Acoustics and the performance of music : manual for acousticians, audio engineers, musicians, architects and musical instruments makers / Jürgen Meyer, [translated by Uwe Hansen].

By:

Meyer, Jürgen, 1933-

Contributor(s):

Hansen, Uwe

Material type: Text

TextSeries: Modern acoustics and signal processingPublication details: New York : Springer Science+Business Media, c2009.Edition: 5th edDescription: 438 p., [8] p. of plates : ill. (some col.), music ; 24 cmISBN:

9780387095165 (alk. paper)
0387095160 (alk. paper)

Subject(s):

Additional physical formats: Online version:: Acoustics and the performance of music.DDC classification:

620.2 MEY

Contents:

Introduction to acoustics -- Structural of musical sound -- Tonal characteristics of musical instruments -- Foundations of room acoustics -- Acoustical properties of old and new performance spaces -- Seating arrangement in the concert hall -- Acoustic considerations for instrumentation and playing technique -- Acoustical problems in the opera house -- Table for angular dependence of the statistical directivity factor.

Summary: Connects scientific understandings of acoustics with practical applications to musical performance. Of central importance are the tonal characteristics of musical instruments and the singing voice including detailed representations of directional characteristics. Furthermore, room acoustical concerns related to concert halls and opera houses are considered. Based on this, suggestions are made for musical performance. Included are seating arrangements within the orchestra and adaptation of performance techniques to the performance environment. This presentation dispenses with complicated mathematical connections and aims for conceptual explanations accessible to musicians, particularly for conductors. The graphical representations of the directional dependence of sound radiation by musical instruments and the singing voice are unique. This German edition has become a standard reference work for audio engineers and scientists.

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode
Standard Loan	Moylish Library Main Collection	620.2 MEY (Browse shelf(Opens below))	1	Available		39002100516260

Enhanced descriptions from Syndetics:

This classic reference on musical acoustics and performance practice begins with a brief introduction to the fundamentals of acoustics and the generation of musical sounds. It then discusses the particulars of the sounds made by all the standard instruments in a modern orchestra as well as the human voice, the way in which the sounds made by these instruments are dispersed and how the room into which they are projected affects the sounds.

Translation of the latest fifth edition of Akustik und musikalische Aufführungspraxis, originally published in German by PPVMedien GmbH, Edition Bochinsky, Bergkirchen.

Originally published in German: Bergkirchen : PPV Medien, Edition Bochinsky.

Includes bibliographical references (p. 415-425) and index.

Connects scientific understandings of acoustics with practical applications to musical performance. Of central importance are the tonal characteristics of musical instruments and the singing voice including detailed representations of directional characteristics. Furthermore, room acoustical concerns related to concert halls and opera houses are considered. Based on this, suggestions are made for musical performance. Included are seating arrangements within the orchestra and adaptation of performance techniques to the performance environment. This presentation dispenses with complicated mathematical connections and aims for conceptual explanations accessible to musicians, particularly for conductors. The graphical representations of the directional dependence of sound radiation by musical instruments and the singing voice are unique. This German edition has become a standard reference work for audio engineers and scientists.

