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Journal articles on the topic 'Organ pipe'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

d’Alessandro, Christophe, and Markus Noisternig. "Of Pipes and Patches: Listening to augmented pipe organs." Organised Sound 24, no. 1 (April 2019): 41–53. http://dx.doi.org/10.1017/s1355771819000050.

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Pipe organs are complex timbral synthesisers in an early acousmatic setting, which have always accompanied the evolution of music and technology. The most recent development is digital augmentation: the organ sound is captured, transformed and then played back in real time. The present augmented organ project relies on three main aesthetic principles: microphony, fusion and instrumentality. Microphony means that sounds are captured inside the organ case, close to the pipes. Real-time audio effects are then applied to the internal sounds before they are played back over loudspeakers; the transformed sounds interact with the original sounds of the pipe organ. The fusion principle exploits the blending effect of the acoustic space surrounding the instrument; the room response transforms the sounds of many single-sound sources into a consistent and organ-typical soundscape at the listener’s position. The instrumentality principle restricts electroacoustic processing to organ sounds only, excluding non-organ sound sources or samples. This article proposes a taxonomy of musical effects. It discusses aesthetic questions concerning the perceptual fusion of acoustic and electronic sources. Both extended playing techniques and digital audio can create musical gestures that conjoin the heterogeneous sonic worlds of pipe organs and electronics. This results in a paradoxical listening experience of unity in the diversity: the music is at the same time electroacoustic and instrumental.

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2

Baretzky, B., M. Friesel, and B. Straumal. "Reconstruction of Historical Alloys for Pipe Organs Brings True Baroque Music Back to Life." MRS Bulletin 32, no. 3 (March 2007): 249–55. http://dx.doi.org/10.1557/mrs2007.30.

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AbstractThe pipe organ is the king of musical instruments. No other instrument can compare with the pipe organ in power, timbre, dynamic range, tonal complexity, and sheer majesty of sound. The art of organ building reached its peak in the Baroque Age (∼1600–1750); with the industrial revolution in the 19th century, organ building shifted from a traditional artisans' work to factory production, changing the aesthetic concept and design of the organ so that the profound knowledge of the organ masters passed down over generations was lost.This knowledge is being recreated via close collaborations between research scientists, musicians, and organ builders throughout Europe. Dozens of metallic samples taken from 17th- to 19th-century organ pipes have been investigated to determine their composition, microstructure, properties, and manufacturing processes using sophisticated methods of materials science. Based upon these data, technologies for casting, forming, hammering, rolling, filing, and annealing selected leadtin pipe alloys and brass components for reed pipes have been reinvented and customized to reproduce those from characteristic time periods and specific European regions. The new materials recreated in this way are currently being processed and used by organ builders for the restoration of period organs and the manufacture of new organs with true Baroque sound.

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3

Gungl, Ernest, and Zmago Brezočnik. "Controller of Register Combinations and Tone Keys for Pipe Organ." International Journal of Innovative Science and Research Technology 5, no. 7 (August 23, 2020): 1432–38. http://dx.doi.org/10.38124/ijisrt20jul860.

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A pipe organ is a musical instrument that produces sound by driving pressurized air through the organ pipes selected from a keyboard called a manual. It is constructed from settled groups of pipes. Each group is composed of similar pipes with the same tone colour and loudness but different pitch. Such a group is called a rank. We have developed two electronic devices for upgrading the organ. The first device named Controller of Register Combinations is intended for storing rank combinations and pipe organ controlling. The second device named Controller of Tone Keys for pipe organ allows users to play the organ simultaneously on two separate keyboards. In this paper, we represent the purpose, scheme, and our realization of both devices. The correct functioning of the devices was proved by integrating them into a church organ. We have already equipped several church organs with our electronics, and they all work flawlessly. Feedback from the organists is excellent, as both Controller of Register Combination and Controller of Tone Keys make it easier for them to play. The success so far and the positive responses of the organists have encouraged us already to plan further improvements and upgrades of the organ electronics.

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4

Odya, Piotr, Józef Kotus, Maciej Szczodrak, and Bożena Kostek. "Sound Intensity Distribution Around Organ Pipe." Archives of Acoustics 42, no. 1 (March 1, 2017): 13–22. http://dx.doi.org/10.1515/aoa-2017-0002.

