Please be Seated. The physics of sound: What makes musical tones different? Special Lecture for the 2005 Year of Physics in coordination with the French.

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Presentation transcript:

Please be Seated

The physics of sound: What makes musical tones different? Special Lecture for the 2005 Year of Physics in coordination with the French National Center for Scientific Research and the French Embassy in Washington DC

Special Guests: Michẻla Castellengo, Research Director, Musical Acoustics Lab, University of Paris Hugues Genevoire, Research Engineer, Musical Acoustics Lab, University of Paris Charles Besnainous, Research Engineer, Musical Acoustics Lab, University of Paris Joseph Curtin, stringed instrument maker Benoît Rolland, bow maker Serge de Laubier, musician-researcher

The Overtone Series

Standing waves in a string

The Overtone Series

Standing waves in air columns

The Overtone Series

Standard electronic wave forms Sine wave Sawtooth wave Pulse train Triangular wave Square wave

Fourier’s Theorem: Any complex wave can be “synthesized” by adding its harmonics together with the proper amplitudes and phases. “Fourier synthesis” and “Fourier analysis”

Fourier Synthesis

Fourier Synthesis Sawtooth wave

Fourier Synthesis Pulse train wave

Fourier Synthesis Triangular wave

Fourier Synthesis Square wave

Fourier Analysis or Spectrum Analysis

Sine Wave Spectrum

Sawtooth Wave Spectrum

Pulse Train Spectrum

Triangular Wave Spectrum

Square Wave Spectrum

Analysis of Musical Sounds

Recorder Wave and Spectrum

Violin Wave and Spectrum

Crumhorn Wave and Spectrum

Clarinet Wave and Spectrum

Factors in Tone Quality 1. Amplitudes of harmonics 2. Attack and decay transients 3. Inharmonicities 4. Formants 5. Vibrato 6. Chorus effect

Vocal Formants

Origin of Vocal Formants (~17.5 cm closed tube) Frequency: f 1 = 500 Hz f 3 = 1500 Hz f 5 = 2500 Hz Vocal range: Hz Hz Hz Mode:

Simple formant model From Thomas D. Rossing, The Science of Sound, second edition

Vowel formant production Source:

Vowel Formant Frequencies From Donald E. Hall, Musical Acoustics, Second Edition

The Singers Formant Averaged spectral energy distribution: Light: ordinary speech Dark: orchestral accompaniment Brown: Good singer with orchestra Johan Sundberg: The Acoustics of the Singing Voice; Sci. Amer., March 1977

Sound Spectrograms

Vocal Formant spectra “OO” “AH” “EE”

Vocal Spectrogram of Formants

Voice and Synthesizer “wow”

Matching vocal spectrograms Kay Elemetrics, Computerized Speech Laboratory

Helium Voice Singing frequency remains the same (vibration of vocal folds) Formant frequencies rise because S he >> S air Why?

Vowel formant production Source:

Speed of Sound in Helium and Sulfur Hexafluoride HeSF 6 M/M air 1/74.6 V s /S2.60.5

The End Thank you for your attention We are on the web at Animated Gifs compliments of bellsnwhistles.com