Musical acoustics. Acoustic systems Sound insulation of building envelopes

Musical acoustics(from Greek. ἀκούω - I hear) - one of the areas of general acoustics, a science that studies the objective physical laws of musical sound: its occurrence and creation (acoustics of musical instruments, acoustics of speech and singing, electroacoustics); distribution (architectural acoustics, sound recording, broadcasting); perception (psychoacoustics - acoustics of human hearing). Musical acoustics is also an area musicology. She explores such phenomena as pitch, loudness, duration and timbre of musical sounds, consonance and dissonance, musical systems and tunings, ear for music, features of musical instruments and the human voice. Musical acoustics uses data and applies the methods of general physical acoustics, which studies the processes of sound generation and propagation. Musical acoustics is related to other branches of musicology such as harmony, music theory, orchestration, instrumentation, musical psychology and others. The term "musical acoustics" was introduced into science in 1898 by the Swiss acoustic scientist A. Jankier ("Fundamentals of Musical Acoustics").

For a long time, the main object of study of musical acoustics was the numerical relationship between the frequencies of sounds that form intervals, modes, musical systems, etc. Later, sections related to the study by objective methods of the features of musical instruments and the human voice, the laws of performing creativity and musical perception were included in musical acoustics.

The history of musical acoustics as a scientific direction originates in the teachings of ancient Greek (Pythagoras and his school, Aristotle), Chinese (Lu Bu-wei) and other philosophers and musicians, who gave a mathematical justification for musical systems, intervals and modes, established the relationship between pitch and frequency string vibrations, as well as the laws of reflection and absorption of sound waves in a room.

The further development of musical acoustics is associated with the activities of scientists and musicians of the 16th-17th centuries L. da Vinci, J. Tsarlino, G. Galileo, M. Mercen, J. Sauveur, R. Boyle and others, who accumulated a significant amount of experimental knowledge. XVIII century - the period of development of theoretical musical acoustics in the works of D. Bernoulli, L. Euler, E. Chladni. The discoveries of these scientists made it possible to begin an acoustic analysis of the mechanisms of sound formation in musical instruments, which made it possible to develop and improve the latter.

In the 19th century a significant contribution to the development of musical acoustics was made by an outstanding German physicist, mathematician, physiologist and psychologist G. Helmholtz who developed the resonance theory of hearing. Its main provisions are set forth by the scientist in the work "The doctrine of auditory sensations as the physiological basis of the theory of music" ("Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik", 1863). According to the resonance theory of hearing, the perception of the pitch of a sound is the result of resonant excitation of the fibers of the organ of Corti tuned to different frequencies. The works of Helmholtz became the foundation for the development at the end of the 19th century. independent direction of science - psychoacoustics. The development of musical acoustics in the late XIX - early. XX centuries continued by German scientists K. Stumpf and W. Köhler, who studied by objective methods the mechanisms of sensation and perception of sound vibrations. In 1891 G.'s work Acoustics from the Point of View of Musical Science was published. Thus, by the end of the XIX century. the main directions of musical acoustics were formed, dealing with the problems of creation, distribution and perception of musical sounds.

In the XX century. the field of research in musical acoustics continues to expand: it includes sections related to the study of the objective characteristics of various musical instruments, as well as the acoustics of recording studios, radio and television studios, playback of recorded music, restoration of records, stereo recording, etc. At the end of the 20th century. in acoustics, a new direction "auralization" (M. Kleiner's term), based on computer technology, was formed. The purpose of auralization is the creation of three-dimensional virtual models of any premises, which makes it possible to reproduce the sound of music and speech in any halls, including only those being designed. Major centers deal with the problems of musical acoustics: IRCAM (France), Stanford University (USA), Cambridge University (Great Britain), Institute of Musical Acoustics (Austria), Swedish Academy of Music, etc.

Russian scientists have made a significant contribution to the development of modern musical acoustics. ON THE. Garbuzov(zonal concept of musical ear), A.A. Volodin (theory of sound-altitude perception), L.S. Termen (electroacoustic measurements), A.V. Rimsky-Korsakov, E.V. Nazaikinskiy, Yu.N.Rags, V.P. Morozov, I.A. Aldoshina. The development of their theories led to the development of new research methods. The zonal concept of Garbuzov's musical ear made it possible to decipher and analyze performance shades in intonation, dynamics, tempo and rhythm, based on objective data that characterize the musical sound and artistic performance. Volodin's theory of pitch perception provided a method for analyzing musical sounds based on the isolation of partial tones from a complex sound spectrum and the measurement of their relative intensity. Experiments in the field of electroacoustic measurements have led to new research methods in the acoustics of musical instruments. A significant contribution to the development of musical acoustics was made by the works and activities of I.A. Aldoshina.

