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弦乐器的琴板和调谐体鸣乐器的木材的声学特性:生物和文化多样性。

Acoustical properties of wood in string instruments soundboards and tuned idiophones: biological and cultural diversity.

机构信息

Laboratoire de Mécanique et Génie Civil, CNRS, Université Montpellier 2, Place Eugène Bataillon, cc 048, 34095 Montpellier Cedex 5, France.

出版信息

J Acoust Soc Am. 2012 Jan;131(1):807-18. doi: 10.1121/1.3651233.

DOI:10.1121/1.3651233
PMID:22280703
Abstract

The acoustical properties of wood for instruments have mostly been studied on a few archetypal woods in Western musical instruments. The objective of this paper is to extend knowledge on the diversity in wood properties and uses in instruments from different geo-cultural areas. A wide set of data has been collected on vibrational properties of 452 species, through experiments and literature survey. Property distributions within broad categories confirm the known characteristics of softwoods, but also evidence specificities of tropical hardwoods compared to temperate-zone species. A relational database has been created to link wood properties and uses in musical instruments of the world. Two case studies on acoustically important functions in different geo-cultural areas show contrasted trends: (i) species used for xylophone bars and slit-drums in different continents all share a very low internal friction, (ii) on the contrary, the only characteristic common to soundboards' woods is a lower than average density, whereas their acoustical properties differ widely between them and with the "Western" standard in wood choice. All these materials being nevertheless adapted to their context, cultural specificities in the structure, playing mode and "sonority" preferences should also be taken into account.

摘要

乐器木材的声学特性主要在西方乐器的几种典型木材上进行了研究。本文的目的是扩展对不同地理文化区乐器中木材特性和用途多样性的认识。通过实验和文献调查,收集了 452 种木材振动特性的广泛数据集。大类内的属性分布证实了软木的已知特性,但也证明了热带硬木与温带物种的特异性。创建了一个关系数据库,将世界乐器中的木材特性和用途联系起来。两个关于不同地理文化区具有重要声学功能的案例研究显示出相反的趋势:(i)不同大陆用于木琴棒和缝隙鼓的物种都具有非常低的内摩擦,(ii)相反,音板木材的唯一共同特征是密度低于平均水平,而它们的声学特性在彼此之间以及与木材选择的“西方”标准之间差异很大。所有这些材料都适应了它们的环境,在结构、演奏模式和“音响”偏好方面的文化特殊性也应该考虑在内。

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