Log in

Relevant bibliographies by topics / Violin Vibrato / Journal articles

To see the other types of publications on this topic, follow the link: Violin Vibrato.

Journal articles on the topic 'Violin Vibrato'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Violin Vibrato.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Geringer, John M., and Michael L. Allen. "An Analysis of Vibrato among High School and University Violin and Cello Students." Journal of Research in Music Education 52, no. 2 (July 2004): 167–78. http://dx.doi.org/10.2307/3345438.

Full text

Abstract:

We investigated vibrato performance of university student and high school string players. Forty violinists and cellists performed an eight-measure passage both with and without vibrato. Analyses indicated that the mean rate of vibrato was approximately 5.5 Hz, with no significant differences between instruments or performer experience level. The mean width of violin vibratos was larger than cello vibratos. Violinists' mean pitch levels were sharper than cellists' in both vibrato and nonvibrato performances. Analysis of intonation patterns within the duration of tones showed that performers were more stable when using vibrato. University players tended to become sharper during both vibrated and nonvibrated tones compared to the younger players. Pitch oscillations during vibrato were alternations both above and below conceived pitch, rather than oscillations only above or only below the conceived pitch.

APA, Harvard, Vancouver, ISO, and other styles

2

Geringer, John M., Rebecca B. MacLeod, and Michael L. Allen. "Perceived Pitch of Violin and Cello Vibrato Tones Among Music Majors." Journal of Research in Music Education 57, no. 4 (November 4, 2009): 351–63. http://dx.doi.org/10.1177/0022429409350510.

Full text

Abstract:

The purpose of this study was to investigate the perceived pitch of string vibrato tones. The authors used recordings of acoustic instruments (cello and violin) to provide both vibrato stimulus tones and the nonvibrato tones that listeners adjusted to match the perceived pitch of the vibrato stimuli. We were interested especially in whether there were differences in pitch perception of vibrato tones between string performers ( n = 36) and music majors without string performance experience ( n = 36). Both groups of music major listeners perceived the pitch of vibrato tones very near the mean frequency of the vibrato for cello and violin tones. Although means were similar, string players exhibited significantly less deviation in tuning judgments than non-string players for both violin and cello tones. Results appear consistent with earlier perceptual research as well as performance research indicating that string performers vibrate both above and below the intended pitch.

APA, Harvard, Vancouver, ISO, and other styles

3

Bejjani, F. J., and L. Pavlidis. "Kinetics of violin vibrato." Journal of Biomechanics 23, no. 7 (January 1990): 730. http://dx.doi.org/10.1016/0021-9290(90)90242-u.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

MacLeod, Rebecca B. "Influences of Dynamic Level and Pitch Register on the Vibrato Rates and Widths of Violin and Viola Players." Journal of Research in Music Education 56, no. 1 (April 2008): 43–54. http://dx.doi.org/10.1177/0022429408323070.

Full text

Abstract:

The purpose of this study was to investigate possible influences of pitch register and dynamic level on vibrato rates and widths of university and high school violin and viola players. Analysis showed that pitch register significantly affected the vibrato rates and widths of the performers. Musicians vibrated 0.32 Hz faster and approximately 26 cents wider during high pitches than during low pitches. Dynamic level also significantly affected vibrato width. Performers increased vibrato width approximately 4 cents in the forte passages when compared to the piano passages. Furthermore, violinists demonstrated a tendency to vibrate slightly faster and wider than violists, and university performers varied their vibrato width to a greater extent between the piano and forte passages than did the high school performers. These results, along with further study, can contribute to the development of a systematic method for teaching vibrato.

APA, Harvard, Vancouver, ISO, and other styles

5

Rothman, Howard B., and A. Antonio Arrayo. "Acoustic parameters of violin vibrato." Journal of the Acoustical Society of America 80, S1 (December 1986): S87. http://dx.doi.org/10.1121/1.2024013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Fritz, Claudia, Jim Woodhouse, Brian Moore, and Ian Cross. "Perceptual studies of violin vibrato." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3446. http://dx.doi.org/10.1121/1.2934258.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Geringer, John M., Michael L. Allen, and Rebecca B. MacLeod. "Initial Movement and Continuity in Vibrato among High School and University String Players." Journal of Research in Music Education 53, no. 3 (October 2005): 248–59. http://dx.doi.org/10.1177/002242940505300306.

