The sound of a violin played by a person in an anechoic room was recorded simultaneously by 16 microphones lying in a circle with the violin in the middle (the angle among the microphone positions was 22.5 degrees). To create the sound radiation pattern for the individual frequencies, the levels of harmonics were specified in the spectrum obtained from the SPL recordings on the microphones in the given geometrical layout. Next, the violin was excited artificially, by the personal presence of the same player, in the same position as being played by a person. The manner of recording remains unchanged. The constant exciting independent of the frequency enabled the comparison of the directivities of the radiation for different frequencies. Consider the results obtained from both ways of violin exciting, a wide range of angles was searched in which the radiation is stable enough even in the sense of listening to tones recorded when the violin was played by a person.
Particular violin tones were played by a professional violin player in an anechoic room. The tones from the whole violin range, played nonvibrato using selected bowing techniques (naturale, sul ponticello, sul tasto) and dynamics of playing (p, mf, f), were recorded. The analysis based on the short-time Fourier transform was used to compute the time courses of amplitudes and frequencies of separated harmonics from the SPL recordings of the tones. The time characteristics of the time envelopes of the whole tone and his harmonics were calculated in the next step. For example, attack time, decay time, and relative starting time were studied. The influence of playing techniques, dynamics, and tone pitch on these time characteristics was described.
Properties of harmonic and unharmonic spectral components of violin tones played nonvibrato using different bowing techniques (naturale, sul ponticello, sul tasto) and dynamics of playing (p, mf, f) were studied by means of suitable analytical methods. The tones from the whole violin range were recorded in an anechoic room. The shape of the spectral envelope, harmonicity, and amplitude relations among harmonic components were observed. Unharmonic components were investigated in three frequency bands separated by fundamental frequency of the tone and by the frequency of the highest ‘‘well pronounced’’ harmonic. Specific analytical tools and describing quantities were used in each part of the spectrum. The dependence of the spectrum on playing techniques, dynamics, and tone pitch was discussed.
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