New modern trends in musical acoustics are associated with the creation of spectral, acoustic, microtonal, and other music using computer technology (Electronic Music Studio and Theremin Center at Moscow State Conservatory named after P.I. Tchaikovsky, computer laboratory NTONYX at the Novosibirsk State Conservatory, etc.)

Literature: Kurysheva T.A. Music Journalism and Music Criticism: a textbook for students majoring in Musicology. - M.: VLADOS-PRESS, 2007.

Acoustics - it is the science of sound, the name of which comes from the Greek word (akuo) - “I hear”. The task of acoustics is to study the physical nature of sound and the problems associated with its occurrence, distribution and perception.

Sound has a dual nature:

On the one hand, this is an objective process of energy transfer of mechanical vibrations of particles in an elastic medium (air, liquid, solid body);

On the other hand, these are only those types of mechanical vibrations of the environment that are perceived by the auditory system.

Sound- this is a special kind of mechanical vibrations of an elastic medium, capable of causing

auditory sensations.

- appearance of sound, which requires the study of the physical nature of sound, as well as methods and means of its creation. These issues are dealt with by the acoustics of musical instruments,

speech stylistics, electroacoustics, etc.; determined by vibrations of strings, plates, membranes, air columns and other elements of musical instruments, as well as the diaphragms of loudspeakers and other elastic bodies;

- sound transmission from the source to the listener - these are the tasks of architectural acoustics, electroacoustics, etc.; - depends on the mechanical vibrations of the particles of the medium (air, water, wood, metal, etc.);

- sound perception auditory system and the connection of auditory sensations with the objective parameters of sound are the tasks of psychoacoustics. It begins with mechanical vibrations of the tympanic membrane in the hearing aid, and only after that a complex process of information processing takes place in various parts of the auditory system.

Approximately 25% of information about the world around a person receives from auditory analyzers, 60% from visual analyzers and 15% from the rest.

The human auditory system perceives only a limited class of mechanical vibrations of the environment, which are within certain limits in terms of volume level (sound pressure from 2 x 10 -5 Pa to 20 Pa pain threshold, change in sound pressure level from 0 dB to 120 dB) and height (change in frequencies from 20 Hz to 20000 Hz). More than 20,000 Hz - ultrasound. Below 20 Hz - infrasound.

All surrounding sounds can be conditionally divided according to various criteria, for example:

- by way of creation- natural and artificial (natural noise, speech, music, biosignals, electronic sounds);

- on the basis of information- to sounds to convey semantic (semantic) and emotional information (speech, singing and music); to transmit information about the environment (noise, signal sounds, etc.);

- by physical parameters, such as: frequency range (infrasound, ultrasound, hypersound, etc.); degree of predictability (random signals, such as white noise; deterministic signals; quasi-random signals, including music and speech); time structure (periodic, non-periodic, impulse, etc.), etc.

General (physical) acoustics- theory of radiation and propagation of sound in various media, theory of diffraction, interference and scattering of sound waves. Linear and nonlinear processes of sound propagation.

architectural acoustics- the laws of sound propagation in closed (semi-closed, open) rooms, methods for controlling the structure of the field in the room, etc.

Building acoustics- noise protection of buildings, industrial enterprises, etc. (calculation of structures and facilities, choice of materials, etc.).

Psychoacoustics- the basic laws of auditory perception, the definition of the relationship between objective and subjective parameters of sound, the definition of the laws of decoding the "sound image".

Musical acoustics- problems of creation, distribution and perception of musical sounds, more precisely - the sounds used in music.

Bioacoustics- the theory of perception and emission of sound by biological objects, the study of the auditory system of various animal species, etc.

Electroacoustics- theory and practice of designing emitters and receivers that convert electrical energy into acoustic energy and vice versa, as well as all elements of modern sound paths for recording, transmitting and reproducing sound.

Aeroacoustics(aviation acoustics) - emission and propagation of noise in aircraft structures; methods of sound insulation and sound absorption, the theory of propagation of shock sound waves, etc.

Hydroacoustics- propagation, absorption, attenuation of sound in water, the theory of hydroacoustic transducers, the theory of antennas and hydroacoustic echo sounders, recognition of moving objects, etc.

Transport acoustics- noise analysis, development of methods and means of sound absorption and sound insulation in various modes of transport (airplanes, trains, cars, etc.).

Medical acoustics- development of medical equipment based on the processing and transmission of sound signals (hearing aids, diagnostic devices-analyzers of heart and lung noises, etc.).

ultrasonic acoustics- the theory of ultrasound, the creation of ultrasonic equipment, including ultrasonic transducers for industrial use in hydroacoustics, measuring technology, etc.

quantum acoustics(acoustoelectronics) - the theory of hypersound, the creation of filters on surface acoustic waves, etc.

