Evaluating musical instruments

Campbell, D. Murray

doi:10.1063/pt.3.2347

Cited by 19 publications

(11 citation statements)

References 12 publications

(7 reference statements)

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“…Investigations of the type and role of musical haptic feedback have also been reported for other instruments (e.g., [19,31,32]) as well as singing [47]. A vast field of topics await investigation, starting from the methods and aspects of instrument quality evaluation per se [15]. In which aspects does haptic feedback have a significant role?…”

Section: Discussionmentioning

confidence: 99%

“…While these may be inaudible to the average listener, they have a stronger and more important effect on the skilled pianist due to sensory integration of the matching touch and sound information [15]. Especially in polyphonic touch, these subtle vibrotactile cues may enable the player to produce and control a wide range of timbre nuances.…”

Section: Piano Touch and Tone Qualitymentioning

confidence: 99%

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The Role of Haptic Cues in Musical Instrument Quality Perception

Saitis¹,

Järveläinen²,

Fritz³

2018

Springer Series on Touch and Haptic Systems

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We draw from recent research in violin quality evaluation and piano performance to examine whether the vibrotactile sensation felt when playing a musical instrument can have a perceptual effect on its judged quality from the perspective of the musician. Because of their respective sound production mechanisms, the violin and the piano offer unique example cases and diverse scenarios to study tactile aspects of musical interaction. Both violinists and pianists experience rich haptic feedback, but the former experience vibrations at more bodily parts than the latter. We observe that the vibrotactile component of the haptic feedback during playing, both for the violin and the piano, provides an important part of the integrated sensory information that the musician experiences when interacting with the instrument. In particular, the most recent studies illustrate that vibrations felt at the fingertips (left hand only for the violinist) can lead to an increase in perceived sound loudness and richness, suggesting the potential for more research in this direction. IntroductionPracticing a musical instrument is a rich multisensory experience. As explained in Chap. 2, the instrument and player form a complex system of sensory-motor interactions where the sensory feedback provided by the instrument as a response to a playing action

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Section: Discussionmentioning

confidence: 99%

Section: Piano Touch and Tone Qualitymentioning

confidence: 99%

The Role of Haptic Cues in Musical Instrument Quality Perception

Saitis¹,

Järveläinen²,

Fritz³

2018

Springer Series on Touch and Haptic Systems

View full text Add to dashboard Cite

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“…On the other side, scientists can be dismissive of performers whose evaluations of instruments are biased and inconsistent, but it is essential to remember that it is the performer who brings the instrument to musical life and who must be the ultimate arbiter of its quality. (Campbell, 2014) AM cornetts and fagottini have been widely used for different tests and comparisons. Almost every audience member and journalist learning about the topic demands a live test.…”

Section: Reactions From the Milieumentioning

confidence: 99%

3D-Printed Musical Instruments: Lessons Learned from Five Case Studies

Simian

2023

Music & Science

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The music field is lively and creative, and innovation in the final product is a leading force in the sector. However, the physical instruments used by musicians to produce their craft are highly conservative and have developed little over the last centuries. Computers, audio software, and electronic musical instruments have been integrated into musical practice, but acoustic instrument design has remained virtually frozen. Although mass production methods are frequently applied to musical instrument production nowadays, the designs have changed minimally, which makes the musical landscape unique. Additive manufacturing (AM) provides novel possibilities that can be of interest in music and musical research. In this article, we present the results of five case studies on AM use within specific musical niches. Each niche represents a unique market space and cultural background that is critical in tradition-oriented environments. Starting from the analysis of these five case studies, we extract lessons on AM application to unique environments. From these, we discuss the potential for AM-driven innovation in design and production in general and propose a holistic evaluation matrix for identifying suitable market niches.

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“…Richard Smith an acoustician and brass instrument maker blind tested ten professional trombonists by replacing brass bells of varied wall thicknesses on the tenor trombone. The players could not distinguish the trombones during the experiment even the mystery one made of pure copper [14]. Therefore, the instrument is not limited to one material and may be confined to the available manufacturing capabilities once finished part satisfies the physical parameters for the desired sound.…”

Section: Manufacture Of Musical Instrumentsmentioning

confidence: 99%

Applying Fuzzy QFD McDm to Evaluate Musical Instruments

Chong¹,

Lalla²

2020

Proceedings of the International Conference on Emerging Trends in Engineering &Amp; Technology (IConETech-2020)

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This paper exhibits a method to improve the quality of musical instruments with the application of two Multi-Criteria Decision Making models, Technique of Order Preference by Similarity to Ideal Solution (TOPSIS) and Analytic Hierarchy Process (AHP) in a Quality Function Deployment (QFD) Environment. A fuzzy analysis approach was also included to accommodate qualitative data in music. The QFD was constructed with literature based on optimizing the manufacture of musical instruments. At this phase of the research, the paper focused on the physical parameters and perceived qualities of musical instruments. The proposed modified QFD was developed to identify the product features chosen by the market and aid the manufacture of musical instruments. A standard QFD recognized and scored factors to develop and manufacture musical instruments. It accommodated some core engineering variables for the musical instruments but overlooked some feature stakeholder needs. For example, the musician may not have 100% gratification while playing the instrument as the manufacturer fails to capture acoustic features to psychologically satisfy the musician’s audience. Using fuzzy logic, QFD and MCDM increased the model performance by expanding the data set. It offered the manufacturer of musical instruments a mode to capture and analyse behavioural linguistic data covering more customer requirements. Hence, the approach increased the range to correlate the physical features and psychological behaviours of musical instruments. It allowed non-technical persons to provide an improved form of reliable information. This modified QFD can also be applied to develop other products involving linguistic data.

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Evaluating musical instruments

Abstract: Objective evaluation of musical instrument quality: A grand challenge in musical acoustics.

Cited by 19 publications

References 12 publications

The Role of Haptic Cues in Musical Instrument Quality Perception

The Role of Haptic Cues in Musical Instrument Quality Perception

3D-Printed Musical Instruments: Lessons Learned from Five Case Studies

Applying Fuzzy QFD McDm to Evaluate Musical Instruments

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