Handbook of Materials for Percussion Musical Instruments PDF
Preview Handbook of Materials for Percussion Musical Instruments
Voichita Bucur Handbook of Materials for Percussion Musical Instruments Handbook of Materials for Percussion Musical Instruments Voichita Bucur Handbook of Materials for Percussion Musical Instruments VoichitaBucur SchoolofScience RMITUniversity Melbourne,VIC,Australia ISBN 978-3-030-98649-0 ISBN 978-3-030-98650-6 (eBook) https://doi.org/10.1007/978-3-030-98650-6 ©TheEditor(s)(ifapplicable)andTheAuthor(s),underexclusivelicensetoSpringerNature SwitzerlandAG2022 Thisworkissubjecttocopyright.AllrightsaresolelyandexclusivelylicensedbythePublisher,whether thewholeorpartofthematerialisconcerned,specificallytherightsoftranslation,reprinting,reuse ofillustrations,recitation,broadcasting,reproductiononmicrofilmsorinanyotherphysicalway,and transmissionorinformationstorageandretrieval,electronicadaptation,computersoftware,orbysimilar ordissimilarmethodologynowknownorhereafterdeveloped. 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ThisSpringerimprintispublishedbytheregisteredcompanySpringerNatureSwitzerlandAG Theregisteredcompanyaddressis:Gewerbestrasse11,6330Cham,Switzerland Preface Handbook of Materials for Percussion Musical Instruments follows my previous twobookspublishedbySpringerin2016onstringinstrumentsandin2019onwind instruments and is related to the materials for percussion instruments used in the symphony orchestras. The scope of this book is primarily confined to percussion instruments of the symphony orchestras, but I also take account of centuries of musicalartandtradition.WiththisvolumeIintended,tothebestofmyability,to bridge the existing gap in the technical literature relating to the description of the propertiesofmaterialsforpercussioninstruments—timpani,otherdrums,marimba, xylophone,vibraphone,gong,cymbal,triangle,celesta,castanets,etc.AsImentioned in the prefaces of the previous two books on this subject, the idea of connecting materialsciencewiththespecificpropertiesofmaterialsusedformusicalinstruments becamearealityfollowingmylongconversationsin2011withDr.GrahameSmithat CSIRO—CommonwealthScientificandIndustrialResearchOrganisation—Material ScienceLaboratoryinClayton,locatednearMelbourne,inAustralia. Iwouldliketomentionthattheorganologicstudyofmusicalinstrumentscannot bedissociatedfromthestudyofthephysicsofthemusicalinstrumentsbecauseof thesoundstheinstrumentsproducedwhich,inturn,cannotbedissociatedfromthe studyofmaterialsciencerelatedtothematerialsfromwhichtheyaremade.Thegoal ofthisbookistosuggestwaysofcombiningtheseparalleldevelopmentshavingin mindthattheconstructionofmusicalinstrumentsrequiresstudyofthecorresponding materialsatdifferentlevelsofcomplexity.Beingoneoftheoldestfamilyofmusical instruments, the percussion instruments can be classified using various schemes: one is using the means by which the sound is produced—the instruments are the membranophones and the idiophones, by the traditional musical division into two groups, the pitched and the unpitched instruments, by the way of playing—with malletsorbyhands,orbyculturaltradition—theinstrumentsbeingEuropean,Latin American,African,Asian,etc.Physicalcriteriafortheclassificationofpercussion instrumentsofthesymphonyorchestraarethepitch,themodeofvibration,theshape ofvibratingbodies,thenatureofthematerialsused(wood,metal,skin),thetypeof excitation,etc. v vi Preface The family of percussion musical instruments is probably the oldest existing familyofmusicalinstrumentsandincludesnumerousinstrumentsmadeofalarge varietyofmaterialshavinginstrumentsofalargevarietyofsizesandtimbres.Over centuries,somepercussioninstruments,likethetimpani,underwentimportanttech- nicalimprovementwhileotherslikethetambourinehavemaintainedthesameshape from antiquity. It is worth mentioning that new percussion instruments have been invented in the second half of the XXth century using metallic materials for their manufacturing. Traditionally, the following materials have been used for the manufacturing of percussioninstruments:woodforidiophoneslikemarimbaandxylophone,metallic materialsforthestruckidiophonesplayedwithmalletslikethegong,cymbal,tubular bell,andtriangle,leatherforthemembranesofthedrumsandofcoursenewmaterials becameavailable,especiallyduringthesecondhalfoftheXXthcentury.Thisbook has twenty chapters and is structured in four parts. The first part deals with the classificationofpercussioninstruments,thesecondpartdescribesthestructuralparts of the instruments, the third part is related to the properties of materials and the fourth part deals with the maintenance and conservation procedures of percussion instruments. The elaboration of this volume took several years and was possible, thanks to my association in Melbourne with RMIT University, School