Full text

Abstract:

The purpose of the present study was to investigate aspects of vibrato performance among high school and university string players. The main questions were to determine whether students consistently initiate vibrato in an upward or downward direction and whether players vibrate continuously when performing slurs. Forty high school and university violin and cello students played exercises that included tones performed with and without vibrato. We measured direction and magnitude of change when initiating vibrato, pitch levels of vibrated and nonvibrated tones, and duration of nonvibrato when performing slurs. Results showed that these high school and university players did not reveal consistent initial vibrato movements in either direction or magnitude. Performers vibrated both above and below conceived pitch, rather than only upward or only downward. All performers stopped vibrating during the transition between slurred notes. Mean duration of nonvibrato portions of university students (0.42 second) was slightly less than that of high school students (0.50 second). Implications of these results for string pedagogy are discussed. March 28, 2005 June 7, 2005

APA, Harvard, Vancouver, ISO, and other styles

8

Meyer, Jürgen. "New aspects of the violin vibrato." Journal of the Acoustical Society of America 89, no. 4B (April 1991): 1901–2. http://dx.doi.org/10.1121/1.2029444.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Balanesković, Dragiša, and Zoran Milivojević. "Overview of vibrato researches in violin interpretation." Artefact 4, no. 1 (2018): 51–61. http://dx.doi.org/10.5937/artefact4-16701.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Gillespie, Robert. "Ratings of Violin and Viola Vibrato Performance in Audio-Only and Audiovisual Presentations." Journal of Research in Music Education 45, no. 2 (July 1997): 212–20. http://dx.doi.org/10.2307/3345581.

Full text

Abstract:

In this study, the researcher compared the ratings assigned to audio and videotaped vibrato performances of inexperienced and experienced violinists and violists. Thirty-three inexperienced players and 28 experienced players were videotaped white performing vibrato. A panel of experts rated the videotaped performances and then 6 months later rated the audio-only portion of the performances on five vibrato factors: width, speed, evenness, pitch stability, and overall sound. Experienced players' vibrato was rated higher for all factors, regardless of mode of presentation. In addition, results revealed significantly higher audiovisual ratings for pitch stability, evenness, and overall sound for inexperienced players, and for pitch stability for experienced players. Results suggest that string teachers need to occasionally listen to their students' vibrato without watching them since visual cues may inadvertently influence their evaluation of student achievement.

APA, Harvard, Vancouver, ISO, and other styles

11

Fritz, Claudia, Jim Woodhouse, Felicia P. H. Cheng, Ian Cross, Alan F. Blackwell, and Brian C. J. Moore. "Perceptual studies of violin body damping and vibrato." Journal of the Acoustical Society of America 127, no. 1 (January 2010): 513–24. http://dx.doi.org/10.1121/1.3266684.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Dimov, T. "Vibrato correlation to sound quality in violin performance." Journal of Physics: Conference Series 1075 (August 2018): 012001. http://dx.doi.org/10.1088/1742-6596/1075/1/012001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Herzog, William. "Teaching High-Quality Violin and Viola Vibrato, Virtually." American String Teacher 71, no. 1 (January 28, 2021): 53–55. http://dx.doi.org/10.1177/0003131320975870.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Brown, Clive. "Bowing Styles, Vibrato and Portamento in Nineteenth-Century Violin Playing." Journal of the Royal Musical Association 113, no. 1 (1988): 97–128. http://dx.doi.org/10.1093/jrma/113.1.97.