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Abstract The aim of the paper was to compare acoustic field around the open and stopped organ pipes. The wooden organ pipe was located in the anechoic chamber and activated with a constant air flow, produced by an external air-compressor. Thus, a long-term steady state response was possible to obtain. Multi-channel acoustic vector sensor was used to measure the sound intensity distribution of radiated acoustic energy. Measurements have been carried out on a defined fixed grid of points. A specialized Cartesian robot allowed for a precise positioning of the acoustic probe. The resulted data were processed in order to obtain and visualize the sound intensity distribution around the pipe, taking into account the type of the organ pipe, frequency of the generated sound, the sound pressure level and the direction of acoustic energy propagation. For the open pipe, an additional sound source was identified at the top of the pipe. In this case, the streamlines in front of the pipe are propagated horizontally and in a greater distance than in a case of the stopped pipe, moreover they are directed downwards. For the stopped pipe, the streamlines of the acoustic flow were directed upwards. The results for both pipe types were compared and discussed in the paper.

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5

WAGNER, RUSSELL. "The Organ Pipe Cactus." Cactus and Succulent Journal 79, no. 1 (January 2007): 35. http://dx.doi.org/10.2985/0007-9367(2007)79[35b:topc]2.0.co;2.

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6

Steenbrugge, Dirk, and Patrick De Baets. "Aerodynamics of flue organ pipe voicing." International Journal Sustainable Construction & Design 1, no. 1 (November 6, 2010): 162–73. http://dx.doi.org/10.21825/scad.v1i1.20421.

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The objective of this paper is to investigate the possibility of giving useful interpretations of flueorgan pipe voicing practices in terms of the aerodynamical and aeroacoustical behaviour of the pipes. Anoverview is first given of the current state of the knowledge on sound generation in flue instruments. Afteran introduction into the limited literature on voicing an scheme is presented as a possible framework toclassify and characterize various voicing approaches. Use is made of dimensionless analysis to quantifythe specific properties of voicing methods in terms of aerodynamic parameters rather than geometric data.It is concluded that such an analysis might be a useful tool to be able to better document and understandhistoric instruments and their genesis in order to better conserve them.

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7

Baldini, Francesco, Riccardo Falciai, Andrea Azelio Mencaglia, Folco Senesi, Dario Camuffo, Antonio della Valle, and Carl Johan Bergsten. "Miniaturised Optical Fibre Sensor for Dew Detection Inside Organ Pipes." Journal of Sensors 2008 (2008): 1–5. http://dx.doi.org/10.1155/2008/321065.

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A new optical sensor for the continuous monitoring of the dew formation inside organ pipes was designed. This aspect is particularly critical for the conservation of organs in unheated churches since the dew formation or the condensation on the pipe surfaces can contribute to many kinds of physical and chemical disruptive mechanisms. The working principle is based on the change in the reflectivity which is observed on the surface of the fibre tip, when a water layer is formed on its distal end. Intensity changes of the order of 35% were measured, following the formation of the water layer on the distal end of a 400/430 μm optical fibre. Long-term tests carried out placing the fibre tip inside the base of an in-house-made metallic foot of an organ pipe located in an external environment revealed the consistency of the proposed system.

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8

Holmes, Brian. "The helium‐filled organ pipe." Physics Teacher 27, no. 3 (March 1989): 218–19. http://dx.doi.org/10.1119/1.2342725.

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9

Angster, Judit, Zlatko Dubovski, and Andras Miklos. "Zinc for organ pipe building." Journal of the Acoustical Society of America 129, no. 4 (April 2011): 2519. http://dx.doi.org/10.1121/1.3588334.

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10

Kraybill, Jan. "Acoustics of the pipe organ." Journal of the Acoustical Society of America 132, no. 3 (September 2012): 1902. http://dx.doi.org/10.1121/1.4754978.

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11

Hall, Donald E. "Musical Dynamic Levels of Pipe Organ Sounds." Music Perception 10, no. 4 (1993): 417–34. http://dx.doi.org/10.2307/40285581.

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The pipe organ offers the opportunity to conduct psychoacoustic experiments in which the sound of a natural instrument can be perfectly steady and reproducible. This study takes advantage of the pipe organ to concentrate on that aspect of musical dynamics determined by the physical parameters of steady sounds, leaving aside the admittedly important effects of other variables such as context and articulation. Juries of musicians and music students provided judgments of musical dynamic levels produced by steady sounding of various stops and combinations on two pipe organs. The physical strength of each of these sounds was measured, and they were analyzed in $\frac{1}{3}$ octave band spectra. Correlations between the physical parameters and the musical judgments were examined. Results of this study provide some support for the hypothesis that loudness calculated by a procedure such as Zwicker's will be a good predictor of the steady aspect of musical dynamic strength, whereas a simple unweighted sound level in decibels is rather poor.

