Contents	6
	Introduction	8
	1 Japanese Flutes and Their Musical Acoustic Peculiarities	14
	Abstract	14
	1 Introduction	14
	2 The Shakuhachi	15
	2.1 Brief History	15
	2.2 Unique Structural Properties	16
	2.3 Sound Examples	19
	2.4 Acoustical Differences Between Classical and Modern Shakuhachis	20
	2.5 Intonation Anomaly Due to Cross Fingerings	23
	3 The Nohkan	30
	3.1 Brief History	30
	3.2 Unique Structural Properties	31
	3.3 Sound Examples	32
	3.4 Numerical Calculation on the Effects of Nodo	35
	3.5 Numerical Calculation on the Effects of Nodo Shape	41
	3.6 Perturbation Theory Applied to the Nohkan	44
	3.7 A Comparison of the Nohkan with the Piccolo	45
	4 The Shinobue	51
	4.1 Brief History	51
	4.2 Unique Structural Properties	51
	4.3 Sound Examples	53
	4.4 Acoustical Effects of a Membrane Hole	54
	5 Conclusions	56
	Bibliography	58
	2 Acoustics of the Qin	61
	Abstract	61
	1 Introduction	61
	2 History	62
	3 Construction	63
	4 Playing the Qin	65
	5 Construction	66
	5.1 Wood	66
	5.1.1 Paulownia	66
	5.1.2 Firmiana simplex	69
	5.1.3 Catalpa	69
	5.1.4 China Fir	69
	5.2 Lacquer	69
	5.3 Strings	70
	6 Vibroacoustics	72
	6.1 Acoustics of Long Soundboxes	72
	6.2 Surface Velocities	73
	6.2.1 Wood	73
	6.2.2 Air	74
	6.2.3 Wood and Air	74
	7 Sound	75
	7.1 Table Effects	77
	8 Simulations	78
	8.1 Construction of the Finite Element Model of the Qin	79
	8.2 Back Plate Study	80
	8.3 FEM Analysis of Historical Qins	81
	9 Concluding Remarks	83
	Acknowledgments	84
	References	84
	3 Tone Production of the Wurlitzer and Rhodes E-Pianos	87
	Abstract	87
	1 Introduction	88
	2 History	89
	2.1 History of the Rhodes	89
	2.2 History of the Wurlitzer	90
	3 Physical Properties	91
	3.1 Sound Production of the Fender Rhodes Electric Piano	91
	3.1.1 Measured Instrument	93
	3.2 Sound Production of the Wurlitzer EP300	93
	3.2.1 Measured Instrument	94
	4 Methods	95
	4.1 Camera Tracking	95
	4.2 Audio Measurements	96
	5 Measurements	96
	5.1 Rhodes	97
	5.2 Wurlitzer	98
	6 Intermediate Results	100
	7 Finite Element Models of Sound Production Assemblies	100
	7.1 Magnetic Field of the Rhodes Pickup	100
	7.2 Electrodynamic Interaction of the Wurlitzer Piano	101
	8 Finite Difference Models	104
	8.1 Rhodes Exciter Model	104
	8.1.1 Finite Difference Approximation	106
	8.2 Wurlitzer Exciter Model	106
	8.2.1 Finite Difference Approximation	107
	8.3 Rhodes Pickup Model	108
	8.4 Wurlitzer Pickup Model	110
	8.5 Modeling Results	111
	9 Outlook	114
	9.1 Additional Notes on Electronics	114
	10 Conclusion	115
	Acknowledgments	115
	Appendix I	116
	Appendix II	116
	References	117
	4 Feedback of Different Room Geometries on the Sound Generation and Sound Radiation of an Organ Pipe	120
	Abstract	120
	1 Introduction	120
	2 General Notes on Numerical Implementation and Numerical Simulation	122
	3 The Effect of Complex Geometries	123
	3.1 The Initial Excitation Process	125
	3.2 Sound Pressure Level Spectra	134
	3.3 Phase Portraits	137
	4 The Feedback Effect of Swell Chamber Geometries	140
	4.1 Numerical Simulations of an Organ Pipe within Swell Chambers	141
	4.2 Analysis	145
	4.3 Sound Pressure Level Spectra Inside the Organ Pipe	146
	4.4 Higher Harmonics	148
	4.5 Spatially Averaged Sound Pressure Level Spectra of the Cut-up Region	148
	4.6 Auto-synchronization of the Organ Pipe by Swell Chambers Feedback	150
	5 Summary	152
	Acknowledgments	153
	Bibliography	153
	5 Acoustical Modeling of Mutes for Brass Instruments	154
	Abstract	154
	1 Introduction	154