Table of contents provided by Syndetics

1 Introduction to Acoustics (p. 1)
1.1 Fundamental Physical Principles (p. 1)
1.1.1 Sound Pressure (p. 1)
1.1.2 Particle Velocity (p. 2)
1.1.3 Sound Power (p. 3)
1.1.4 Frequency (p. 4)
1.1.5 The Speed of Sound (p. 4)
1.1.6 Wavelength (p. 5)
1.2 Characteristics of the Auditory System (p. 6)
1.2.1 The Sensation of Loudness (p. 6)
1.2.2 Masking (p. 10)
1.2.3 Directional Characteristics (p. 13)
1.2.4 Directional Hearing (p. 15)
1.2.5 The Cocktail Party Effect (p. 16)
1.2.6 Masking for the Musician (p. 18)
1.2.7 Sensitivity to Changes in Frequency and Sound Pressure Level (p. 20)
2 Structure of Musical Sound (p. 23)
2.1 Introducing the Model (p. 23)
2.2 Frequency-and Level: Structures (p. 26)
2.2.1 The Harmonic Tone Structure of Sound Spectra (p. 26)
2.2.2 The Frequency Range of Sound Spectra (p. 28)
2.2.3 Formants (p. 30)
2.2.4 The Effect of Individual Partials (p. 32)
2.2.5 Frequency Width of Partials (p. 33)
2.2.6 Noise Contributions (p. 33)
2.2.7 Dynamics and the Sound Spectrum (p. 35)
2.2.8 Dynamic Range and Sound Power (p. 36)
2.3 Time Structures (p. 37)
2.3.1 Deviations from a Steady Vibration Process (p. 37)
2.3.2 The Starting Transient (p. 38)
2.3.3 Inharmonic Components (p. 40)
2.3.4 Decay of Resonating Systems (p. 42)
2.3.5 Decay Time and Reverberation Time (p. 42)
2.3.6 Fluctuations in the Quasistationary Part (p. 44)
3 Tonal Characteristics of Musical Instruments (p. 45)
3.1 Brass Instruments (p. 45)
3.1.1 The French Horn (p. 45)
3.1.2 The Trumpet (p. 53)
3.1.3 The Trombone (p. 58)
3.1.4 The Tuba (p. 62)
3.2 Woodwind Instruments (p. 64)
3.2.1 The Flute (p. 64)
3.2.2 The Oboe (p. 70)
3.2.3 The Clarinet (p. 74)
3.2.4 The Bassoon (p. 79)
3.3 String Instruments (p. 85)
3.3.1 The Violin (p. 85)
3.3.2 The Viola (p. 95)
3.3.3 The Cello (p. 97)
3.3.4 Double Bass (p. 100)
3.4 The Piano (p. 103)
3.4.1 Sound Spectra (p. 103)
3.4.2 Dynamics (p. 105)
3.4.3 Time Structure (p. 105)
3.5 The Harpsichord (p. 111)
3.5.1 Sound Spectra (p. 111)
3.5.2 Dynamics (p. 112)
3.5.3 Time Structure (p. 113)
3.6 The Harp (p. 114)
3.6.1 Sound Spectra (p. 114)
3.6.2 Dynamics (p. 115)
3.6.3 Time Structure (p. 115)
3.7 Percussion Instruments (p. 116)
3.7.1 Timpani (p. 116)
3.7.2 The Bass Drum (p. 118)
3.7.3 Snare Drum (p. 119)
3.7.4 Gong (p. 120)
3.7.5 Cymbals (p. 122)
3.7.6 The Triangle (p. 122)
3.8 The Singing Voice (p. 123)
3.8.1 Sound Spectra (p. 123)
3.8.2 Dynamics (p. 124)
3.8.3 Time Structure (p. 125)
3.8.4 Choral Singing (p. 127)
4 Directional Characteristics (p. 129)
4.1 Foundations of Directional Sound Radiation (p. 129)
4.1.1 Directional Effects and Polar Diagrams (p. 129)
4.1.2 Evaluation and Representation (p. 130)
4.2 Brass Instruments (p. 133)
4.2.1 The Trumpet (p. 133)
4.2.2 The Trombone (p. 135)
4.2.3 The Tuba (p. 136)
4.2.4 The French Horn (p. 137)
4.3 Woodwind Instruments (p. 140)
4.3.1 The Flute (p. 140)
4.3.2 The Oboe (p. 143)
4.3.3 The Clarinet (p. 146)
4.3.4 The Bassoon (p. 147)
4.4 String Instruments (p. 148)
4.4.1 General Considerations (p. 148)
4.4.2 The Violin (p. 152)
4.4.3 The Viola (p. 156)
4.4.4 The Cello (p. 159)
4.4.5 The Double Bass (p. 161)
