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Science of Brass Instruments 1st ed. 2021 [Kõva köide]

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  • Formaat: Hardback, 443 pages, kõrgus x laius: 235x155 mm, kaal: 852 g, 186 Illustrations, color; XVI, 443 p. 186 illus. in color., 1 Hardback
  • Sari: Modern Acoustics and Signal Processing
  • Ilmumisaeg: 20-Jan-2021
  • Kirjastus: Springer Nature Switzerland AG
  • ISBN-10: 3030556840
  • ISBN-13: 9783030556846
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Science of Brass Instruments 1st ed. 2021Suurem pilt
  • Formaat: Hardback, 443 pages, kõrgus x laius: 235x155 mm, kaal: 852 g, 186 Illustrations, color; XVI, 443 p. 186 illus. in color., 1 Hardback
  • Sari: Modern Acoustics and Signal Processing
  • Ilmumisaeg: 20-Jan-2021
  • Kirjastus: Springer Nature Switzerland AG
  • ISBN-10: 3030556840
  • ISBN-13: 9783030556846
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9783030556846.html
This book provides an in-depth account of the fascinating but far from simple actions and processes that take place when a brass instrument is played. Written by three leading researchers in brass instrument acoustics who are also experienced brass players, it draws together the many recent advances in our understanding of the subtly interrelated factors shaping the musician's control of the instrument's sound. The reader is introduced to models of sound generation, propagation and radiation. In particular, the current understanding of the behaviour of the player's lips, the modes of vibration of the air column inside the instrument, and the radiation of sound from a brass instrument bell are explained. The functions of the mouthpiece and of mutes are discussed. Spectral enrichment arising from nonlinear propagation of the internal sound wave in loud playing is shown to be an important influence on the timbre of many types of brass instrument. The characteristics of brass instruments in contemporary use (including cornets, trumpets, french horns, trombones and tubas) are identified, and related to those of the great variety of instruments at earlier stages in the evolution of the brass family. This copiously illustrated book concludes with case studies of the recreation of ancient instruments and some of the current applications of electronics and information technology to brass instrument performance. While most of the material presented is accessible by a general readership, the topic of musical instrument modelling is developed at a mathematical level which makes it a useful academic resource for advanced teaching and research.





Written by three internationally acknowledged experts in the acoustics and organology of brass instruments who are also experienced brass instrument players.





Provides both an accessible introduction to brass instrument science and a review of recent research results and mathematical modeling techniques









Represents the first monograph on the science underlying the design and performance of musical instruments of the brass family

Arvustused

The 2023 Nicholas Bessaraboff Prize for the most distinguished book-length publication in English is awarded to The Science of Brass Instruments . This collective effort of scholarship represents the culmination of decades of sustained, original, wide-ranging research into the science underpinning many facets of the world of brass instruments, including performance, design, timbre, acoustics, early history, and taxonomy. the authors have produced a significant, authoritative, and pioneering contribution to organological literature. (Bradley Strauchen-Scherer, William Hettrick and Matthew Zeller, American Musical Instrument Society, amis.org, May 11, 2023)