	2 Hand-in-Bell and Hand-Stopping in the French Horn	155
	2.1 Effects of Hand in Horn Bell	155
	2.2 Hand Stopping and Stopping Mute	157
	2.3 Acoustical Modeling of Hand-in-Bell and Hand Stopping	159
	2.4 Input Impedances of the Open, Normal, and Stopped Horns	161
	2.5 Pressure Distribution Along the Horn	163
	2.6 Physical Cause of Metallic Timbre by Hand Stopping	164
	3 Stopping Mute for the French Horn	168
	3.1 Structure of Stopping Mute and Its Acoustical Characteristics	168
	3.2 Pressure Distribution Along the Horn	170
	3.3 Tonal Difference Between Stopping Mute and Hand Stopping	171
	4 Straight Mute for the French Horn	173
	4.1 Structure of Straight Mute	173
	4.2 Branching System Theory and Its Incorporation into T-Matrix Formulation	174
	4.3 Acoustical Modeling of the Horn with the Straight Mute	175
	4.4 Effects of Other Parameters of the Straight Mute	178
	5 Application to Trumpet Mutes	180
	5.1 Structures and Models of Trumpet Mutes	180
	5.2 Numerical Calculation of the Trumpet with the Straight Mute	182
	5.3 Numerical Calculation of the Trumpet with the Cup Mute	186
	5.4 Numerical Calculation of the Trumpet with the Wah-Wah Mute	189
	5.5 Appearance of a New Peak in Muted-Brass Input Impedance	192
	6 Conclusions	194
	Bibliography	196
	6 Experimental Approaches to the Study of Damping in Musical Instruments	198
	Abstract	198
	1 Introduction	198
	2 Definition of Damping	199
	3 Classification of Damping	201
	4 Measurement Methods	203
	4.1 Torsional Pendulum	203
	4.2 Bending Beam	204
	4.3 Comparison of Different Approaches	205
	5 Investigations on a Metal Tongue	206
	5.1 Evaluation Using the Reverberation Time Method	207
	5.2 Evaluation Using the ?3 dB Method	208
	5.3 Interpretation and Comparison of Both Methods	210
	6 Conclusion	210
	Acknowledgments	211
	References	211
	7 Comparison of Vocal and Violin Vibrato with Relationship to the Source/Filter Model	212
	Abstract	212
	1 Introduction	213
	2 Vocal Vibrato Analysis	215
	3 Violin Vibrato Analysis	221
	4 Violin Frequency Response: The Filter Characteristic and Source Spectrum	222
	5 Pérez et al. Violin Input-Output Measurement	225
	6 Discussion and Conclusions	229
	Acknowledgments	231
	References	231
	8 Vowel Quality in Violin Sounds—A Timbre Analysis of Italian Masterpieces	233
	Abstract	233
	1 Introduction	233
	1.1 Aim of the Study	233
	1.2 Basics of Voices and Violins	234
	1.3 Related Works on Violin Sound Quality	236
	2 VQ Analysis Tool Preparation	237
	2.1 Applying Speech Analysis Methods to Bowed String Instruments	237
	2.2 Signal Processing	238
	2.3 Representation of VQ on the IPA Chart	239
	3 Examples of VQ Extracted from Bowed String Instruments	240
	4 Validation	243
	4.1 Validation Against Voice Reference	243
	4.2 Analysis Modifications Toward Violins and Perceptual Verification	243
	4.3 Impact of Musician	245
	4.4 Impact of Room Acoustics	248
	5 Results for Italian Masterpieces	249
	5.1 Investigated Recordings	249
	5.2 Results on Italian Masterpieces	249
	6 Conclusions	252
	Acknowledgments	253
	References	253
	9 Sound, Pitches and Tuning of a Historic Carillon	256
	Abstract	256
	1 Introduction	257
	1.1 Some Historical and Factual Background	258
	1.2 Basic Data Concerning the Dumery Bells	261
	2 Basics of Bell Acoustics	264
	2.1 Material and Shape	268
	2.2 Excitation of Normal Modes and Radiation of Sound	268
	3 Inner Harmony and Tuning	275
	4 The Strike Note of Bells and Carillon Tuning	282
	4.1 The Strike-Note as a Virtual Pitch	283
	4.2 Strike Note, Pitch and Timbre	288
