Study of the brightness of trumpet tones

Poirson, Émilie; Petiot, Jean-François; Gilbert, Joël

doi:10.1121/1.2006007

Cited by 18 publications

(27 citation statements)

References 12 publications

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“…It is by no means a fact that perfect harmonic alignment is desirable, 15 but the algorithm is general in the sense that any alignment can be prescribed. For the sake of simplicity, we restrict the study to the resonance frequencies only, although in a practical design case, the impedance magnitudes would be accounted for as well.…”

Section: The Optimization Problemmentioning

confidence: 99%

A hybrid scheme for bore design optimization of a brass instrument

Noreland

Udawalpola²,

Berggren³

2010

The Journal of the Acoustical Society of America

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This paper presents how the shape of a brass instrument can be optimized with respect to its intonation properties. The instrument is modeled using a hybrid method between a lossy one-dimensional transmission line analogy for the slowly flaring part of the instrument, and a two-dimensional finite element model for the rapidly flaring part. The optimization employs gradient-based algorithms, and allows for a large number of design variables. Through the use of an appropriate choice of design variables, the algorithm is capable of rapidly finding horn profiles that are optimal subject to various geometric constraints, such as increasing or convex bell flares. It is found that under a convexity constraint, brass wind bells that are optimal with respect to an intonation condition can be constructed of piecewise conical sections.

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Section: The Optimization Problemmentioning

confidence: 99%

A hybrid scheme for bore design optimization of a brass instrument

Noreland

Udawalpola²,

Berggren³

2010

The Journal of the Acoustical Society of America

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“…We reproduce the main protocol on subsets of the SOL dataset, involving a single instrument at once. The bright timbre of brass instruments correlates with relatively loud high-order partials [22], resulting in large octave equivalence and a helical topology (see Figure 3 (a)). In contrast, harp tones carry little energy at twice the fundamental; yet, they induce sympathetic resonance along the soundboard, which affects nearby strings predominantly [23].…”

Section: Varying the Instrumentariummentioning

confidence: 99%

Learning the Helix Topology of Musical Pitch

Lostanlen

Sridhar

McFee

et al. 2020

ICASSP 2020 - 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP)

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To explain the consonance of octaves, music psychologists represent pitch as a helix where azimuth and axial coordinate correspond to pitch class and pitch height respectively. This article addresses the problem of discovering this helical structure from unlabeled audio data. We measure Pearson correlations in the constant-Q transform (CQT) domain to build a K-nearest neighbor graph between frequency subbands. Then, we run the Isomap manifold learning algorithm to represent this graph in a three-dimensional space in which straight lines approximate graph geodesics. Experiments on isolated musical notes demonstrate that the resulting manifold resembles a helix which makes a full turn at every octave. A circular shape is also found in English speech, but not in urban noise. We discuss the impact of various design choices on the visualization: instrumentarium, loudness mapping function, and number of neighbors K.

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“…the instrument body)i sthe linear part, treated in frequencydomain, while the driving system (the reed)isthe nonlinear part, treated in time domain. The harmonic balance technique can also be used for brass instruments [9]. Three control parameters representing the "virtual" musician have to be defined: the pressure inside the mouth, the resonance frequencyofthe lips, and the inverse of lips mass density.D epending on the choice of these parameters, it is possible to obtain aseries of playing frequencies, such as those obtained by the musician.…”

Section: Introductionmentioning

confidence: 99%

The Relationship Between Bore Resonance Frequencies and Playing Frequencies in Trumpets

Eveno¹,

Petiot²,

Gilbert³

et al. 2014

Acta Acustica united with Acustica

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The aim of this work is to study experimentally the relationship between the resonance frequencies of the trumpet, extracted from its input impedance, and the playing frequencies of notes, as played by musicians. Three different trumpets have been used for the experiment, obtained by changing only the leadpipe of the same instrument. After ameasurement of the input impedance of these trumpets, four musicians were asked to play the first five regimes of the instrument, for four different fingerings. This wasd one for three dynamic levels and repeated three times. Statistical methods were implemented to assess the variability in the playing frequencies, and to study quantitatively their relationships with the bore resonance frequencies. Alimited influence of the musician on the instrument overall intonation is observed, as well as aweak influence of the dynamic levels on the pitch of the notes. The results showthat for most of the regimes, variations of the resonance frequencylead to same order variations of the playing frequencyo ft he corresponding note. We noticed also that the sum function, derived from the input impedance, does not give ab etter prediction of the playing frequencyt han the input impedance itself.

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Study of the brightness of trumpet tones

Cited by 18 publications

References 12 publications

A hybrid scheme for bore design optimization of a brass instrument

A hybrid scheme for bore design optimization of a brass instrument

Learning the Helix Topology of Musical Pitch

The Relationship Between Bore Resonance Frequencies and Playing Frequencies in Trumpets

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