Palmer C, Brown J C
Psychology Department, Ohio State University, Columbus 43210.
J Acoust Soc Am. 1991 Jul;90(1):60-6. doi: 10.1121/1.401249.
The relationship between final hammer velocity and maximum amplitude of radiated piano sound was investigated. Piano tones with varying hammer velocities were produced by a computer-monitored acoustic piano containing optical sensors and solenoids, and the sounded tones were recorded and digitized for analysis. Maximum amplitudes over the duration of the sounded tones were linearly proportional to piano hammer velocities for a range of frequencies and hammer velocities. Changes in room acoustics did not alter the linear relationship. Measurements of maximum amplitudes of individual tones and combined tones (dyads) also indicated a linear relationship between the sum of the maximum amplitudes of the individual tones and the maximum amplitude of the dyads. These findings indicate that the principle of superposition holds for peak amplitudes of sounded piano tones. Findings are discussed with regard to production and perception of musical dynamics.
研究了最终琴槌速度与钢琴发出声音的最大振幅之间的关系。通过一台装有光学传感器和螺线管的计算机监控声学钢琴，产生了具有不同琴槌速度的钢琴音调，并对发出的音调进行记录和数字化分析。在一系列频率和琴槌速度范围内，发出音调持续时间内的最大振幅与钢琴琴槌速度呈线性比例关系。室内声学的变化并未改变这种线性关系。对单个音调以及组合音调（二元组）的最大振幅测量也表明，单个音调最大振幅之和与二元组最大振幅之间存在线性关系。这些发现表明，叠加原理适用于钢琴发出声音的峰值振幅。文中还就音乐力度的产生和感知对这些发现进行了讨论。