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12

Kearney, Michael R. "The Phenomenology of the Pipe Organ." Phenomenology & Practice 15, no. 2 (December 21, 2020): 24–38. http://dx.doi.org/10.29173/pandpr29432.

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An extended illustration from Merleau-Ponty’s Phenomenology of Perception describes the interplay of habit, sedimentation, and intersubjectivity in the practice and performance of a skilled organist. This paper takes up Merleau-Ponty’s example in order to describe some of the phenomenological characteristics of embodied musical performance. These characteristics point toward an intersubjective event of “consecration,” as Merleau-Ponty describes it, in which the musician adopts the role of rhetor, inviting the audience into a shared dwelling place.

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13

Segoufin, Claire, Benoit Fabre, Vincent Rioux, Munetaka Yokota, Malte Kob, and Mendel Kleiner. "Foot resonance in an organ pipe." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1001–2. http://dx.doi.org/10.1121/1.425802.

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14

Pollard, Howard F. "Tonal portrait of a pipe organ." Journal of the Acoustical Society of America 106, no. 1 (July 1999): 360–70. http://dx.doi.org/10.1121/1.428040.

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15

D'Alessandro, Christophe. "Voicing documentation of a pipe organ." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3018. http://dx.doi.org/10.1121/1.2932631.

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16

Spitzer, R. "A case of organ pipe dermatitis." BMJ 295, no. 6613 (December 19, 1987): 1653. http://dx.doi.org/10.1136/bmj.295.6613.1653-b.

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17

Walker, Alan J., and Anthony J. Mulholland. "A pipe organ-inspired ultrasonic transducer." IMA Journal of Applied Mathematics 82, no. 6 (September 5, 2017): 1135–50. http://dx.doi.org/10.1093/imamat/hxx027.

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18

Morozov, Andrey K., and Douglas C. Webb. "Underwater tunable organ-pipe sound source." Journal of the Acoustical Society of America 122, no. 2 (August 2007): 777–85. http://dx.doi.org/10.1121/1.2751268.

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19

Li, Feng, and Duan Feng Han. "Erosion Experimental Study on Organ-Pipe Nozzles in Air." Advanced Materials Research 602-604 (December 2012): 1667–71. http://dx.doi.org/10.4028/www.scientific.net/amr.602-604.1667.

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Experiment of aluminum block erosion using organ-pipe nozzle was carried out in air. The erosion effects of water jet were used to evaluate the performance of organ-pipe nozzle. The experiment and corresponding data were used to analyze the effects of nozzle configuration, jet pressure, standoff distance. Results have shown that the organ-pipe water jets are much more effective in aluminum block erosion.

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20

Nolle, A. W. "Interaction of pipe tone and edge tone in organ pipe oscillation." Journal of the Acoustical Society of America 114, no. 4 (October 2003): 2325. http://dx.doi.org/10.1121/1.4781001.

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21

Grajewski, Czesław. "Czego o portatywie i pozytywie historyk sztuki nie wie, a co wiedzieć powinien." Artifex Novus, no. 3 (October 1, 2019): 130–43. http://dx.doi.org/10.21697/an.7069.

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SUMMARY The author briefly describes the history and use in music of two organ-type instruments: a portative organ and a positive organ. He shows the difference in construction between the two and the characteristic features that allow to identify both types in old painting. An important feature of both instruments is the arrangement of the pipes. In the paintings we can see two possibilities: from the left to the right side, the height of the pipes may decrease or increase. An accurate depiction would (always) show the pipe row decreasing from left to right.

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22

Hall, Donald E. "Musical dynamic levels of pipe organ sounds." Journal of the Acoustical Society of America 91, no. 4 (April 1992): 2413. http://dx.doi.org/10.1121/1.403218.

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23

Adachi, Seiji, Judit Angster, and Andras Miklos. "Mode transition of a flue organ pipe." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3017. http://dx.doi.org/10.1121/1.2932627.

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24

Plitnik, G. R., and Ronald Knox. "Vibrational characteristics of pipe organ reed tongues." Journal of the Acoustical Society of America 98, no. 5 (November 1995): 2956. http://dx.doi.org/10.1121/1.414433.

