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Handbook of Materials for Percussion Musical Instruments 1st ed. 2022 [Kõva köide]

  • Formaat: Hardback, 1042 pages, kõrgus x laius: 235x155 mm, kaal: 1736 g, 512 Illustrations, color; 105 Illustrations, black and white; XIX, 1042 p. 617 illus., 512 illus. in color., 1 Hardback
  • Ilmumisaeg: 08-Jul-2022
  • Kirjastus: Springer Nature Switzerland AG
  • ISBN-10: 3030986497
  • ISBN-13: 9783030986490
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Handbook of Materials for Percussion Musical Instruments 1st ed. 2022Suurem pilt
  • Formaat: Hardback, 1042 pages, kõrgus x laius: 235x155 mm, kaal: 1736 g, 512 Illustrations, color; 105 Illustrations, black and white; XIX, 1042 p. 617 illus., 512 illus. in color., 1 Hardback
  • Ilmumisaeg: 08-Jul-2022
  • Kirjastus: Springer Nature Switzerland AG
  • ISBN-10: 3030986497
  • ISBN-13: 9783030986490
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9783030986490.html
Märksõnad:
This book describes the properties of materials used for making percussion instruments for classical music played by a symphony orchestra in which the instruments could be played as a soloist instrument or as a group or several groups of instruments, as they are included into a musical work. A chapter is devoted to the bells. The scope of this book is primarily confined to percussion instruments of symphony orchestras taking into account the centuries of musical art and tradition. This book bridges the gap in the technical literature on describing the properties of materials for percussion instruments—timpani, other drums, marimba, xylophone, vibraphone, gong, cymbal, triangle, celesta, castanets.

Arvustused

This book contains new features and is of great interest for the musical acoustics community. Another appreciable specificity of the book is the high number of clear pictures and figures of wonderful quality . this book is a compulsory starting point for any future research on percussion instruments, and should be usefully associated with other books and publications more specialized in physical modeling. The references are extensive and beyond the usual references lists in musical acoustics. (Antoine Chaigne, EAA Newsletter Nuntius, euracoustics.org, January-February, 2023)

Part I Percussion Instruments, Their Classification and Their Sound
1 Introduction
3(38)
1.1 The Background
3(24)
1.1.1 Description of Percussion Instruments
8(8)
1.1.2 The Frequency Range of Percussion Instruments
16(1)
1.1.3 The Layout Plan of Percussion Instruments in a Symphony Orchestra
17(2)
1.1.4 About the Musical Works Including Percussion Instruments
19(6)
1.1.5 Summary
25(2)
1.2 The Purpose of the Book
27(14)
Appendix 1.1
27(5)
Appendix 1.2
32(2)
Appendix 1.3
34(1)
Appendix 1.4
35(1)
Appendix 1.5
36(2)
References
38(3)
2 Organology of Percussion Instruments for the Classic Symphony Orchestra
41(62)
2.1 Introduction
41(24)
2.1.1 Iconographic Representation of Percussion Instruments for Early Music
43(2)
2.1.2 Written Documents About Percussion Instruments for Early Music
45(20)
2.2 Historical Evolution of Membranophone Percussion Instruments
65(25)
2.2.1 The Timpani
65(24)
2.2.2 The Snare Drum
89(1)
2.2.3 The Bass Drum
90(1)
2.3 Historical Evolution of Idiophone Percussion Instruments
90(4)
2.4 Summary
94(9)
Appendix 2.1
95(1)
Appendix 2.2
96(1)
Appendix 2.3
97(2)
References
99(4)
3 About the Sound of Percussion Instruments
103(86)
3.1 Introduction
103(2)
3.2 Vibration of Bars
105(5)
3.3 Vibration of Plates
110(2)
3.3.1 Rectangular Plates
110(1)
3.3.2 Circular Plates
110(2)
3.4 Vibration of Membranes
112(13)
3.5 Vibration of Shells
125(4)
3.6 Impact Sounds of Percussion Instruments and the Effects of Materials on These Sounds
