Acoustics and the performance of music by Jürgen Meyer, Uwe Hansen

By Jürgen Meyer, Uwe Hansen

This vintage reference on musical acoustics and function perform starts with a short creation to the basics of acoustics and the new release of musical sounds. It then discusses the details of the sounds made via the entire usual tools in a latest orchestra in addition to the human voice, the best way the sounds made by way of those tools are dispersed and the way the room into which they're projected impacts the sounds.

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The esthetic effect of formants on the sound of musical instruments rests primarily on the similarity with singing, since here the human element itself, in a measure, becomes the standard. Furthermore, formants in the musical tone picture receive particular significance, since this characteristic of sound (in contrast to the upper frequency limit of the spectrum) is essentially independent of room 32 2 Structure of Musical Sound acoustical influences. While it is true that the intensity of high frequency secondary formants can be weakened by room absorption, their frequency position, nevertheless, remains unchanged, so that the amplitude maximum continues to determine the tone picture.

1), the higher harmonics melt together into a ton color impression, even for the experienced listener. In all this, the intensity relations between individual partials naturally play a significant role. The amplitudes or sound pressure levels of the individual partials can be represented as a line spectrum in a schematic manner, as is already suggested in the harmonic plane of Fig. 1, and also in the lower part of Fig. 3. Every line by position and length denotes the frequency and strength of the relevant partial.

These extreme values are especially of interest for microphone recordings. Under usual performance conditions it is, however, more important to be aware of a realizable dynamic range. Appropriate values should therefore be given as averages for fast and slow tone sequences. Most of the sound power values presented in the following chapters are taken from sound power measurements performed using the reference sound source procedure in a reverberant chamber (Meyer and Angster, 1981; Meyer, 1990).

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