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2020 | OriginalPaper | Buchkapitel

5. Spatial Sound of Musical Instruments

verfasst von : Tim Ziemer

Erschienen in: Psychoacoustic Music Sound Field Synthesis

Verlag: Springer International Publishing

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Abstract

Musical instruments create a spatial sound impression. This chapter provides an introduction to the acoustics of sound propagation from musical instruments. An overview of microphone array techniques to measure the sound radiation characteristics from the near and the far field is given. The complex point source model simplifies the physical constellation and describes what is heard by the listener. It serves as a simplification for psychoacoustic sound field synthesis for music presented in this book. Finally, the chapter illustrates strategies to visualize measured sound radiation properties.

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Vorheriges Kapitel Psychoacoustics

Nächstes Kapitel Spatial Acoustics

As described in Ziemer (2011, 2018), mainly based on Pierce (2007), Williams (1999), Morse and Ingard (1986), Rabenstein et al. (2006) and Ahrens (2012).

See Mechel (2008), pp. 5f, Teutsch (2007), Wöhe (1984), Pierce (2007), p. 36 and Baalman (2008), p. 23.

See e.g. Hirschberg et al. (1996), describing shock-waves in brass instruments.

See e.g. Meyer et al. (2001), p. 2.

See e.g. Williams (1999), p. 21.

See Williams (1999), p. 22.

See Ahrens (2012), p. 23.

Or an exponential increase which is ignored since it is non-physical, see Ahrens (2012), p. 23.

See e.g. Müller (2008), p. 65.

See e.g. Vorländer (2008).

See e.g. Roederer (2008), pp. 89f.

See Ahrens (2012), p. 42.

Cf. e.g. Ahrens (2012), p. 66.

See e.g. Mechel (2013), p. 2, Magalhães and Tenenbaum (2004), p. 204, Ahrens (2012), p. 42.

From Kostek (2005), p. 24.

From Warusfel et al. (1997), p. 1.

See Schanz (1966), p. 2.

Cf. Rossing (1990), p. 48.

See Fletcher and Rossing (2008), p. 308.

An examination of the relationship between features of direct sound and perceived source extent can be found e.g. in Ziemer (2014) and will be discussed in the context of room acoustics in more detail in Sect. 6.2.

Albrecht et al. (2005), p. 1.

Referred to as “structure- and air-borne sound”, see e.g. Blauert and Xiang (2009), p. 177.

See Hall (2008), pp. 290–294.

See Meyer (2008), p. 156, Warusfel et al. (1997), p. 4, Pätynen and Lokki (2010) and Otondo and Rindel (2005).

In Meyer (2009), pp. 129–177, Meyer (2008), pp. 123–180, Pätynen and Lokki (2010), and in Hohl (2009) and Hohl and Zotter (2010).

See Meyer (2009), p. 24, Hammond and White (2008), pp. 4–7 and Hall (2008), pp. 124–125.

See Bruhn (2002), p. 452.

See e.g. Williams (1999), p. 89 and p. 236.

For an extensive revision of these and other methods, current research and prospects, see e.g. Magalhães and Tenenbaum (2004).

See e.g. Pätynen and Lokki (2010), p. 139.

See e.g. Otondo and Rindel (2004), p. 1179 or Otondo and Rindel (2005), p. 903, Pelzer et al. (2012), Pätynen and Lokki (2010) and Zotter et al. (2007).

Mainly based on Williams (1999), pp. 183–208, Teutsch (2007), pp. 41ff, Arfken (1985), pp. 111ff and pp. 573ff, Slavik and Weinzierl (2008) and Ahrens (2012), p. 24ff.

See e.g. Williams (1999), p. 185.

See e.g. Teutsch (2007), p. 44, Ahrens (2012), p. 31, Hulsebos (2004), pp. 16–19 and Zotter (2009), p. 35.

See e.g. Magalhães and Tenenbaum (2004), p. 204, Ziemer (2014, 2015, 2017), Ziemer and Bader (2015).

See Arfken (1985), p. 604.

See e.g. Kim (2007), p. 1079.

See e.g. Gannot and Cohen (2008), p. 946.

Mainly based on Hald (2008) and Michel and Möser (2010).

See e.g. Michel and Möser (2010).

These are presented e.g. in Bader (2014), Michel and Möser (2010), and Gannot and Cohen (2008).

See e.g. Yang et al. (2008), p. 157.

See e.g. Yang et al. (2008), Maynard et al. (1985), Hayek (2008), Kim (2007).

As proposed in Bader (2010) and discussed extensively in Bader (2014).

See Bader et al. (2009, 2017), Richter et al. (2013), Münster et al. (2013), Bader (2011, 2012a, b), Pfeifle (2016), Takada and Bader (2012), and Plath et al. (2015).

See e.g. Magalhães and Tenenbaum (2004), pp. 200ff.

See e.g. Ih (2008), Bai (1992), Veronesi and Maynard (1989).

See e.g. Hutchins (1977, 1981) and Hutchins et al. (1971).

See e.g. Fleischer (2000).

See e.g. Bader (2013), p. 57 and p. 113.

This and other optical measurement methods are explained e.g. in Molin (2007) and Molin and Zipser (2004).

See e.g. Saldner et al. (1997).

See e.g. Meyer (1995, 2008, 2009).

See e.g. Meyer (2008), p. 156.

See e.g. Vorländer (2008), p. 127.

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Titel: Spatial Sound of Musical Instruments
verfasst von: Tim Ziemer
Verlag: Springer International Publishing
Buch: Psychoacoustic Music Sound Field Synthesis
Print ISBN: 978-3-030-23032-6

Electronic ISBN: 978-3-030-23033-3

Copyright-Jahr: 2020
DOI: https://doi.org/10.1007/978-3-030-23033-3_5

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