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25

Peterson, Richard H. "Hybrid pipe organ with electronic tonal augmentation." Journal of the Acoustical Society of America 77, no. 1 (January 1985): 340. http://dx.doi.org/10.1121/1.391892.

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26

Außerlechner, Hubert, Judit Angster, and Andras Miklos. "Development of an adjustable pipe‐foot model of a labial organ pipe." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3018. http://dx.doi.org/10.1121/1.2932630.

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27

Angster, Judit, and Andras Miklos. "Intensive training on acoustics of pipe organs for organ builders and organists." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1055. http://dx.doi.org/10.1121/1.425022.

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28

Wrzeciono, Piotr. "Pattern Recognition in Music on the Example of Reconstruction of Chest Organ from Kamień Pomorski." Sensors 21, no. 12 (June 17, 2021): 4163. http://dx.doi.org/10.3390/s21124163.

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The chest organ, which gained popularity at the beginning of the 17th century, is a small pipe organ the size of a large box. Several years ago, while compiling an inventory, a previously unidentified chest organ was discovered at St. John the Baptist’s Co-Cathedral in Kamień Pomorski. Regrettably, the instrument did not possess any of its original pipes. What remained, however, was an image of the front pipes preserved on the chest door. The main issue involved in the reconstruction of a historic instrument is the restoration of its original tuning (temperament). Additionally, it is important to establish the frequency of A4, as this sound serves as a standard pitch reference in instrument tuning. The study presents a new method that aims to address the above-mentioned problems. To this end, techniques to search for the most probable temperament and establish the correct A4 frequency were developed. The solution is based on the modeling of sound generation in flue pipes, as well as statistical analysis to help match a model to the parameters preserved in the chest organ drawing. Additionally, differentalues of the A4 sound values were defined for temperatures ranging from 10 ∘C to 20 ∘C. The tuning system proposed in 1523 by Pietro Aaron proved to be the most probable temperament. In the process of testing the developed flue pipe model, the maximum tuning temperature was established as 15.8 ∘C.

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29

Steenbrugge, D. "Fluid mechanical aspects of open- and closed-toe flue organ pipe voicing." International Journal Sustainable Construction & Design 2, no. 2 (November 6, 2011): 284–95. http://dx.doi.org/10.21825/scad.v2i2.20526.

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Open- and closed-toe voicing of flue organ pipes constitute two opposite extremes of possible ways todetermine the air-jet flow rate through the flue. The latter method offers more voicing control parametersand thus more flexibility, at the expense of a necessary pressure loss at the toe hole. Another differencebetween both cases arises from different air-jet characteristics, such as velocity profile, Re number, flowmomentum or aspect ratio, the latter influencing jet instability. Furthermore, for closed-toe voicing, the flowfield in the pipe foot is modified by an axisymmetric air jet created through the highly constricted toe hole.Velocity measurements on air jets, pressure measurements in the pipe foot are presented, compared anddiscussed for both voicing methods. The ratio of flue to toe hole area is shown to be the sole pipeparameter to entirely determine the jet velocity and can be useful to quantitatively characterize flue and toehole voicing. Open-toe voicing turns out to be the more delicate and low-pressure only method becauseany modification of the flue has consequences on all aspects of the pipe operation, whereas the closed-toemethod, in connection with higher pressures and with active involvement of cut-up adjustment, allows someseparation between sound timbre and power regulation.

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30

Cai, Tengfei, Yan Pan, Fei Ma, and Pingping Xu. "Effects of Organ-Pipe Chamber Geometry on the Frequency and Erosion Characteristics of the Self-Excited Cavitating Waterjet." Energies 13, no. 4 (February 21, 2020): 978. http://dx.doi.org/10.3390/en13040978.

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Erosion experiments were performed to uncover the impact of organ-pipe chamber geometry on the frequency and erosion characteristics of self-excited cavitating waterjets. Jets emanating from self-excited nozzles with various organ-pipe geometries were investigated. The upstream and downstream contraction ratios of the organ-pipe resonator were changed respectively from 1.5 to 6 and 2 to 12. Pressure sensors and hydrophone were used to characterize jets’ frequency characteristics. Mass loss was also obtained in each of the configurations to assess the erosion performance. By tuning the self-excited frequency, the peak resonance was achieved using the nozzles with different geometries. Accordingly, the acoustic natural frequencies of various chamber geometries were obtained precisely. Results show that with increasing upstream and downstream contraction ratio of the organ-pipe chamber, the acoustic natural frequency increases monotonically due to the reduction of equivalent length, while the resonance amplitude and mass loss first increase and then decrease. There are optimum geometric parameters to reach the largest resonance amplitude and erosion mass loss: the upstream contraction ratio being between two and four, and downstream ratio being between four and seven. The effective length of the organ pipe can be calculated by the sum of the physical length and equivalent length to accurately obtain the acoustic natural frequency. Under the optimized parameters, the equivalent length can be estimated as 0.35D.