129(41)
3.6.1 Physical and Mechanical Properties of the Sound Sources
130(1)
3.6.2 Effect of Contact Stiffness on Vibration Modes of Bars
131(2)
3.6.3 About the Impact Sound on Bars and Plates Made of Wood
133(13)
3.6.4 Impact Sound on Bars and Plates Made of Various Materials
146(4)
3.6.5 About Sound of Percussion Instruments and the Vibration of Membranes
150(12)
3.6.6 About the Sound of Percussion Instruments and the Vibration of Shells
162(8)
3.7 Summary
170(19)
Appendix 3.1
172(1)
Appendix 3.2 Wood Anatomy
172(11)
Appendix 3.3 List of Wood Species Cited in this
Chapter
183(1)
References
184(5)
4 Methodology for Percussion Instruments Testing
189(90)
4.1 Introduction
189(1)
4.2 Modes of Vibration of Percussion Instruments and Finite and Boundary Element Studies
190(1)
4.3 Experimental Studies on Modes of Vibration of Percussion Instruments
191(42)
4.3.1 Modal Testing with the Response of the Structure Measured Mechanically
191(13)
4.3.2 Optical Interferometry, as a Noncontact Method for Modal Testing
204(29)
4.4 Numerical Simulation of Percussion Instruments
233(24)
4.4.1 Numerical Methods in the Time and Frequency Domain-General Aspects
234(1)
4.4.2 Modal Behaviour of a Drum with One Membrane---The Timpani
235(2)
4.4.3 Modal Behaviour of a Drum with Two Membranes, the Tom-Tom
237(3)
4.4.4 Modal Behaviour of a Bowed Bar
240(11)
4.4.5 Interaction Between Bar and Mallet
251(6)
4.5 Improvement in the Design of Percussion Instruments
257(8)
4.5.1 The Bars of a Xylophone
258(1)
4.5.2 The Shell of a Snare Drum
259(6)
4.6 Summary
265(14)
Appendix 4.1
266(2)
Appendix 4.2
268(2)
References
270(9)
Part II Structural Parts of the Instruments
5 Materials for Membranophones---Timpani, Drums, Tambourine
279(58)
5.1 Introduction
279(1)
5.2 Timpani
280(15)
5.2.1 Structural Parts of the Timpani
280(3)
5.2.2 Materials for the Timpani
283(1)
5.2.3 Technological Aspects of Manufacturing of the Kettle
284(11)
5.3 The Snare Drum
295(20)
5.3.1 Structural Parts of the Snare Drum
300(1)
5.3.2 Materials for the Snare Drum
301(7)
5.3.3 Technological Aspects of Snare Drum Manufacturing
308(7)
5.4 Bass Drum
315(10)
5.4.1 Structural Parts of the Bass Drum
315(2)
5.4.2 Materials for the Bass Drum
317(2)
5.4.3 Technological Aspects of Bass Drum Manufacturing
319(1)
5.4.4 Effect of Thermo-Hydro-Mechanical Treatment on Wood Structure
319(6)
5.5 The Tambourine
325(4)
5.5.1 Description of the Tambourine
325(4)
5.5.2 Materials for Tambourines
329(1)
5.5.3 A Replica of a Tambourine of the XVth Century
329(1)
5.6 Summary
329(8)
References
334(3)
6 Idiophones Made of Wood and Played with Mallets: Marimbas and Xylophones
337(32)
6.1 Marimba
337(18)
6.1.1 Structural Parts of the Marimba
337(4)
6.1.2 Materials for the Marimba
341(3)
6.1.3 Tuning a Marimba bar
344(7)
6.1.4 Technological Aspects of a Marimba Manufacturing
351(4)
6.2 The Xylophone
355(10)
6.2.1 Structural Parts of the Xylophone
355(2)
6.2.2 Materials for the Xylophone
357(7)
6.2.3 Technological Aspects of Xylophone Manufacturing
364(1)
6.3 Summary
365(4)
References
367(2)
7 Materials for Metallic Idiophones Played with Mallets
369(32)
7.1 Introduction
369(1)
7.2 The Vibraphone
369(24)
7.2.1 Structural Parts of the Vibraphone
371(5)
7.2.2 Materials for the Vibraphone
376(1)
7.2.3 Tuning the Vibraphone
376(12)
7.2.4 Tuning the Resonators
388(5)
7.3 The Glockenspiel
393(5)
7.3.1 Structural Parts of the Glockenspiel
393(2)
7.3.2 Materials for the Glockenspiel
395(1)
7.3.3 Tuning the Glockenspiel
395(3)
7.4 Summary
398(3)
References
399(2)
8 Struck Idiophones Played with Mallets: Gongs, Cymbals, Chimes, Sound Plates, Triangle
401(82)
8.1 Introduction
401(8)
8.2 Structural Parts
409(28)
8.2.1 The Gong
409(10)
8.2.2 The Cymbals
419(12)
