By Jürgen Meyer
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Extra resources for Acoustics and the Performance of Music: Manual for Acousticians, Audio Engineers, Musicians, Architects and Musical Instrument Makers (Modern Acoustics and Signal Processing) - 5th edition
They can be compared with the sound of the ‘‘same vowels’’ in various dialects. Generally for speech sounds, two or three more or less strong formants appear, for which, for the sake of clarity, only the most important ones are represented. Accordingly the dark vowels [u (oo), o (oh), a (ah), and a˚ (aw). Translator’s note: the German vowel is given first, the English equivalent sound is given in parentheses] are each characterized by one maximum, and the bright vowels each by two. To clarify the frequency values, the peaks are also entered as notes.
In contrast, one characteristic of the Don-Cossaks is that the half width of their low notes is a full half tone. For instrumental ensembles the intonation width is generally relatively small and does not exceed a value of 1/5 of a half step (Lottermoser and Meyer, 1960). 6 Noise Contributions Because of the nature of tone production, most musical instruments exhibit some noise background in addition to the spectrum of partials. This represents an 34 2 Structure of Musical Sound important part of the total sound picture (Winckel, 1969; Meyer, 1964a).
The cello already shows a slight asymmetry. Thus, for the cellist at 250 Hz, the direction left upwards is the only one outside the 3 dB region. For 1,000 Hz the direction vertical from above and angled behind are less sensitive (3–6 dB). On the other hand, at 2,000 Hz the direction left upwards is less sensitive than right upwards, the directions angled front and behind are likewise less sensitive than for the wind instruments of Fig. 9. The asymmetry is more strongly pronounced in the trombone, for which the 1,000 Hz sound contributions coming from the right, and in contrast the 2,000 Hz contributions from the left, are disadvantaged.
Acoustics and the Performance of Music: Manual for Acousticians, Audio Engineers, Musicians, Architects and Musical Instrument Makers (Modern Acoustics and Signal Processing) - 5th edition by Jürgen Meyer