Untitled - Institute of Music Acoustics (Wiener Klangstil) PDF
Preview Untitled - Institute of Music Acoustics (Wiener Klangstil)
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor ThomasD.Rossing StanfordUniversity CenterforComputerResearchinMusicandAcoustics(CCRMA) Stanford,CA94302-8180,USA [email protected] ISBN978-1-4419-7109-8 e-ISBN978-1-4419-7110-4 DOI10.1007/978-1-4419-7110-4 SpringerNewYorkDordrechtHeidelbergLondon #SpringerScience+BusinessMedia,LLC2010 Allrightsreserved.Thisworkmaynotbetranslatedorcopiedinwholeorinpartwithoutthewritten permissionof the publisher (SpringerScience+Business Media, LLC, 233 SpringStreet, New York, NY10013,USA),exceptforbriefexcerptsinconnectionwithreviewsorscholarlyanalysis.Usein connectionwithanyformofinformationstorageandretrieval,electronicadaptation,computersoftware, orbysimilarordissimilarmethodologynowknownorhereafterdevelopedisforbidden. Theuseinthispublicationoftradenames,trademarks,servicemarks,andsimilarterms,eveniftheyare notidentifiedassuch,isnottobetakenasanexpressionofopinionastowhetherornottheyaresubject toproprietaryrights. Printedonacid-freepaper SpringerispartofSpringerScienceþBusinessMedia(www.springer.com) Contents 1 Introduction............................................................... 1 ThomasD.Rossing 2 PluckedStrings........................................................... 11 ThomasD.Rossing 3 GuitarsandLutes ........................................................ 19 ThomasD.RossingandGrahamCaldersmith 4 PortugueseGuitar........................................................ 47 OctavioInacio 5 Banjo ...................................................................... 59 JamesRae 6 MandolinFamilyInstruments........................................... 77 DavidJ.CohenandThomasD.Rossing 7 PsalteriesandZithers.................................................... 99 AndresPeeknaandThomasD.Rossing 8 HarpsichordandClavichord............................................ 123 NevilleH.FletcherandCareyBeebe 9 Harp....................................................................... 145 ChrisWaltham 10 BurmeseArchedHarp................................................... 167 RobertM.Williamson v vi Contents 11 PluckedStringInstrumentsinAsia..................................... 173 ShigeruYoshikawa 12 BowedStrings............................................................. 197 ThomasD.RossingandRogerJ.Hanson 13 Violin...................................................................... 209 JosephCurtinandThomasD.Rossing 14 Cello....................................................................... 245 EricBynumandThomasD.Rossing 15 DoubleBass............................................................... 259 AndersAskenfelt 16 Bows,Strings,andBowing............................................... 279 KnutGuettler 17 ViolsandOtherHistoricBowedStringInstruments.................. 301 MurrayCampbellandPatsyCampbell 18 TheHutchins–SchellengViolinOctetAfter50Years................. 317 GeorgeBissinger 19 HammeredStrings ....................................................... 347 ThomasD.Rossing 20 SomeRemarksontheAcousticsofthePiano.......................... 353 NicholasGiordano 21 HammeredDulcimer..................................................... 371 DavidPeterson 22 ElectricGuitarandViolin............................................... 393 ColinGough 23 VirtualStringSynthesis.................................................. 417 NelsonLeeandJuliusO.SmithIII Index............................................................................ 