8.2.3 Chimes or Tubular Bells
431(1)
8.2.4 The Bell Plates
432(1)
8.2.5 The Triangle
433(4)
8.3 Material of Construction
437(7)
8.3.1 Materials for the Gongs
437(1)
8.3.2 Materials for Cymbals
437(3)
8.3.3 Materials for the Chimes
440(1)
8.3.4 Materials for the Sound Plates
440(4)
8.3.5 Materials for the Triangle
444(1)
8.4 Manufacturing of a Gong
444(8)
8.5 Manufacturing a Cymbal
452(1)
8.6 Summary
453(30)
Appendices
456(1)
Appendix 8.1 Theoretical Aspects Related to the Vibration of Thin Plates and Membranes
456(11)
Appendix 8.2 About the Non-linear Mode Coupling in the Symmetrically Kinked Bars
467(6)
Appendix 8.3 About the Vibration of the Tubular Bells
473(4)
Appendix 8.4 Modes of Vibration of Triangles (data from Stanciu 2020)
477(3)
References
480(3)
9 The Mallets
483(48)
9.1 Introduction
483(5)
9.2 Materials for Mallets and Drum Sticks
488(5)
9.2.1 Mallets for Membranophones: Timpani Mallets
488(2)
9.2.2 Mallets for Idiophone Instruments Made of Wood: The Xylophone and Marimba
490(1)
9.2.3 Mallets for Metallic Idiophones: Vibraphone, Glockenspiel
490(1)
9.2.4 Mallets for Struck Metallic Idiophone Instruments
490(3)
9.3 Materials for Mallets
493(1)
9.4 Response of the Structural Elements of Idiophones to Impact Excitation with Mallets
493(12)
9.4.1 Interaction Mallet---Infinite Rigid Plane
500(1)
9.4.2 Pulse Duration
500(2)
9.4.3 The Contact Pressure
502(1)
9.4.4 Impact with Internal Energy Dissipation
502(3)
9.5 Frequency Range at Maximum Excitation
505(14)
9.5.1 Spectrum of a Circular Membrane of a Timpani
507(2)
9.5.2 Spectrum of a Gong
509(3)
9.5.3 Types of Mallet Contact Generating Sound
512(2)
9.5.4 The Strength of the Blow and the Dynamic Quality of the Mallet
514(5)
9.6 Manufacturing of the Mallets
519(4)
9.7 Summary
523(8)
Appendix 9.1 Mallets with Handles Made of Hollow Tubes of Aluminium
528(1)
References
528(3)
10 The Carillon
531(106)
10.1 Introduction
531(18)
10.2 Structural Parts of the Carillon
549(25)
10.2.1 The Bells and the Mechanical Systems
551(4)
10.2.2 The Clapper
555(5)
10.2.3 The Headstock
560(1)
10.2.4 The Dynamics of the Bell Clapper
560(14)
10.2.5 The Console
574(1)
10.3 Materials for the Bells
574(23)
10.3.1 Chemical Composition of Tin Bronzes for Bells
578(8)
10.3.2 Materials and Acoustical Properties of Bells
586(8)
10.3.3 Substitutive Materials for Bells
594(3)
10.4 Manufacturing of Bells
597(28)
10.4.1 Technology for Bell Manufacturing
597(6)
10.4.2 The Templating
603(3)
10.4.3 The Mould
606(1)
10.4.4 The Pouring of the Bronze Alloy
607(1)
10.4.5 Cooling of the Bell in the Mould
608(2)
10.4.6 The Tunning
610(3)
10.4.7 Manufacturing the Clapper
613(2)
10.4.8 Manufacturing the Headstock of the Bell
615(2)
10.4.9 Non-destructive Technique for Tuning a Bell
617(8)
10.5 Summary
625(12)
Appendix 10.1
626(3)
Appendix 10.2
629(2)
Appendix 10.3 Processing of the Modes of Vibration of Carillon Bells
631(1)
References
632(5)
11 A Percussion Idiophone Instrument with Keyboard: The Celesta
637(20)
11.1 Introduction
637(3)
11.2 Structural Parts of the Celesta
640(5)
11.3 Materials for Celesta
645(4)
11.4 Manufacturing of Celesta
649(1)
11.5 Summary
650(7)
Appendix 11.1 Celesta and Organ
655(1)
References
656(1)
12 Concussion Idiophones
657(4)
12.1 The Concussion Instruments
657(1)
12.2 Structural Parts of Concussion Instruments
657(2)
12.3 Summary
659(2)
Reference
659(2)
13 New Percussion Instruments
661(34)
13.1 Introduction
661(1)
13.2 Glass Instruments
662(13)
13.2.1 The Crystal Baschet
662(5)
13.2.2 The Materials for the Crystal Baschet Instrument
667(3)
13.2.3 The Instrumentarium for Education
670(1)
13.2.4 The Verrophone
670(5)
13.3 The Metallic Instruments
675(12)
13.3.1 Criteria for the Creation of New Metallic Musical Instruments
