Index of content:
Volume 107, Issue 6, June 2000
- MUSIC AND MUSICAL INSTRUMENTS 
107(2000); http://dx.doi.org/10.1121/1.429415View Description Hide Description
Earlier investigations have assumed only “out-of-plane” vibrations of the plates of the violin. The violin body can, however, be described as a thin-walled, double-arched shell structure and as such it may very well elongate in one direction as it contracts in another. Therefore, at least two orthogonal vibration components have to be included to describe the vibrations. The operating deflection shapes (ODSs) of a good, professionally made and carefully selected violin were therefore measured in several directions by TV holography to determine both “in-plane” and out-of-plane vibration components of the ODSs. The observations were limited to the frequency range 400–600 Hz, as this interval includes two most-prominent resonance peaks of bridge mobility and sound radiation as well as a third poorly radiating resonance. These three peaks clearly showed orthogonal vibration components in the ODSs. The vibration behavior of the violin body, sectioned in the bridge plane, was interpreted as the vibrations of an “elliptical tube” with nodal diameters. The number of nodal diameters increases from two to three in the selected frequency range. The TV holographymeasurements were supported by electrodynamical point measurements of bridge mobility, of air volume resonances, and by reciprocity, of radiation properties. Furthermore, a fourth mode, the air mode, A1, is involved indirectly in the sound radiation via influence on the body vibrations.
Vibration characteristics of pipe organ reed tongues and the effect of the shallot, resonator, and reed curvature107(2000); http://dx.doi.org/10.1121/1.429416View Description Hide Description
Pipe organreed pipes sound when a fixed-free curved brassreed mounted on a shallot connected to a resonator is forced to vibrate by an impressed static air pressure. Five sets of experiments were performed in order to investigate the influence of the most important parameters which could affect the tone of a reed pipe. First, the phase difference between the pressure variation in the shallot and the boot, and its relationship to the motion of the reed tongue were analyzed to compare their phases and their spectra. Next, the frequency dependence of the reed on three basic parameters (reed thickness, its vibrating length, and the imposed static air pressure) was investigated in an attempt to determine an empirical equation for the frequency. For each trial, two of the variables were kept constant while the third was altered in order to construct an equation giving frequency as a function of the three variables. Third, experiments were conducted using three different types of shallots: the American (or English) style, the French style, and the German style. The results show that for each shallot, the frequency increases linearly with thickness and linearly with air pressure (over the normal operating range of the reed). For each of the shallots, frequency varies inversely with length when the other variables are held constant. The effect on the reed spectrum of using the three different types of shallot was also investigated, as was the effect of reducing the interior volume of each type. Progressively filling the shallot interior generally decreases the frequency of the vibrating reed. The effect of the resonators on frequency and spectrum was studied because the resonator is an integral part of the resulting tone; virtually every reed stop has some type of resonator. The resonator tends to raise the Q of the impedance peaks and reduce the fundamental frequency. Finally, the influence of the type and degree of curvature on reed vibration was briefly examined; increasing the reed curvature tends to decrease the vibration frequency and increase the sound intensity by creating a richer spectrum.