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31

Lemay, Gerald J. "Source‐filter model applied to pipe organ tones." Journal of the Acoustical Society of America 79, S1 (May 1986): S93. http://dx.doi.org/10.1121/1.2023475.

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32

Vaik, István, and György Paál. "Flow simulations on an organ pipe foot model." Journal of the Acoustical Society of America 133, no. 2 (February 2013): 1102–10. http://dx.doi.org/10.1121/1.4773861.

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33

Chaloupka, Vladimir. "Objective and subjective evaluations of pipe organ sound." Journal of the Acoustical Society of America 104, no. 3 (September 1998): 1841. http://dx.doi.org/10.1121/1.424424.

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34

Park *, Byung Chun, and Young Rhee. "Performance of carousel systems with ‘organ-pipe’ storage." International Journal of Production Research 43, no. 21 (November 2005): 4685–95. http://dx.doi.org/10.1080/00207540500185182.

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35

FUKUDOME, Hajime, Jun TSUCHIDA, Satoshi ITO, Toshimitsu FUJISAWA, and Genki YAGAWA. "CFD analysis of organ pipe and its visualization." Proceedings of The Computational Mechanics Conference 2002.15 (2002): 523–24. http://dx.doi.org/10.1299/jsmecmd.2002.15.523.

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36

Adachi, Seiji. "Time‐domain simulation of an organ flue pipe." Journal of the Acoustical Society of America 99, no. 4 (April 1996): 2456–57. http://dx.doi.org/10.1121/1.415475.

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37

Okada, Masahiro, and Tokihiko Kaburagi. "Higher-order frequency locking of an organ pipe." Journal of the Acoustical Society of America 140, no. 4 (October 2016): 3380. http://dx.doi.org/10.1121/1.4970810.

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38

Angster, Judit M., Tilo Wik, Christian Taesch, Yumiko Sakamoto, and Andras Miklos. "The influence of pipe scaling parameters on the sound of flue organ pipes." Journal of the Acoustical Society of America 116, no. 4 (October 2004): 2513. http://dx.doi.org/10.1121/1.4785024.

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39

Mickiewicz, Witold. "Particle Image Velocimetry and Proper Orthogonal Decomposition Applied to Aerodynamic Sound Source Region Visualization in Organ Flue Pipe." Archives of Acoustics 40, no. 4 (December 1, 2015): 475–84. http://dx.doi.org/10.1515/aoa-2015-0047.

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AbstractThe paper presents experimental results of the visualization of the nonlinear aeroacoustic sound generation phenomena occurring in organ flue pipe. The phase-locked particle image velocimetry technique is applied to visualize the mixed velocity field in the transparent organ flue pipe model made from Plexiglas. Presented measurements were done using synchronization to the tone generated by the pipe itself sup- plied by controlled air flow with seeding particles. The time series of raw velocity field distribution images show nonlinear sound generation mechanisms: the large amplitude of deflection of the mean flue jet and vortex shedding in the region of pipe mouth. Proper Orthogonal Decomposition (POD) was then applied to the experimental data to separately visualize the mean mass flow, pulsating jet mass flow with vortices and also sound waves near the generation region as well as inside and outside of the pipe. The resulting POD spatial and temporal modes were used to approximate the acoustic velocity field behaviour at the pipe fundamental frequency. The temporal modes shapes are in a good agreement with the microphone pressure signal shape registered from a distance. Obtained decomposed spatial modes give interesting insight into sound generating region of the organ pipe and the transition area towards the pure acoustic field inside the resonance pipe. They can give qualitative and quantitative data to verify existing sound generation models used in Computational Fluid Dynamics (CFD) and Computational Aero-Acoustics (CAA).

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40

Štafura, Andrej, Katarína Tuhárska, Štefan Nagy, and Anna Danihelová. "INFLUENCE OF THE THICKNESS OF THE BACK WALL OF A WOODEN ORGAN PIPE AND THE AIR PRESSURE IN THE WIND CHEST ON ITS SOUND PROPERTIES." Akustika, VOLUME 37 (December 15, 2020): 86–93. http://dx.doi.org/10.36336/akustika20203786.