457 Contributors AndersAskenfelt RoyalInstituteofTechnology(KTH),DepartmentofSpeech,Music, andHearing,Stockholm,Sweden CareyBeebe CareyBeebeHarpsichordsAustralia,Factory35/17LorraineStreet, Peakhurst,NSW2210,Australia GeorgeBissinger AcousticsLaboratory,EastCarolinaUniversity,HowellScienceComplex, RoomE208,Greenville,NC27858,USA EricBynum 214MacoyAve,Culpeper,VA22701,USA GrahamCaldersmith 12MainStreet,Comboyne,NSW2429,Australia MurrayCampbell SchoolofArts,CultureandEnvironment,UniversityofEdinburgh, EdinburghEH11JZ,UK PatsyCampbell SchoolofArts,CultureandEnvironment,UniversityofEdinburgh, EdinburghEH11JZ,UK DavidJ.Cohen 9402BelfortRd,Henrico,VA23229,USA JosephCurtin JosephCurtinStudios,3493W.DelhiRoad,AnnArbor, MI48103,USA NevilleH.Fletcher ResearchSchoolofPhysicsandEngineering, AustralianandNationalUniversity,Canberra,ACT0200,Australia vii viii Contributors NicholasGiordano DepartmentofPhysics,PurdueUniversity,525NorthwesternAvenue, WestLafayette,IN47907-2036,USA ColinGough 44SchoolRoad,BirminghamB139SN,UK KnutGuettler TheNorwegianAcademyofMusic,Eilinsvei20,Jar1358,Norway RogerJ.Hanson 2806EdgewoodDrive,CedarFalls,IA50613-5658,USA OctavioInacio ESMAE,RuadaAlegria,503,Porto4000-045,Portugal NelsonLee StanfordUniversity,CenterforComputerResearchinMusic andAcoustics(CCRMA),Stanford,CA94302-8180,USA AndresPeekna 5908NorthRiverBayRoad,Waterford,WI53185-3035,USA DavidPeterson UniversityofCentralArkansas,56RidgeDrive,Greenbrier,AR,USA JamesRae 827ValkyrieLaneNW,Rochester,MN55901,USA ThomasD.Rossing StanfordUniversity,CenterforComputerResearchinMusic andAcoustics(CCRMA),Stanford,CA94302-8180,USA JuliusO.SmithIII StanfordUniversity,CenterforComputerResearchinMusic andAcoustics(CCRMA),Stanford,CA94302-8180,USA ChrisWaltham DepartmentofPhysics&Astronomy,UniversityofBritishColumbia, 6242AgriculturalRoad,Vancouver,BCV6T1Z1,Canada RobertM.Williamson DepartmentofPhysics,OaklandUniversity,Rochester,MI48309-4401,USA ShigeruYoshikawa GraduateSchoolofKyushuUniversity,4-9-1Shiobaru,Minami-ku, Fukuoka815-8540,Japan Chapter 1 Introduction ThomasD.Rossing Stringinstrumentsarefoundinalmostallmusicalcultures.Bowedstringinstruments formthebackboneofsymphonyorchestras,andtheyareusedwidelyassoloinstru- mentsandinchambermusicaswell.Guitarsareuseduniversallyinpopmusicaswell asinclassicalmusic.Thepianoisprobablythemostversatileofallmusicalinstru- ments,usedwidelynotonlyinensemblewithothermusicalinstrumentsbutalsoasa soloinstrumentandtoaccompanysoloinstrumentsandthehumanvoice. In this book, various authors will discuss the science of plucked, bowed, and hammeredstringinstrumentsaswellastheirelectroniccounterparts.Wehavetried totellthefascinatingstoryofscientificresearchwithaminimumofmathematicsto maximizetheusefulnessofthebooktoperformersandinstrumentbuildersaswellas tostudentsandresearchersinmusicalacoustics.Sometimes,however,itisdifficult to “translate” ideas from the exact mathematical language of science into words alone,soweincludesomebasicmathematicalequationstoexpresstheseideas. It is impossible to discuss all families of string instruments. Some instruments have been researched much more than others. Hopefully, the discussions in this book will help to encourage further scientific research by both musicians and scientistsalike. 1.1 A Brief History of the Science of String Instruments Quite a number of good histories of acoustics have been written (Lindsay 1966, 1973; Hunt 1992; Beyer 1999), and these histories include musical acoustics. CarleenHutchinshaswrittenaboutthehistoryofviolinresearch(Hutchins2000). Relativelylesshasbeenwrittenaboutscientificresearchonotherstringinstruments. Pythagoras, who established mathematics in Greek culture during the sixth centuryBC,studiedvibratingstringsandmusicalsounds.Hereportedlydiscovered T.D.Rossing(*) CenterforComputerResearchinMusicandAcoustics(CCRMA), StanfordUniversity,Stanford,CA94302-8180,USA e-mail:[email protected] T.D.Rossing(ed.),TheScienceofStringInstruments, 1 DOI10.1007/978-1-4419-7110-4_1,#SpringerScience+BusinessMedia,LLC2010
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