Acoustics of speech- theory and synthesis of speech, selection of speech against the background of noise, automatic speech recognition, etc.

Digital acoustics- has been actively developing in recent years, gradually separating into an independent direction in connection with the creation of a new generation of microprocessor (audio processor) and computer technology.

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Musical acoustics- a science that studies the nature of musical sounds and consonances, as well as musical systems and tunings. It is based on physical acoustics (laws of vibration of elastic bodies, laws of resonance, interference of sounds, etc.) and psychophysiology of hearing (properties of the organ of hearing, auditory sensations, perceptions and ideas). In turn, musical acoustics serves as the basis for understanding a number of phenomena considered in the doctrine of harmony (consonance and dissonance, the construction and connection of consonances, the dependence of their sound on register, the formation of frets, etc.), in instrumental science (the sound qualities of musical instruments , as well as singing voices, musical structure and tuning of musical instruments), in orchestration (combinations of timbres of musical instruments, distortion of consonances by coincidence tones and combination tones, masking of sounds by sounds).

The main object of study of musical acoustics is musical sound. In music, mainly sounds are used that have a certain pitch, timbre and loudness (actually musical sounds). Sounds that have two properties - timbre and loudness (musical noises) can also find a place in a piece of music, but only under certain conditions and on a limited scale. Our hearing perceives sounds approximately in the range from 16 to 20,000 vibrations per second, while the frequency range of sounds used in music is in the range from 16 to 4,500 hertz (approximately). Sounds with a frequency above 4,500 hertz are poor in overtones and therefore have little expressiveness. The loudness range of sounds used in music is also much narrower than the range of sounds perceived by our ears. Sounds close to the hearing threshold (very quiet) and sounds close to the pain threshold (very loud) are usually not used in music, because the former require intense attention from us, the latter cause unpleasant pressure and pain in our hearing organ.

The abuse of noises and sounds that are outside the usual norms of artistic perception is one of the characteristic features of modern rock music.

Musical practice most often uses consonances, which are based on the tertian ratio of sounds. This fact is explained by the fact that thirds have a special characteristic compared to other intervals: a major third sounds major, a small third sounds minor. The connection between the sounds that form consonance, due to common overtones, can be strong and weak. Depending on the nature of the connections between sounds, consonance can sound soft (consonance) and hard (dissonance). Connections between sounds also explain the sequence of consonances, the most common in musical practice. The organization of sounds in height forms a sound (musical) system. Sound systems arose through auditory selection of sounds, depending on various socially determined aesthetic principles.

Any sound system is characterized by: a range (the distance between its extreme pitch sounds) and sound filling (the number of sounds within the range and their interval ratios). The arrangement of sounds in sequential order in increasing or decreasing pitch gives a scale. To determine the range of the system, they use the scale reduced to the scale, i.e. compressed to boundaries not exceeding one octave. For example, the scale can be expressed as a scale. There are three-sound systems (for example, in the quart range), five-sound systems (in the sixth or seventh range), seven-sound systems (within the seventh), etc. Sound systems arise in the practice of musical art - folk and professional. The desire to determine and fix with the help of mathematical formulas the frequency (height) relationships between the sounds of musical systems leads to the creation of mathematical systems. These tunings serve as the basis for tuning musical instruments with a fixed pitch (for example, the 12-sound equal-tempered tuning adopted in music) and are purely theoretical (mathematical) in nature. In singing, which does not rely on a fixed scale at all, as well as when performing on instruments with a partially fixed pitch of sounds (for example, a violin with its four tuned strings) and on wind instruments, the real sound only approximately corresponds to mathematical calculations that characterize one or another system. But even for instruments with a completely fixed scale (piano), the tuning in each individual case is made with a greater or lesser approximation to the mathematically exact pitch (“approximate tuning”) and over time (in particular, in connection with the use of the instrument) is subject to changes, not caught in a certain sound zone by our hearing.

Garbuzov Nikolai Alexandrovich(1880 - 1955) - Soviet musicologist, researcher in the field of musical acoustics and psychology, doctor of art history. In 1906 he graduated from the Mining Institute in St. Petersburg and in 1916 from the Music and Drama School of the Moscow Philharmonic Society, classes of A.N. Koreshchenko (composition) and A.D. Kastalsky (polyphony). Scientific and musical-pedagogical activity of Garbuzov began in the Soviet years. In 1921-31. he was director of the State Institute of Musical Science (HYMN). Since 1923 - professor of musical acoustics and head (since 1937) of the acoustic laboratory of the Moscow Conservatory. Garbuzov is the author of scientific works on musical acoustics, music theory, Russian folk polyphony, and musical psychology. His works are devoted to the study of acoustic phenomena in their application to the practice of composition and performance. Developed by Garbuzov in 20-30s. the theory of the multi-basic nature of modes and consonances set the task of deriving the modal-harmonic structure of musical speech from the laws of acoustics, but at the same time overestimated the role of acoustic relations in establishing musical patterns. Garbuzov's research in the field of the zonal nature of auditory perceptions is of the greatest importance. Garbuzov establishes that our ideas about the height of sounds correspond not to oscillation frequencies, but to frequency bands, or zones, and gives a new explanation for many phenomena of musical psychology, music theory and musical performance practice.