Full text

Abstract:

There are many aspects of nineteenth-century violin playing that have received little attention from scholars. The subject is a vast and complicated one, far beyond the scope of a short article to treat adequately, but there are a number of important areas in which problems have not even been recognized, let alone investigated. For instance, the most substantial recent work on this subject, Robin Stowell's Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries (Cambridge, 1985), provides a useful digest of what the major violin methods of the period say, but because it is mainly confined to these sources, ignoring for the most part journalism and other contemporary accounts, and because it has a rather artificial terminal date of 1840, it fails to illuminate major underlying patterns of continuity and change in nineteenth-century violin playing. It may be valuable, therefore, to put forward a few ideas and suggest a few fruitful lines of enquiry which have until now remained largely unconsidered.

APA, Harvard, Vancouver, ISO, and other styles

15

Thierbach, Susie Puyear. "Vibrato in the Violin Music of the Baroque Period." American String Teacher 49, no. 2 (May 1999): 76–81. http://dx.doi.org/10.1177/000313139904900212.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Gough, Colin E. "The role of vibrato in the perception of violin quality." Journal of the Acoustical Society of America 114, no. 4 (October 2003): 2437. http://dx.doi.org/10.1121/1.4779127.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Geringer, John M., Kasia Bugaj, and Katie A. Geringer. "Irish Fiddle and Western Classical Violin: Listener Perceptions and Acoustical Differences." String Research Journal 11, no. 1 (July 2021): 5–17. http://dx.doi.org/10.1177/19484992211020686.

Full text

Abstract:

This report is a summary of two studies. In the first, we compared examples of Irish fiddle performances with Western classical violin performances. Acoustical analyses showed that both classical examples produced average spectral centroids higher in frequency, higher harmonic to noise ratios, more use of vibrato, more disjunct intervals, and less ornamentation. Expert listeners described the classical examples as resonant, ringing, and brighter. Tone in the Irish examples was characterized as varied, gritty, and full-bodied. In the second study, we asked 72 music majors to listen to different recordings and respond in two ways. The first section consisted of extremely brief examples of four different solo violin styles: classical, jazz, old-time fiddle, and Irish. The second section consisted of longer examples of either Irish or classical performances. The listeners were asked to describe salient features of each. They frequently identified the following characteristics of the Irish excerpts: grace notes, double stops, ornamentation, and dance-like. In contrast, classical extracts were described using the terms: vibrato, melody, intervals, and extended technique. Implications for music listening are discussed.

APA, Harvard, Vancouver, ISO, and other styles

18

Macleod, Rebecca B. "Achieving an Artistic Violin Vibrato Applications of Research to the Classroom." American String Teacher 64, no. 1 (February 2014): 44–50. http://dx.doi.org/10.1177/000313131406400108.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Mellody, Maureen, and Gregory H. Wakefield. "The time-frequency characteristics of violin vibrato: Modal distribution analysis and synthesis." Journal of the Acoustical Society of America 107, no. 1 (January 2000): 598–611. http://dx.doi.org/10.1121/1.428326.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Kneer, Joseph. "An Integrated Approach: Eight Tips for Teaching, Learning, and Improving Violin Vibrato." American String Teacher 68, no. 4 (October 16, 2018): 41–45. http://dx.doi.org/10.1177/0003131318795861.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Packer, Clifford D., and Diana M. Packer. "Beta-Blockers, Stage Fright, and Vibrato: A Case Report." Medical Problems of Performing Artists 20, no. 3 (September 1, 2005): 126–30. http://dx.doi.org/10.21091/mppa.2005.3025.

Full text

Abstract:

This case report describes negative effects of beta-adrenergic blocker treatment of stage fright and hypertension in a professional violinist. A literature search from 1966 to 2005 was performed, and clinical studies of b-blocker treatment for musicians with stage fright were reviewed. The literature was also searched for clinical and physiologic studies on the effects of b-blockers on tremor and on the production of rapid oscillatory movements. In our patient, daily b-blocker treatment for hypertension caused impairment of vibrato, a form of voluntary tremor that is an essential part of violin technique. Impairment of vibrato was not seen with intermittent use of a b-blocker for treatment of stage fright, although fatigue and weakness were noted. b-blockers effectively treat many of the sympathetic-overload symptoms that cause stage fright in musicians, although we postulate that in some cases they may suppress beta2 sympathetic tone below a threshold level for voluntary tremor production, which can impair vibrato technique.