675(6)
13.3.2 New Metallic Musical Instruments
681(6)
13.4 Summary
687(8)
Appendix 13.1 Photographic Documents
688(1)
Appendix 13.2 Short Description of the Earlier Instruments Invented by Francois Baschet
688(4)
References
692(3)
Part III Properties of Materials
14 Properties of Wood Species for Percussion Instruments
695(92)
14.1 Introduction
695(2)
14.2 Rosewood and Other Wood Tropical Species Traditionally Used for Xylophone, Marimba and Other Small Instruments
697(4)
14.2.1 Rosewood
697(4)
14.2.2 Species Commonly Used for Percussion Instruments
701(1)
14.3 Methods of Wood Identification and Related Wood Acoustical Properties
701(14)
14.3.1 Visual Identification of Species
701(2)
14.3.2 Ultrasonic Methods and Identification of Wood Species
703(6)
14.3.3 Chemical Spectroscopy for the Identification of Tropical Wood Species
709(6)
14.4 Acoustic Methods, Elastic Properties of Wood and Related Wood Structural Elements
715(14)
14.4.1 Structural Elements of Wood and the Propagation of Mechanical Waves
715(1)
14.4.2 Elastic Properties of Wood by Dynamic Methods
716(3)
14.4.3 Effect of Anatomical Elements of Wood on Some Elastic Constants of Wood
719(10)
14.5 Mechanical Characteristics of Wood Determined with Static Standard Methods
729(7)
14.6 Alternative Wood Species for the Bars of the Xylophone and Marimba
736(37)
14.6.1 Current Alternative Wood Species for Xylophone and Marimba Bars
737(3)
14.6.2 Other New Alternative Wood Species from Tropical Geographic Zones
740(23)
14.6.3 Treatments to Improve the Characteristics of Alternative Species
763(10)
14.7 Summary
773(14)
Appendix 14.1 Theoretical Aspects Related to the Vibration of Rectangular Bars and of Thin Plates
774(3)
Appendix 14.2 CITES and the List of Endangered or Vulnerable Species
777(2)
References
779(8)
15 Metallic Alloys for Percussion Instruments
787(54)
15.1 Introduction
787(1)
15.2 Historic High Tin Bronze Alloys
787(6)
15.3 Non-destructive Methods for Testing Materials of Historical Bells
793(1)
15.4 Fatigue in Metallic Materials
794(2)
15.5 Fatigue in Bells
796(28)
15.5.1 Current Damage in Church Bells
796(2)
15.5.2 Fatigue Phenomena in Historical Bells
798(26)
15.6 Hammering and Hardening of Bronze Alloys
824(13)
15.6.1 Residual Strain in Cymbals
828(1)
15.6.2 Residual Stress in Cymbals
828(6)
15.6.3 Tensile Residual Stress and Dome Formatting in a Gong Made by Cold Forging
834(3)
15.7 Summary
837(4)
References
838(3)
16 Leather for Percussion Instruments
841(48)
16.1 Introduction
841(3)
16.2 Structure of Various Types of Skins
844(3)
16.3 Physical and Mechanical Properties of Leather
847(25)
16.3.1 Static Method
848(10)
16.3.2 Thermal Methods for Non-destructive Testing
858(7)
16.3.3 Microwave Method for the Measurement of the Orientation of Collagen Fibres
865(2)
16.3.4 Acoustic Non-destructive Methods
867(5)
16.4 Effect of Animal Genotype on Physical And-Mechanical Characteristics of Leather
872(3)
16.4.1 Identification of the Animal Source for Leather
872(1)
16.4.2 Effect of Animal Genotype on Physical and Mechanical Characteristics of Leather
873(2)
16.5 Leather Looseness
875(9)
16.5.1 Macroscopic and Microscopic Structure of Tight and Loose Leather
876(1)
16.5.2 Ultrasonic Imaging of Tight and Loose Leather
876(3)
16.5.3 Layered Structure of Tight and Loose Leather with X-Ray Scattering Measurements
879(3)
16.5.4 Looseness Identification with Spectroscopic Methods
882(2)
16.6 Summary
884(5)
References
886(3)
17 New Materials for Percussion Instruments
889(48)
17.1 Introduction
889(1)
17.2 Materials and the Coupling of Vibrations of a Drum's Membrane Its Shell
890(10)
17.3 Composites for the Shell Made of Carbon Fibres
900(8)
17.3.1 Carbon Fibre Composites Made with Epoxy Resin
900(2)