4.5 The Grand Piano (p. 163)
4.5.1 Lid Open (p. 163)
4.5.2 Lid Closed (p. 167)
4.5.3 Lid Half Open (p. 167)
4.5.4 Lid Removed (p. 168)
4.5.5 The Harpsichord (p. 168)
4.6 The Harp (p. 169)
4.7 Percussion Instruments (p. 170)
4.7.1 The Timpani (p. 170)
4.7.2 The Drum (p. 172)
4.7.3 Gongs (p. 173)
4.8 The Singing Voice (p. 175)
Color Plates Following Page (p. 178)
5 Foundations of Room Acoustics (p. 179)
5.1 Reflection and Refraction (p. 179)
5.1.1 Reflection from a Flat Surface (p. 179)
5.1.2 Reflection from Curved Surfaces (p. 180)
5.1.3 Influence of the Wavelength (p. 182)
5.2 Absorption (p. 186)
5.3 Reverberation (p. 188)
5.4 Direct Sound and Diffuse Field (p. 190)
5.4.1 The Energy Density (p. 190)
5.4.2 The Direct Sound (p. 192)
5.4.3 Diffuse-Field Distance (p. 194)
5.5 Temporal Structure of the Sound Field (p. 196)
6 Acoustical Properties of Old and New Performance Spaces (p. 203)
6.1 Concert Halls (p. 203)
6.1.1 Tonal Requirements (p. 203)
6.1.2 Reverberation Time and Hall Size (p. 205)
6.1.3 Sound Field and Hall Shape (p. 215)
6.1.4 Acoustic Conditions on the Stage (p. 224)
6.1.5 The Location of the Conductor (p. 231)
6.2 Opera Houses (p. 234)
6.2.1 Reverberation Time and Room Size (p. 234)
6.2.2 Direct Sound and Early Reflections (p. 238)
6.3 Churches (p. 245)
6.4 Chamber Music Halls (p. 250)
6.5 Studios (p. 254)
6.6 Special Purpose Rooms (p. 256)
6.7 Open Air Stages (p. 258)
7 Seating Arrangement in the Concert Hall (p. 263)
7.1 Customary Positioning of Instrument Groups (p. 263)
7.2 The Tonal Effect in the Hall (p. 273)
7.2.1 String Instruments (p. 273)
7.2.2 Woodwind Instruments (p. 294)
7.2.3 Brass Instruments (p. 305)
7.2.4 Timpani (p. 322)
7.2.5 Grand Pianos (p. 325)
7.2.6 Harps (p. 328)
7.2.7 Combined Sound of the Orchestra (p. 328)
7.2.8 Singing Voices (p. 343)
8 Acoustic Considerations for Instrumentation and Playing Technique (p. 347)
8.1 Strength of Ensembles (p. 347)
8.1.1 Historical Development (p. 347)
8.1.2 Adapting to the Hall (p. 350)
8.2 Dynamics (p. 359)
8.3 Performance Technique (p. 370)
8.3.1 Articulation and Tone Presentation (p. 370)
8.3.2 Vibrato (p. 377)
8.3.3 Playing Positions of Wind Instruments (p. 380)
8.4 Tempo and Room Acoustics (p. 384)
9 Acoustical Problems in the Opera House (p. 389)
9.1 Strength of the Orchestra (p. 389)
9.1.1 Historical Development (p. 389)
9.1.2 Sound Level in the Hall (p. 390)
9.1.3 Sound Level in the Orchestra Pit (p. 393)
9.2 Seating Arrangement in the Orchestra Pit (p. 394)
9.2.1 Customary Arrangements of Instrument Groups (p. 394)
9.2.2 The Tonal Effect in the Hall (p. 397)
9.3 Balance between Singers and Orchestra (p. 403)
9.4 Arrangement of Choirs and Music on Stage (p. 407)
9.4.1 Musicians in the Scene (p. 407)
9.4.2 Musicians behind the Scene (p. 410)
Appendix Table for Angular Dependence of the Statistical Directivity Factor (p. 413)
References (p. 415)
Subject Index (p. 427)
Author, Composer, and Composition Index (p. 435)

Author notes provided by Syndetics

Honors:

Helmholtz-Medal of the German Acoustical Society (DEGA) 2004
Medal of Honor of Verband Deutscher Tonmeister (VDT) 2004
Fellow of the ASA