of Science, Acoustic Research group directed by Prof. John Davy and thanks to the access given to the libraryoftheRMITUniversityandthegeneroushelpofitsscholars. ThemanuscriptofthisbookwastechnicallyrevisedbyDr.GrahameSmithwho continuouslyandenthusiasticallyencouragedmeforover10yearstofinishthefirst, thentheseconddraftandthenthethirddraftofthemanuscriptofthisbook,reading andcommentingonabout2000pagesofeachdraft.IamverygratefultoDr.Grahame Smithforhisenthusiasticsupportoversomanyyears. IamalsoverygratefultoMr.LenTosoliniforkindlyproofreadingthedraftsof thismanuscriptoversomanyyears. I am very grateful to Dr. Cathy Foley AO PSM, Australia’s chief scientist. My work on three books published by Springer related to the materials for musical instrumentswasalabouroflovethatshesponsoredwhenasChiefoftheDivisionof MaterialScienceandEngineeringatCSIRO(CommonwealthScientificandIndus- trialResearchOrganisation—Australia)shechampionedthisprojectandprovideda supportiveworkenvironment For their contribution with comments, documents, figures, unpublished results, etc., helping to improve the manuscript of this book, I would like to address my warmacknowledgmentstoDr.MarianaDomnicaStanciu—UniversityTransylvania Brasov, Romania, Dr. José Antunes—Universidade Nova de Lisboa, Portugal, Dr. VincentDebut—UniversidadeNovadeLisboa,Portugal,Dr.JoâoCarvalho,Faculty ofHumanSciencesUniversidadeNovadeLisboa,Portugal,M.PeterD.R.Bond, retired Director of the Projects Directorate, European Investment Bank, Luxem- bourg, Dr. Jean Marie Heinrich—Mulhouse, France, Dr. Adrian Hapca, Scotland, Prof. Lamberto Tronchin, University of Bologna, Italy, Prof. Cyril Touzé—Ecole Preface vii Polytechnique,Paris,France,MmeElisabethWiss,MuseumofMusicalInstruments, Paris. I owe a debt of gratitude to colleagues in musical acoustics and in mate- rials science, musical instrument makers, scientific organisations, museums and publisherscitedinthereferencelistsfortheirpermissiontoreprintfiguresandother data.Thisbookisinfactarecordoftheworkofmanyresearcherswhohavestudied percussion instruments and the materials fromwhich they are made. Due to space limitations,Ihavebeenobligedtobeselective,andmanyinterestingancillarytopics havenotbeentreatedindepth. ForthepublicationofthisbookbySpringer,Iacknowledgethecontributionof Dr.MayraCastroandthetechnicalstaffinvolvedintheproductionofthisbook. I am very grateful to my sister, Despina Bucur Spandonide, architect, for her cheerfulencouragementandsupportduringthemanyyearsneededforthecompletion ofthisbook.Shegavemesupportthroughinterestingdiscussionsabouttherepresen- tationofpercussioninstrumentsinGreekart.Shecontributedwithherbackground totheinsertioninthisbookofnumerousimagesofworksofart. Ihopethatthisbookwillbeofinterestandofassistancetoreadersapproaching thissubjecteitherasaconcisesurveyofthesubject,orbyusingtheindexforspecific topics,andIhopeitwillgeneratenewideasforfurtherresearch. Melbourne,Australia VoichitaBucur January2022 Contents PartI PercussionInstruments,TheirClassificationandTheir Sound 1 Introduction ................................................. 3 1.1 TheBackground ........................................ 3 1.1.1 DescriptionofPercussionInstruments .............. 8 1.1.2 TheFrequencyRangeofPercussionInstruments ..... 16 1.1.3 TheLayoutPlanofPercussionInstruments inaSymphonyOrchestra ......................... 17 1.1.4 AbouttheMusicalWorksIncludingPercussion Instruments ..................................... 19 1.1.5 Summary ....................................... 25 1.2 ThePurposeoftheBook ................................. 27 Appendix1.1 ................................................. 27 Appendix1.2 ................................................. 32 Appendix1.3 ................................................. 34 Appendix1.4 ................................................. 35 Appendix1.5 ................................................. 36 References ................................................... 38 2 Organology of Percussion Instruments for the Classic SymphonyOrchestra ......................................... 41 2.1 Introduction ............................................ 41 2.1.1 IconographicRepresentationofPercussion InstrumentsforEarlyMusic ....................... 43 2.1.2 Written Documents About Percussion InstrumentsforEarlyMusic ....................... 45 2.2 HistoricalEvolutionofMembranophonePercussion Instruments ............................................. 65 2.2.1 TheTimpani .................................... 65 2.2.2 TheSnareDrum ................................. 89 2.2.3 TheBassDrum .................................. 90 ix x Contents 2.3 Historical Evolution of Idiophone Percussion Instruments ............................................. 90 2.4 Summary .............................................. 