Acoustics and the Performance of Music, Manual for Acousticians, Audio Eng.pdf

AcousticsandthePerformanceofMusic

ModernAcousticsandSignalProcessing

Editor-in-Chief

W ILLIAM M.H ARTMANN

MichiganStateUniversity,EastLansing,Michigan

EditorialBoard

Y OICHI A NDO ,KobeUniversity,Kobe,Japan

W HITLOW W.L.A U ,HawaiiInstituteofMarineBiology,Kane ’ ohe,Hawaii

A RTHUR B.B AGGEROER ,MassachusettsInstituteofTechnology,Cambridge,

Massachusetts

N EVILLE H.F LETCHER ,AustralianNationalUniversity,Canberra,Australia

C HRISTOPHER R.F ULLER ,VirginiaPolytechnicInstituteandStateUniversity,

Blacksburg,Virginia

W ILLIAM A.K UPERMAN ,UniversityofCaliforniaSanDiego,LaJolla,California

J OANNE L.M ILLER ,NortheasternUniversity,Boston,Massachusetts

M ANFRED R.S CHROEDER ,UniversityofGöttingen,Göttingen,Germany

A LEXANDRA I.T OLSTOY ,A.TolstoySciences,McLean,Virginia

Forothertitlespublishedinthisseries,goto

www.springer.com/series/3754

Ju¨rgenMeyer

Acousticsandthe

PerformanceofMusic

ManualforAcousticians,AudioEngineers,

Musicians,ArchitectsandMusical

InstrumentsMakers

FifthEdition

OriginallypublishedinGermanbyPPVMedien,Edition

Bochinsky

Ju¨rgenMeyer

Bergiusstrasse2A

D ‐ 38116Braunschweig

Germany

juergen.meyer-bs@t-online.de

Translatedby

UweHansen

64HeritageDrive

TerreHauteIN47803

USA

uhansen@isugw.indstate.edu

ISBN978-0-387-09516-5 e-ISBN978-0-387-09517-2

LibraryofCongressControlNumber:2008944095

# 2009SpringerScience+BusinessMedia,LLC

Translationofthelatest(ﬁfth)edition,originallypublishedinGermanbyPPVMedienGmbH,Edition

Bochinsky,Bergkirchen.

Allrightsreserved.Thisworkmaynotbetranslatedorcopiedinwholeorinpartwithoutthewritten

permissionofthepublisher(SpringerScience+BusinessMedia,LLC,233SpringStreet,NewYork,NY

10013,USA),exceptforbriefexcerptsinconnectionwithreviewsorscholarlyanalysis.Usein

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987654321

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Preface

Sincethemiddleofthetwentiethcentury,concertperformancedevelopmentshave

createdraised,andtosomeextent,newdemandsonmusiciansandarchitects.

Reasonsforchangesinperformanceconditionscanbefoundontheonehandin

thetendencyforeverlargerconcerthallsandontheotherinthefactthatlisteners,

educatedbyqualityrecordingsareusedtoahighdegreeofprecisionandsubtle

tonalnuances.Thesecircumstancesleadtoacousticandperformancetechnical

problemsfortheinterpreterunknowninpreviousgenerations.Thesetasksmust

largelybemasteredbythemusiciansthemselves,yetinsomesenseTonmeister

(soundrecordingengineers)andbuildersofconcerthallscanhaveanessential

inﬂuenceonthetonalresultsofaperformance.Thusitisimportantforall

participantstobeknowledgeableofthoseacousticprocesseswhichshapethe

tonaldevelopmentbeginningwiththetonalperceptionoftheperformerdownto

theauralimpressionofthelistener.

Withthisbackground,theﬁrstGermaneditionofthebookAcousticsand

MusicalPerformanceappearedin1972,inwhichthoseaspectsofmusicalinstru-

mentacoustics,androomacoustics,relevanttomusicingeneralwereconsidered.

Animportantelementofthisbookwastheconsiderationofthedegreetowhich

approachestoperformancepracticecouldbederivedfromthoseprincipals.The

greatdemandforthesethemesmadeseveralneweditionsnecessary,whichineach

casewererevisedtoincludecurrentknowledge.Thus,thisEnglisheditionofthe

bookisbasedonthe5thGermanEditionof2004.Inadditiontonewexperimental

resultsinthephysical,technicalrealm,manypersonalexperiencesbytheauthor,as

presenterandconductorofdemonstrationconcertswithlargeorchestras,notonlyin

Europe,butalsointheUSAandJapan,relatingtoquestionsoforchestralarrange-

mentshaveaddedsigniﬁcantinsights.

Inordertomakethiscomplexsubjectmatteraccessibleevenforreaderswithout

specialknowledgeinthephysicalsciences,theprincipalchaptersareintroducedby

briefexplanationsofthemostimportantfundamentalconceptsofacousticsaswell

asaselectionofsomeofthemoreimportanthearingprinciplesessentialfor

understanding.Thedetailedrepresentationofdirectionalcharacteristicsinthe

fourthchapterwasoriginallyintendedespeciallyforaudioengineers.Sincethen,

thenewareaofroomacousticalsimulationauralizationhasbeendevelopedwhich

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