Part I The Musician's Experience and the Scientific Perspective
1 The Musician's Experience of Brass Instruments
3(28)
1.1 Creating Music from Lip Vibration: Labrosones Through the Ages
3(10)
1.1.1 Labrosones from Found Objects
4(2)
1.1.2 Early Metal Labrosones
6(3)
1.1.3 Labrosones in Renaissance and Baroque Music
9(3)
1.1.4 The Nineteenth-Century Labrosone Revolution
12(1)
1.2 The Musician's Interpretation of the Brass Playing Experience
13(12)
1.2.1 Musical Pitch Notation
13(1)
1.2.2 Natural Notes and Harmonics: The Musician's View
14(1)
1.2.3 Nominal Pitches of Brass Instruments
15(1)
1.2.4 Compass
16(1)
1.2.5 Intonation Control
17(3)
1.2.6 Dynamic Range
20(1)
1.2.7 Timbre
20(1)
1.2.8 Blowing Pressure and Air Flow
21(1)
1.2.9 Resistance and Playing Effort
22(1)
1.2.10 Responsiveness and Rapid Articulation
23(1)
1.2.11 Wrap, Directivity and Ergonomics
24(1)
1.3 Subjective and Objective Evaluation of Brass Instrument Quality
25(6)
1.3.1 Sound Quality and Payability
26(1)
1.3.2 Descriptive Terms Used by Musicians to Describe Brass Instrument Behaviour
27(1)
1.3.3 Biases in Quality Evaluation of Musical Instruments
28(3)
2 The Scientist's Perspective on Brass Instrument Behaviour
31(32)
2.1 Scientific Measurements of Brass Instrument Behaviour
31(16)
2.1.1 Sound Radiated from a Brass Instrument
33(3)
2.1.2 Sound Measured Inside a Trombone Mouthpiece
36(2)
2.1.3 Pressure Measured Inside a Brass Player's Mouth
38(3)
2.1.4 Lip Vibration and Air Flow: The Valve Effect Sound Source
41(2)
2.1.5 Is Air Row Through me Instrument Tube Important?
43(1)
2.1.6 Is Sound Radiation from the Vibrating Bell Important?
44(2)
2.1.7 Warming Up a Bras Instrument
46(1)
2.2 An Approach to Modelling Brass Instruments
47(16)
2.2.1 The Scientific Case for Simplified Models
48(2)
2.2.2 Coupled Systems and Feedback Loops
50(2)
2.2.3 Natural Notes and Harmonics: The Scientific View
52(5)
2.2.4 Self-Sustained Oscillations
57(1)
2.2.5 The Wind Instrument Paradox
58(5)
Part II Acoustical Modelling of Brass winds
3 Buzzing Lips: Sound Generation in Brass Instruments
63(38)
3.1 The Nature of Lip Vibration
63(16)
3.1.1 The Brass Player's Embouchure
63(2)
3.1.2 Experimental Studies of Vibrating Lips
65(1)
3.1.3 Time Dependence of the Lip Opening Area
66(4)
3.1.4 The Lip Opening Area-Height Function
70(2)
3.1.5 Two-Dimensional Motion of the Brass Player's Lips
72(4)
3.1.6 Experiments with Artificial Lips
76(3)
3.2 An Equation of Motion for the Lips
79(10)
3.2.1 A One-Mass Model of the Lips
79(2)
3.2.2 The Sliding Door Lip Model
81(2)
3.2.3 The Swinging Door Lip Model
83(2)
3.2.4 Inward-Striking and Outward-Striking Reeds
85(4)
3.3 The Mechanical Response of the Vibrating Lips
89(4)
3.3.1 Resonances of Artificial Lips
89(2)
3.3.2 Resonances of Human Lips
91(2)
3.4 Why Do the Lips Buzz?
93(3)
3.5 Volume Flow in Buzzing Lips
96(5)
3.5.1 Acoustic Volume Flow Through the Lip Aperture
96(2)
3.5.2 Acoustic Volume Flow Equation
98(3)
4 After the Lips: Acoustic Resonances and Radiation
101(116)
4.1 Internal Sounds in Brass Instruments
101(19)
4.1.1 Lumped and Distributed Resonators
102(2)
4.1.2 Travelling Waves
104(5)
4.1.3 Standing Waves
109(3)
4.1.4 Frequency Domain and Time Domain
112(2)
4.1.5 Impulse Response and Reflection Function
114(2)
4.1.6 Input Impedance
116(4)
4.2 Measuring Input Impedance
120(6)
4.2.1 Capillary-Based Methods