94 Appendix2.1 ................................................. 95 Appendix2.2 ................................................. 96 Appendix2.3 ................................................. 97 References ................................................... 99 3 AbouttheSoundofPercussionInstruments .................... 103 3.1 Introduction ............................................ 103 3.2 VibrationofBars ........................................ 105 3.3 VibrationofPlates ....................................... 110 3.3.1 RectangularPlates ............................... 110 3.3.2 CircularPlates .................................. 110 3.4 VibrationofMembranes .................................. 112 3.5 VibrationofShells ...................................... 125 3.6 ImpactSoundsofPercussionInstrumentsandtheEffects ofMaterialsonTheseSounds ............................. 129 3.6.1 Physical and Mechanical Properties oftheSoundSources ............................. 130 3.6.2 EffectofContactStiffnessonVibrationModes ofBars ......................................... 131 3.6.3 AbouttheImpactSoundonBarsandPlates MadeofWood .................................. 133 3.6.4 Impact Sound on Bars and Plates Made ofVariousMaterials .............................. 146 3.6.5 About Sound of Percussion Instruments andtheVibrationofMembranes ................... 150 3.6.6 AbouttheSoundofPercussionInstruments andtheVibrationofShells ........................ 162 3.7 Summary .............................................. 170 Appendix3.1 ................................................. 172 Appendix3.2: WoodAnatomy ............................... 172 Appendix3.3: ListofWoodSpeciesCitedinthisChapter ........ 183 References ................................................... 184 4 MethodologyforPercussionInstrumentsTesting ................ 189 4.1 Introduction ............................................ 189 4.2 ModesofVibrationofPercussionInstrumentsandFinite andBoundaryElementStudies ............................ 190 4.3 Experimental Studies on Modes of Vibration ofPercussionInstruments ................................ 191 4.3.1 Modal Testing with the Response oftheStructureMeasuredMechanically ............ 191 4.3.2 OpticalInterferometry,asaNoncontactMethod forModalTesting ................................ 204 Contents xi 4.4 NumericalSimulationofPercussionInstruments ............. 233 4.4.1 NumericalMethodsintheTimeandFrequency Domain–GeneralAspects ......................... 234 4.4.2 Modal Behaviour of a Drum with One Membrane—TheTimpani ......................... 235 4.4.3 Modal Behaviour of a Drum with Two Membranes,theTom-Tom ........................ 237 4.4.4 ModalBehaviourofaBowedBar .................. 240 4.4.5 InteractionBetweenBarandMallet ................ 251 4.5 ImprovementintheDesignofPercussionInstruments ........ 257 4.5.1 TheBarsofaXylophone ......................... 258 4.5.2 TheShellofaSnareDrum ........................ 259 4.6 Summary .............................................. 265 Appendix4.1 ................................................. 266 Appendix4.2 ................................................. 268 References ................................................... 270 PartII StructuralPartsoftheInstruments 5 Materials for Membranophones—Timpani, Drums, Tambourine ................................................. 279 5.1 Introduction ............................................ 279 5.2 Timpani ................................................ 280 5.2.1 StructuralPartsoftheTimpani ..................... 280 5.2.2 MaterialsfortheTimpani ......................... 283 5.2.3 Technological Aspects of Manufacturing oftheKettle ..................................... 284 5.3 TheSnareDrum ........................................ 295 5.3.1 StructuralPartsoftheSnareDrum ................. 300 5.3.2 MaterialsfortheSnareDrum ...................... 301 5.3.3 Technological Aspects of Snare Drum Manufacturing .................................. 308 5.4 BassDrum ............................................. 315 5.4.1 StructuralPartsoftheBassDrum .................. 315 5.4.2 MaterialsfortheBassDrum ....................... 317 5.4.3 Technological Aspects of Bass Drum Manufacturing .................................. 319 5.4.4 EffectofThermo-Hydro-MechanicalTreatment onWoodStructure ............................... 319 5.5 TheTambourine ........................................ 325 5.5.1 DescriptionoftheTambourine ..................... 325 5.5.2 MaterialsforTambourines ........................ 329 5.5.3 AReplicaofaTambourineoftheXVthCentury ..... 329 5.6 Summary .............................................. 329 References ................................................... 334
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