Zone(in music) - the area within which a given sound or interval can have different quantitative expressions, while maintaining its quality and name. For example, the quality and name of an interval remain constant within certain limits for different frequency relations between the sounds of this interval (zone of a major second, minor third, etc.); the sound for the 1st octave is perceived as unchanged at frequencies of 435, 437, 440, 443, etc., deviating up to ¼ tone (+ - 1/8). The so-called free intonation of music by performers on instruments with a partially fixed tuning (violin, etc.) and singers is based on the zone nature of hearing. Zones are also observed in the area of ​​tempo and rhythm (time zones).

Literature:

1. Musical acoustics. Ed. ON THE. Garbuzov. - M.-L., 1940.
2. Garbuzov N.A. Zone nature of pitch hearing. - M.-L., 1948.
3. Garbuzov N.A. Compositions: The theory of multi-basic modes and consonances, parts 1-2. - M., 1928-1932.
4. Garbuzov N.A. On the polyphony of Russian folk songs. - M.-L., 1939.
5. Garbuzov N.A. Old Russian folk polyphony. - M.-L., 1948.
6. Garbuzov N.A. Intrazonal intonation hearing and methods of its development. - M.-L., 1951.

a science that studies the objective physical laws of music in connection with its perception and performance. Explores such phenomena as Pitch, Sound Loudness, Timbre and duration of musical sounds, Consonance and Dissonance, musical systems and tunings (see Musical Build). He is engaged in the study of musical hearing (see. Musical ear), the study of musical instruments (see. Musical instruments) and human voices (see. Singing voice). Finds out how the physical and psycho-physiological laws of music are reflected in the specific laws of this art and influence their evolution. In M. a. the data and methods of general physical acoustics, which studies the processes of the origin and propagation of sound, are used. It is closely connected with architectural acoustics, with the psychology of perception, the physiology of hearing and voice. M. a. used to explain a number of phenomena in the field of harmony (See Harmony), musical instruments, instrumentation (See Instrumentation), etc.

As a section of the musical theory of M. a. originated in the teachings of ancient philosophers and musicians. A significant stage in the development of M. a. associated with the name of the outstanding German physicist and physiologist of the 19th century. Helmholtz, who put forward the first complete concept of the physiology of pitch hearing - the so-called resonance theory of hearing. A big contribution to M.'s development and. introduced in the late 19th and early 20th centuries. K. Stumpf and W. Köhler (Germany), who introduced into it the doctrine of the mechanisms of reflection (sensation and perception) of various objective aspects of sound vibrations. In the 20th century M.'s sphere and. expands even more. A method for the analysis of musical sounds is being developed, based on the isolation of partial tones from a complex sound spectrum and the measurement of their relative intensity, which has acquired great importance in the acoustics of the singing voice and musical instruments. Problems of acoustics of radio studios, sound recording studios, stereophonic recording and sound reproduction are being developed. An important stage in the development of modern M. a. associated with the research of the Soviet musicologist and acoustics scientist N. A. Garbuzov, who put forward a theory of auditory perception based on the zone concept of musical hearing (see Zone). The work of Soviet specialists L. S. Termen and A. A. Volodin in the field of electric musical instruments, as well as the theory of pitch perception developed by the latter, according to which the pitch perceived by a person is determined not only by the frequency of oscillations of its fundamental tone, but by all of its harmonic spectrum.

Lit.: Helmholtz G., The doctrine of auditory sensations as a physiological basis for the theory of music, trans. from German, St. Petersburg, 1875; Riemann G., Acoustics from the point of view of musical science, trans. from German., M., 1898; Rimsky-Korsakov A.V., The development of musical acoustics in the USSR, “Izv. Academy of Sciences of the USSR”, Physical Series, 1949, vol. 13, no. 6; Musical Acoustics, ed. Edited by N. A. Garbuzova. Moscow, 1954. Volodin A., The role of the harmonic spectrum in the perception of pitch and timbre of sound, in: Musical Art and Science, v. 1, M., 1970; Stumpf, C., Tonpsychologie, Bd 1-2, Lpz., 1883-90; Köhler W., Akustische Untersuchungen, "Zeitschrift für Psychologie", 1910-13, Bd 54, 58.64; Wood A., Acoustics, N. Y., ; Backus J., The acoustical foundations of music, N. Y., . See also lit. at Art. Garbuzov N. A.