120(3)
4.2.2 Complementary Cavity Methods
123(1)
4.2.3 Wave Separation Methods
123(2)
4.2.4 Acoustic Pulse Reflectometry
125(1)
4.3 Bore Profiles of Brass Instruments
126(33)
4.3.1 Different Parts of the Bore
126(2)
4.3.2 Cylindrical Tubes
128(4)
4.3.3 Conical Tubes
132(4)
4.3.4 Equivalent Fundamental Pitch and Equivalent Cone Length
136(2)
4.3.5 The Mouthpiece as a Helmholtz Resonator
138(4)
4.3.6 Mouthpiece Effects on Intonation and Timbre
142(5)
4.3.7 Sound Waves in Flaring Bells
147(3)
4.3.8 A Theoretical Example: The Bessel Horn
150(5)
4.3.9 A Practical Example: The Complete Trombone
155(2)
4.3.10 Instruments with Predominantly Expanding Bore Profiles
157(2)
4.4 Toneholes
159(5)
4.5 Mutes
164(15)
4.5.1 Straight Mutes
165(2)
4.5.2 Effects of Internal Resonances in the Straight Mute
167(3)
4.5.3 Harmon Mute
170(2)
4.5.4 Plunger and Cup Mutes
172(2)
4.5.5 Transposing Mutes
174(4)
4.5.6 Hand Technique on the Horn
178(1)
4.6 Radiation of Sound from Brass Instruments
179(18)
4.6.1 Near Field and Far Field
180(1)
4.6.2 Monopole Radiation
181(2)
4.6.3 Transition from Internal to External Sound Fields
183(2)
4.6.4 Mapping the Radiation Fields of Brass Instruments
185(2)
4.6.5 Visualising Wavefronts with Schlieren Optics
187(4)
4.6.6 Far Field Directivity in Brass Instruments
191(6)
4.7 Going Further: Calculating Input Impedance
197(17)
4.7.1 Analytical Calculations
197(3)
4.7.2 Lossless Plane Wave TMM Calculations
200(3)
4.7.3 Including Losses in TMM Calculations
203(2)
4.7.4 TMM with Non-Cylindrical Elements
205(2)
4.7.5 Radiation Impedance
207(2)
4.7.6 Multimodal Calculations
209(3)
4.7.7 Bends in Brass Instruments
212(2)
4.8 Going Further: The Wogram Sum Function
214(3)
5 Blow That Horn: An Elementary Model of Brass Playing
217(54)
5.1 The Three Equations of the Brass Instrument Model
218(4)
5.1.1 The First Constituent Equation: Lip Dynamics
220(1)
5.1.2 The Second Constituent Equation: Flow Conditions
221(1)
5.1.3 The Third Constituent Equation: Instrument Acoustics
222(1)
5.2 Crossing the Threshold: Small Amplitude Oscillating Solutions
222(10)
5.2.1 Phase Relationships in the Lip Valve
223(5)
5.2.2 Silence or Sound? Stability Analysis of Brass Instruments
228(4)
5.3 Beyond Pianissimo: Modelling Realistic Playing Amplitudes
232(8)
5.3.1 Analysis of Brass Performance Using Simulations
233(4)
5.3.2 Bifurcation Diagrams
237(3)
5.4 Going Further: From Linearl tability Analysis to Oscillation Regimes
240(31)
5.4.1 Introduction: A Van der Pol Self-Sustained Oscillator
241(5)
5.4.2 State-Space Representations of the Elementary Brass Playing Model
246(5)
5.4.3 Linear Stability Analysis Applied to Brass Instruments
251(4)
5.4.4 The Trombone Pedal Note Regime
255(2)
5.4.5 Bifurcation Diagrams of Reed and Brass Instruments
257(7)
5.4.6 Multiphonics
264(7)
6 Shocks and Surprises: Refining the Elementary Model
271(66)
6.1 Why Brass Instruments Sound Brassy
271(16)
6.1.1 Brassy Sounds in Music
272(2)
6.1.2 Experimental Evidence for Shock Waves in Brass Instruments
274(2)
6.1.3 To Infinity and Beyond: Nonlinear Propagation in Tubes
276(4)
6.1.4 The Brassiness Potential Parameter
280(5)
6.1.5 Elephants, Exhausts and Angels: Some Surprising Sources of Brassy Sounds
285(2)
6.2 Going Further: Nonlinear Propagation
287(9)
6.2.1 From the Fundamental Fluid Dynamic Equations to the Nonlinear Wave Propagation Equation
