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By Jürgen Meyer, Uwe Hansen

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

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Extra resources for Acoustics and the performance of music

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The measure of these variations transmits an impression of the stability or – in the negative case – the uncertainty of the tone. On occasion, however, such instabilities are deliberately utilized as tonal effects (flautando). A particularly important structuring of the tone, introduced as an artistic means of expression is represented by the vibrato (Winckel, 1960; Ga¨rtner, 1974).

Persistent statistical fluctuations of the excitation are however, finally the reason for the noise admixture to the sound of the instrument, as discussed earlier. The measure of these variations transmits an impression of the stability or – in the negative case – the uncertainty of the tone. On occasion, however, such instabilities are deliberately utilized as tonal effects (flautando). A particularly important structuring of the tone, introduced as an artistic means of expression is represented by the vibrato (Winckel, 1960; Ga¨rtner, 1974).

A similar phenomenon is also known from speech: When a singer sings a scale on a particular vowel, the region of strongest intensity remains fixed in its frequency location in spite of pitch changes. It is precisely for this region that all tones obtain the same (or at least similar) tone color. These amplitude maxima within a spectrum, which do not change their frequency with changing singing pitch, are called formants. For the most important vowel colors the formant regions are assembled in Fig.

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