newsletter, and variousbooksauthoredbyitsmembersacrossthemanytopicalareasofacoustics. Inaddition,ASAmembersareinvolvedinthedevelopmentofacousticalstandards concernedwithterminology,measurementprocedures,andcriteriafordetermining theeffectsofnoiseandvibration. Series Preface forModernAcoustics and SignalProcessing In the popular mind, the term “acoustics” refers to the properties of a room or other environment—the acoustics of a room are good or the acoustics are bad. But as understood in the professional acoustical societies of the world, such as the highly influential Acoustical Society of America, the concept of acoustics is much broader.Of course, it is concernedwith the acoustical propertiesof concert halls, classrooms, offices, and factories—a topic generally known as architectural acoustics,butitisalsoconcernedwithvibrationsandwavestoohighortoolowto beaudible.Acousticiansemployultrasoundinprobingthepropertiesofmaterials, or in medicine for imaging, diagnosis, therapy, and surgery. Acoustics includes infrasound—the wind-driven motions of skyscrapers, the vibrations of the earth, andthemacroscopicdynamicsofthesun. Acoustics studies the interaction of waves with structures, from the detection of submarines in the sea to the buffeting of spacecraft. The scope of acoustics ranges from the electronic recording of rock and roll and the control of noise in ourenvironmentstotheinhomogeneousdistributionofmatterinthecosmos. Acoustics extends to the production and reception of speech and to the songs of humans and animals. It is in music, from the generation of sounds by musical instruments to the emotional response of listeners. Along this path, acoustics encounters the complex processing in the auditory nervous system, its anatomy, genetics,andphysiology—perceptionandbehavioroflivingthings. Acousticsisapracticalscience,andmodernacousticsissotightlycoupledtodig- italsignalprocessingthatthetwofieldshavebecomeinseparable.Signalprocessing isnotonlyanindispensabletoolforsynthesisandanalysisbutitalsoinformsmany of our most fundamental models about how acoustical communication systems work. Giventheimportanceofacousticstomodernscience,industry,andhumanwel- fareSpringerpresentsthisseriesofscientificliterature,entitledModernAcoustics andSignalProcessing.Thisseriesofmonographsandreferencebooksisintended to coverall areas of today’s acousticsas an interdisciplinaryfield. We expectthat scientists,engineers,andgraduatestudentswillfindthebooksinthisseriesuseful intheirresearch,teaching,andstudies. WilliamM.Hartmann Foreword Formorethan40,000years,humanbeingshavebeenmakingandplayingmusical instruments. Although Greek philosophers of the Pythagorean school carried out pioneering studies on stringed instruments, it is only in the last few centuries that advances in physics and mathematics have made it possible to develop a reasonably comprehensive scientific understanding of how musical instruments function.Bythemid-twentiethcentury,thebasicprinciplesofclassicalmechanics, fluiddynamicsandacousticshadbeensuccessfullyappliedtoexplainmanyaspects of the behaviour of musical instruments. In recent decades, however, there has been a remarkable acceleration in the scope and pace of research in musical acoustics,leadingtofreshinsightsintomusicallyimportantfeaturesofinstrumental behaviour which are not captured by simplified models. Experimental studies have benefited from the ready availability of highly sophisticated instrumentation devices, while the rapid growth in computational power has made numerical modellingan increasinglyimportantresource.In parallelwith these technological advances,there havebeentheoreticaldevelopmentswhichhaveclarified the often complexphysicalprocesses whose interaction is responsible for the generationof soundinmusicalinstruments. Thetimeisthereforeripeforatextbookwhichprovidesasystematicpresentation of the current state of our understanding of the physics of musical instruments. Antoine Chaigne and Jean Kergomard are the ideal authors to present such an overview, since each has an outstanding record of research leadership and publi- cationinthisfield.Whereappropriatetheyhaveinvitedauthoritativecontributions fromotherexperts,includingXavierBoutillon,Jean-PierreDalmont,BenoitFabre, Joël Gilbert and Cyril Touzé. A notable feature of this book, which makes it particularlyvaluableasatextbookforadvancedstudents,isitssystematicexposition of the mathematical treatments, with full derivations of the crucial equations. This provides an excellent pedagogical introduction to the research literature, for whichextensivereferencesaregiven.Thebookisstructuredtofacilitateagradual unfolding of different formalisms. Modal theory, for example, is introduced in Chap.3 for the case of undamped normal modes; complex modes which include vii viii Foreword dissipation are discussed in Chap.5; and the increasingly important theory of nonlinear modes is presented in Chap.8. In each case the relevance to musical examplesismadeclear. Thisbookwillundoubtedlybecomethestandardreferencetextforpostgraduate students and teachers of musical instrument acoustics. The mathematical level required to engage fully with the theoretical derivations is that of an undergrad- uate degree in physics, mathematics or engineering. Readers without a formal scientific education will also gain many fascinating and important insights, since the mathematical treatments are usually introduced and framed by non-technical discussions and explanations. The authors display a deep understanding of the musical significance of the scientific discussions and are able to convey this in a languagewhichisreadilyaccessibletoperformersandmusicalinstrumentmakers. There are many aspects of the sound production and playability of instruments whicharemusicallyimportant,butwhichdependonsubtledetailsoftheunderlying physics.The studyof such subtleties hasbeena hallmarkof muchrecentworkin musicalinstrumentacoustics,andthistextbookleadsthereaderfrombasicphysical principlestothecurrentresearchfrontierwithauniqueandadmirablecombination ofscientificrigourandmusicalsensibility. Edinburgh,UK MurrayCampbell 1February2016 Preface Objectives oftheBook This book is devoted to the acoustics of musical instruments. Its prime aim is to highlightthephysicalprinciplesthatgoverntheproductionandradiationofsound bythesecomplexsources.Itistheresultofseveralyearsofworkwhichwouldnot havebeenpossiblewithouttheactiveandenthusiasticcontributionofcolleaguesto whomwewishtoextendoursincerethanksandgratitude.Weshouldalsomention that Chap.10 on the flute was written by Benoît Fabre and Chap.11 on the violin byXavierBoutillon.Jean-PierreDalmont,JoëlGilbertandCyrilTouzéwrotesome paragraphsinthethirdpart. Thebookismeantprimarilyasatextbookforstudentsatmaster’sanddoctorate levels. This is the reason why it includes a large number of significant equations wherethemathematicalderivationsarepresentedindetail.Inaddition,wethought that it was necessary to accountfor the most recentresults of research in musical acoustics.Therefore,alargenumberofreferencescanbefoundattheendofeach chapter.N.FletcherandT.Rossing’sfamousbookPhysicsofMusicalInstruments (Springer)waspublishedin1991,andeversincethisfieldofresearchhasbenefitted fromplentyofnewdiscoveries.Onecancite,forexample,theessentialcontribution offluiddynamicsandaeroacousticsforthecomprehensionofwindinstruments,the interestofnonlinearstructuralmodelsfordescribingthebehaviourofcymbalsand gongs and, more generally, the application of the theory of dynamicalsystems to everyclassofinstruments. In fact, this book is intended not only for students but also to researchers, engineers and other physicists with a strong interest in music. We also hope that musicians, instrument makers and music lovers who wish to acquire some basic knowledgeonthephysicsofmusicalinstrumentswillbeabletoreaditprofitably, even if they cannot follow all mathematical aspects in detail. In this view, the links between physical phenomena, instrument making and playing are explained asclearlyaspossible. ix
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