288(3)
6.2.2 The Burgers Equations
291(3)
6.2.3 Brassiness of Flaring Bells
294(2)
6.3 The Player's Windway
296(6)
6.3.1 Coupling of Upstream and Downstream Resonances
296(2)
6.3.2 Tuning of Windway Impedance Peaks
298(1)
6.3.3 Other Effects of the Player's Windway
299(2)
6.3.4 Respiratory Control
301(1)
6.4 Improving the Lip Model
302(6)
6.4.1 Evidence from Mechanical Response Measurements
302(1)
6.4.2 Evidence from Measurements of Threshold Playing Parameters
303(5)
6.4.3 Models with More Than One Degree of Freedom
308(1)
6.5 Playing Frequencies of Brass Instruments
308(3)
6.6 The Influence of Wall Material on Brass Instrument Performance
311(15)
6.6.1 Factors Affecting the Choice of Wall Material
312(1)
6.6.2 Experimental Studies of Brass Instrument Wall Vibrations
312(4)
6.6.3 Pathological Wall Vibration Effects in Wind Instruments
316(1)
6.6.4 Frequency-Localised and Broadband Effects of Structural Resonances in Brass Instruments
317(8)
6.6.5 Mechanical Vibration at the Lip-Mouthpiece Interface
325(1)
6.7 Going Further: Analytical Modelling of Vibroacoustic Coupling in Ducts
326(11)
6.7.1 Basic Vibroacoustic Theory
327(2)
6.7.2 Effect of Vibroacoustic Coupling on Input Impedance
329(3)
6.7.3 Some Experimental Tests of Vibroacoustic Modelling
332(5)
Part III Historical Evolution and Taxonomy of Brass Instruments
7 The Amazing Diversity of Brass Instruments
337(54)
7.1 What Are Important Features of Brass Instruments?
337(3)
7.1.1 Taxonomic Labels Based on Tube Length
338(1)
7.1.2 Bore Profile and Brassiness
339(1)
7.2 The Different Kinds of Brass Instrument
340(26)
7.2.1 Instruments with the Shortest Tube Lengths
342(1)
7.2.2 Instruments with Very Short Tube Lengths in C and Bb
343(2)
7.2.3 Instruments with Short Tube Lengths in G, F, Eb and D
345(4)
7.2.4 Instruments with Short Tube Lengths in C and Bb
349(2)
7.2.5 Instruments with Medium Tube Lengths in G, F, Eb and D
351(4)
7.2.6 Instruments with Long Tube Lengths in C and Bb
355(4)
7.2.7 Instruments with Long Tube Lengths in G, F, Eb and D
359(5)
7.2.8 Instruments with Very Long Tube Lengths in C and Bb
364(1)
7.2.9 Instruments with Very Long Tube Lengths in G, F, Eb and D
365(1)
7.3 Families
366(3)
7.4 Mouthpieces
369(2)
7.5 Going Further: Trumpets and Cornets--Are They Different?
371(3)
7.6 Going Further: Alternative Taxonomies
374(1)
7.7 Going Further: Mouthpiece Parameters
375(3)
7.8 Going Further: The Bass Brass Instruments of Berlioz
378(13)
7.8.1 The Trombone
380(2)
7.8.2 The Serpent
382(3)
7.8.3 The Ophicleide
385(1)
7.8.4 The Bass Tuba
386(2)
7.8.5 Berlioz and Pedal Notes
388(3)
8 How Brass Instruments Are Made
391(10)
8.1 Materials
391(1)
8.2 Design
392(1)
8.3 Metal Forming
393(3)
8.4 Valves
396(2)
8.5 Assembly
398(3)
9 Looking Back and Looking Forward
401(18)
9.1 Brass Instruments in the Ancient World
402(6)
9.1.1 Etruscan Cornu and Lituus
402(3)
9.1.2 The Celtic Carnyx
405(3)
9.2 Brass Instruments in the Digital World
408(11)
9.2.1 Optimisation in Instrument Design
409(2)
9.2.2 Modification of Instruments Using Active Control
411(2)
9.2.3 Live Electronics and Augmented Instruments
413(5)
9.2.4 Epilogue
418(1)
References 419(16)
Index 435
A team of researchers who each have more than 20 years experience studying the acoustics and organology of brass instruments and who are all also regular performers on brass instruments.