17.3.2 Layered Structure of Carbon Fibre Epoxy Composite with Balsa Core
902(6)
17.4 Composites Made of Wood Fibres for the Shell of a Drum
908(5)
17.5 Composites Made of Vegetal Fibres for a Drum Shell
913(10)
17.5.1 The Vegetal Fibres
914(2)
17.5.2 The Polymer Matrix
916(2)
17.5.3 The Shell
918(1)
17.5.4 Acoustic Emission Properties of Bio-Composites for the Shell
918(5)
17.6 Composites for the Velum of Membranophone Percussion Instruments
923(5)
17.6.1 The Background
923(3)
17.6.2 The Manufacturing
926(2)
17.7 Composites for Profiled Bars of Marimbas and Xylophones
928(4)
17.7.1 The Profiled Bars for Marimba
928(1)
17.7.2 Pultrusion Technology for Xylophone Bars
929(3)
17.8 Summary
932(5)
References
933(4)
Part IV Maintenance and Conservation of Percussion Instruments
18 Care, Maintenance and Restoration of Percussion Instruments
937(26)
18.1 Introduction
937(1)
18.2 Maintenance
937(1)
18.3 The Effect of Environmental Temperature on Maintenance of Percussion Instruments
938(4)
18.4 Restoration of Percussion Instruments
942(17)
18.4.1 Restoration of a Celesta
943(1)
18.4.2 Restoration of an Archaeological Bell
943(9)
18.4.3 Reverse Engineering Method and Some Acoustical Properties of a Reconstructed Bell
952(7)
18.5 Summary
959(4)
References
960(3)
19 Conservation of Percussion Instruments
963(26)
19.1 Basic Aspects of the Conservation of Musical Instruments
963(1)
19.2 Indoor Deterioration of Cu Alloys
964(5)
19.3 Indoor Deterioration of Wood by Light
969(4)
19.4 Degradation of Leather
973(10)
19.4.1 The Background
973(3)
19.4.2 Leather Aging and Laboratory Experiments
976(7)
19.5 Ageing of Composites
983(1)
19.6 Summary
984(5)
References
986(3)
20 Patents for Percussion Instruments
989(42)
20.1 Patenting of the Percussion Instruments
989(1)
20.2 Patents for Timpani
990(15)
20.2.1 Patents in German Speaking Countries in the XIXth Century
992(3)
20.2.2 Patents in the Netherlands in the XIXth Century
995(1)
20.2.3 Patents in England in the XIXth Century
995(2)
20.2.4 Patents in France in the XIXth Century
997(1)
20.2.5 Patents in Italy in the XIXth Century
998(1)
20.2.6 Patents for Timpani in the XXth Century and in the First Two Decades of the XXIst Century
999(6)
20.3 Patents for Snare Drum
1005(8)
20.4 Patent for Percussion Instruments with Bars
1013(2)
20.5 Patents for Cymbals
1015(4)
20.6 Patents for Tubular Bells and Other Tubes for Percussion Instruments
1019(6)
20.6.1 Tubular Bell
1019(3)
20.6.2 Other Hollow Tubes Made of Composite Materials
1022(2)
20.6.3 Triangle
1024(1)
20.7 Summary
1025(6)
American Patents
1027(2)
Other Patents
1029(1)
References
1029(2)
Index 1031
Dr. Voichita Bucur, currently an adjunct professor at RMIT Melbourne, Australia, received her bachelor in Engineering in 1962 from Polytechnic Institute Brasov, Romania, and her PhD in Mechanics and Ultrasonics in 1984 from the Institut Supérieur des Materiaux, St Ouen, Paris today named Institut  Superieur de Mecanique de Paris, France. Her fields of research encompass development of non-destructive techniques (vibrational, acoustic, ultrasonic, X-rays) for the assessment of the quality of trees, wood products and wood-based composites, mechanical characterisation of materials with non-destructive techniques, wood science and technology, and mechanical characterisation of wood for musical instruments. In 2004, she was awarded the silver medal by Société dEncouragement du Progrès, France, for contributions to mechanics, acoustics, wood science, education and service to the society. In 2007, she received the distinguish award at 15th International Symposium on Non-destructive Testing of wood, Duluth, Minessota, USA, for contribution to the development of non-destructive techniques for wood and wood-based composites