	4.3 Tuning of the Dumery Carillon Bells in Regard to Prime (f2) Frequencies	300
	5 Conclusion	302
	Acknowledgments	303
	10 Source Width in Music Production. Methods in Stereo, Ambisonics, and Wave Field Synthesis	308
	Abstract	308
	1 Introduction	308
	2 Perception of Source Width	309
	2.1 Perceived Source Width in Psychoacoustics	309
	2.2 Apparent Source Width in Room Acoustics	312
	3 Source Width in Music Production	317
	3.1 Source Width in Stereo and Surround	318
	3.2 Source Width in Ambisonics	323
	3.3 Source Width in Wave Field Synthesis	327
	4 Sound Radiation and Source Extent	329
	4.1 Measurement Setup	329
	4.2 The Complex Point Source Model	330
	4.3 Physical Measures	332
	4.3.1 Monaural Measures	333
	4.3.2 Interaural Measures	336
	4.4 Results	341
	5 Discussion	345
	6 Prospects	346
	References	347
	11 Methods in Neuromusicology: Principles, Trends, Examples and the Pros and Cons	350
	Abstract	350
	1 Introduction	350
	1.1 Transcranial Magnetic Stimulation: How Does It Work?	351
	2 Functional Magnetic Resonance Imaging: Basic Principles and Image Acquisition	352
	2.1 BOLD Response and Its Underlying Principle	354
	2.2 Techniques of Image Acquisition	355
	2.3 The Auditory Cortex—A Challenge to fMRI Research	356
	2.4 Positron Emission Tomography: Some Notes on the Signal and on Image Acquisition	358
	2.5 Research with FMRI and PET: Example Fields of Music-Related Application	358
	2.5.1 Studying the Human Auditory Cortex with PET and FMRI	359
	2.5.2 Tonality-Sensitive Areas—An Approach with fMRI	360
	2.5.3 Musical Improvisation—An Example of Whole-Brain Image Analysis	360
	2.6 Neuroplasticity in Musicians—Structural and Functional Types	364
	3 Electroencephalography: The Basics	365
	3.1 Research with EEG: Two Example Studies	368
	3.2 EEG Sports: A Promising Trend Using Mobile Devices	370
	4 Event-Related Potentials (ERPs)—A Derivative of the EEG	372
	4.1 The ‘Mismatch Negativity’ (MMN)—An Example Component of the ERP	374
	4.2 Syntactic and Semantic Incongruities in Language and Music: ELAN/ERAN, P600 and N400	375
	5 Do Advantages Outweigh the Disadvantages?—A Final Assessment of the Methods’ Pros and Cons	377
	References	380
	12 An Intelligent Music System to Perform Different “Shapes of Jazz—To Come”	384
	Abstract	384
	1 Introduction	384
	1.1 Gestalt-Based Improvisation Model Based on Intuitive Listening	386
	1.2 Logic-Based Reasoning Driven World Model	386
	2 Automated Music Improvisation Systems for Traditional Jazz	387
	2.1 A Brief Overview on Traditional Jazz Practices	387
	2.2 Rule-Based Machine Improvisation Algorithms	389
	3 Automated Music Improvisation Systems for Free Jazz	390
	4 Implementation of CAIRA	394
	4.1 Bottom-Up Mechanisms	394
	4.1.1 Polyphonic Pitch Perception Model	395
	4.1.2 Tension Arc Calculation	397
	4.2 Top-Down Mechanisms	398
	4.2.1 General Ontology Definitions	399
	4.2.2 Music Structure Recognition	400
	4.2.3 Agent Beliefs	401
	4.2.4 Action	402
	4.3 Implementation of a Free Jazz Agent	403
	4.4 Implementation of a Traditional Jazz Agent	404
	5 Discussion and Conclusion	409
	Acknowledgments	410
	References	410
	13 Explorations in Keyboard Temperaments. Some Empirical Observations	413
	Abstract	413
	1 Introduction	413
	2 Just Intervals: Acoustic and Perceptual Aspects	414
	3 Just Intonation and Temperaments: A Brief Historical Review	418
	4 Empirical Investigation of Temperaments and Tunings	433
	5 Perceptual and Aesthetic Aspects	441
	6 Conclusion	446
	Acknowledgment	448
	References	448