a b s t r a c tPhonation into tubes is used for voice training and therapy. In the present study, the formant frequencies were estimated from measurements of the acoustic pressure and the acoustic input impedance for a plexiglass model of the vocal tract (VT) prolonged by a glass tube. Similar transfer function measurements were performed with a human VT in vivo. The experimental results matched the mathematical modelling and confirmed the legitimacy of assuming rigid walls in mathematical simulations of the acoustic characteristics of an artificial VT model prolonged by a tube. However, this study also proved a considerable influence from soft tissues in the yielding walls of human VT cavities on the first formant frequency, F 1 . The measured F 1 for the VT model corresponded to the computed value of 78 Hz. The experiments in a human instead resulted in a much higher value of F 1 : about 200 Hz. The results confirm that a VT model with yielding walls must be considered for mathematical modelling of the occluded or semi-occluded human vocal tract, e.g. prolonged by tubes or straws. This is explained by an acoustic-structural interaction of the vocal tract cavities with a mechanical low-frequency resonance of the soft tissue in the larynx.
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.
One of the consequences of the pandemic is a transition to remote education and the use of network audiovisual communication tools for education in musical disciplines. The circumstances of such education can differ and might influence the perceived sound or the education. The research observes the ratings of perceived aspects in singing lessons taught in three settings ( common , reference , and direct ). A variance of several aspects that relate to the perceived sound (temporal qualities and qualities of the sound and room) is observed in the remote forms, suggesting that these can be impaired in some settings and significant in the experience. The findings are discussed in relation to the perceived conditions and present practice.
Violin timbre was studied for five tone pitches (H3, F ♯4, C5, G5, D6). A set of violin tones played on different instruments was recorded in an anechoic room. The recordings were subsequently manipulated to weaken an influence of tone transient parts on the perception. Two pair listening tests in headphones were performed for each pitch: timbre dissimilarity scaling test and spontaneous verbal description of timbre dissimilarities. A perceptual timbre space was constructed from the results of dissimilarity scaling test for each pitch using the multidimensional scaling method. Projections of verbal descriptions into the perceptual spaces enabled their external interpretation. Some perceptual attributes and pairs of attributes of violin timbre were established (‘‘narrow,’’ ‘‘rustle,’’ ‘‘soft’’–‘‘sharp,’’ ‘‘dark’’–‘‘bright,’’ ‘‘clear’’–‘‘blurred’’) based on correlation analysis of word occurrence frequencies on individual tones and on comparison of word projection coordinates in perceptual spaces. Comparing the results for five studied pitches it was possible to pronounce the hypothesis of salient violin timbre dimensions.
The method for acoustic measurement and documentation of pipe organs developed in 1991 in WZORT, Prague enables to describe the sound of all organ pipes and plena measured in situ. The real time measurement and digitalisation of the sampled sound, computation and processing of the amplitude spectrum are possible without necessity of sound recording. Sampling frequencies were adjusted to the stop length and fundamental frequency of the measured tone. The results of factor analysis of the octave spectra of Great organ plenum for 12 instruments are described. The Czech Baroque organs created a distinctive group in 3-dimensional factor space due to their rich harmonic spectra.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
hi@scite.ai
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.