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The paper presents the results of the study of the influence of the back wall thickness of an organ pipe made of resonant spruce wood and the air pressure in the wind chest on its frequency spectrum. A wooden organ pipe with a replaceable back wall was used in the experiment. The wooden plate used for the back wall had an initial thickness of 7 mm. The plate was gradually thinned in 1 mm decrements to a thickness of 1 mm. For each plate thickness, the frequency spectrum was scanned at four different air pressures, namely 588 Pa, 716 Pa, 814 Pa and 941 Pa. The results of the experiment showed that at a given back wall thickness, the fundamental tone frequency increases with increasing air pressure. The decrease in the back wall thickness was manifested by a decrease in the fundamental frequency. At an air pressure of 716 Pa, the intensity of the fundamental as well as the second harmonic component of the pipe acoustic spectrum increased slightly at all wall thicknesses. With increasing air pressure, the intensity of higher harmonic frequencies also increased. The decrease in the back wall thickness of the wooden organ pipe had only a minimal effect on the intensity of the individual harmonic components of the frequency spectrum. Changing the thickness of the back wall of a wooden organ pipe will not significantly affect its final sound.

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41

Dobravec, Jurij. "Research on Slovenian Organs from the Beginning of the Twentieth Century to the Monograph Orgle Slovenije in 2018." Musicological Annual 56, no. 2 (December 30, 2020): 85–105. http://dx.doi.org/10.4312/mz.56.2.85-105.

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The paper analyses the development of the structure and content of pipe organ catalogues that have appeared in Slovenian organology since the beginning of twentieth century. Of seventy catalogues describing multiple organs, particular attention is devoted to ten, especially the inventories of the Maribor (1911) and Ljubljana (1918) Dioceses, and the monograph Orgle Slovenije (2018).

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42

YOSHIKAWA, Shigeru. "Vortex Behavior When an Organ Pipe Starts to Sound." Journal of the Visualization Society of Japan 20, no. 1Supplement (2000): 459–60. http://dx.doi.org/10.3154/jvs.20.1supplement_459.

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43

Hesketh, Peter J., Jay N. Zemel, and Benjamin Gebhart. "Organ pipe radiant modes of periodic micromachined silicon surfaces." Nature 324, no. 6097 (December 1986): 549–51. http://dx.doi.org/10.1038/324549a0.

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44

Bovelacci, Antonio, Enrico Ciliberto, Enrico Greco, and Ezio Viscuso. "Surface and Bulk Investigations of Organ Metal Pipe Degradation." Procedia Chemistry 8 (2013): 130–38. http://dx.doi.org/10.1016/j.proche.2013.03.018.

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45

Plitnik, Georg R. "Organothymedia: Reflections on the enjoyment of the pipe organ." Journal of the Acoustical Society of Japan (E) 13, no. 1 (1992): 1–10. http://dx.doi.org/10.1250/ast.13.1.

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46

Braasch, Jonas. "Categorical sound characteristics of free-reed pipe-organ stops." Journal of the Acoustical Society of America 132, no. 3 (September 2012): 1902. http://dx.doi.org/10.1121/1.4754976.

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47

Kleiner, Mendel, Matthias Scholz, and Munetaka Yokota. "Experiments on redirection of organ pipe sound by coupling." Journal of the Acoustical Society of America 116, no. 4 (October 2004): 2513. http://dx.doi.org/10.1121/1.4785026.

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48

Trommer, Thomas, Judit Angster, and András Miklós. "Roughness of organ pipe sound due to frequency comb." Journal of the Acoustical Society of America 131, no. 1 (January 2012): 739–48. http://dx.doi.org/10.1121/1.3651242.

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49

Angster, Judit, and András Miklós. "Documentation of the sound of a historical pipe organ." Applied Acoustics 46, no. 1 (1995): 61–82. http://dx.doi.org/10.1016/0003-682x(95)93951-d.

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Sakamoto, Yuichiro, Kunihiro Mashiko, Hisashi Matsumoto, Yoshiaki Hara, Noriyoshi Kutsukata, and Hiroyuki Yokota. "‘Pipe-organ’-like retroperitoneal drainage in severe necrotizing pancreatitis." Indian Journal of Gastroenterology 29, no. 1 (January 2010): 40–42. http://dx.doi.org/10.1007/s12664-010-0007-2.

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