On the Prominence of the Violin Bridge Hill in Notes of Played Music
2009 (English)In: Journal of the Violin Society of America, Vol. 22, no 1, 169-176 p.Article in journal (Refereed) Published
A qualitative relation was sought between the frequency region of the bridge hill of violins and perceived tonal qualities of violin notes. The prelude of Max Bruch’s Violin Concerto No. 1 was played twice on four violins in a large concert hall. A microphone recording of the music, outside the reverberation radius of the hall, represented a picture of the violin as experienced by a listener. The violins used for these tests included an 18th-century Italian violin of soloist quality, a French violin made in first decade of the 20th century, and two newly made fine violins. Four long notes covering the main range of the violin were copied into sound files and replayed via an equalizer where the levels could independently be adjusted in any octave band while listening. It was found that the 2- and 4-kHz octave bands caused the largest changes in note quality, i.e., the bands in which the bridge hill is to be found. In this frequency range the ear also has maximum sensitivity to weak sounds and maximum dynamic working range (difference in sound levels). Level shifts of the octave bands at 250 and 500 Hz showed surprisingly little influence on the notes. Increased levels in higher bands made the note shriller (harsher), and increased level in lower bands made the note rounder (more mellow). This indicates that fine frequency adjustment of the bridge hill is important.
Place, publisher, year, edition, pages
2009. Vol. 22, no 1, 169-176 p.
Computer Science Language Technology (Computational Linguistics)
IdentifiersURN: urn:nbn:se:kth:diva-52169OAI: oai:DiVA.org:kth-52169DiVA: diva2:465464
tmh_import_11_12_14. QC 201202012011-12-142011-12-142012-02-01Bibliographically approved