APA, Harvard, Vancouver, ISO, and other styles

22

Ho, Tracy Kwei-Liang, Huann-shyang Lin, Ching-Kong Chen, and Jih-Long Tsai. "Development of a computer-based visualised quantitative learning system for playing violin vibrato." British Journal of Educational Technology 46, no. 1 (December 10, 2013): 71–81. http://dx.doi.org/10.1111/bjet.12124.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Knapik, Stefan. "Vitalistic Discourses of Violin Pedagogy in the Early Twentieth Century." 19th-Century Music 38, no. 2 (2014): 169–90. http://dx.doi.org/10.1525/ncm.2014.38.2.169.

Full text

Abstract:

Abstract The pedagogical treatise is generally understood to be a manual of singing or instrumental techniques that is largely practical in approach, yet a critique of violin tutor books dating from the early twentieth century, especially those written by the renowned violinists Joseph Joachim (writing in conjunction with Andreas Moser), Leopold Auer, and Carl Flesch, reveals an extensive engagement with a range of wider ideologies. In a bid to trump the supposedly deadening effects of both a historicism resulting from the availability of earlier treatises, as well as the overly scientific approach taken by contemporaneous treatises, these violinist-authors embrace metaphysical ideals of mind or vitality, and the result is a model of violin playing founded on the concept of “singing tone,” an idea developed out of nineteenth-century notions of song/melody as embodying a vital essence. As did Wagner, in his 1869 essay Über das Dirigiren, writers play with the idea that theoretical and performative categories, such as tempo, phrasing, dynamics, vibrato, and types of bow stroke, both conflict with each other and find a deeper unity in a subjectivist ideal of tone. The approach of these texts is not explorative, however, so much as a rather defensive championing of the idea of mind or vitality: ideologies of self, health, and nationalism ultimately prevail over an engagement with historical evidence in Moser's discussion of ornaments, and Auer's intolerance of any mitigating influence that might qualify the artist's final word on aesthetic matters is reminiscent of a reductive, Nietzschean ideal of vitality. Nevertheless, writers struggle to reconcile it with the messier realities of performing, as an embodied and collaborative activity, and subsequently what speaks louder in their texts are anxieties over affronts to notions of self, expressed using pathological notions common to the era. Whereas at times writers encourage students of the violin to share in their lauding of vitalistic ideals, more often than not they try to impose disciplinary measures as a means of inculcating them.

APA, Harvard, Vancouver, ISO, and other styles

24

Lermontovа, E. "Editing violin works for four-string domra as an artistic interpretation of the author’s text (in connection with the sound-making will of the performer)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 145–59. http://dx.doi.org/10.34064/khnum1-52.10.

Full text

Abstract:

Background. In recent years, there has been an undiminished interest of scientists to the problem of transcription. In particular, a number of dissertation research is devoted to this question (M. Borisenko, B. Borodin, N. Ivanchej, M. Parshin, T. Smirnova). However, the editing of violin music for four-string domra in terms of the interpretation of the author’s first text did not become the subject of a special study. It should be noted the identity of the building violin and four-string domra. The violin and domra have unique sound images, which also determines the specificity of the artistic translation, its meaning and result. Objectives. The purpose of the study is to comprehend the phenomenon of editing violin works for four-string domra as an artistic interpretation of the author’s first text (in connection with the sound creation will of the performer). Methods. In connection with the communicative specifics of the violin music editions for the four-stringed domra, the methodological basis of the proposed research was the concept of J. Lotman, according to which the interpretation of the text is possible thanks to the translation mechanism. In accordance with the specifics of the musicians artistic practice, the methodological basis of the study was the concept of K. A. Martinsen about the sound-making will of the performer, which also manifests itself in the creation of editions of violin works for four-string domra and then their performing interpretation. The proposed article is devoted to the specifics of the manifestation of the sound-making will in the process of translating into the language of another instrument (from the violin original to the timbrearticulation re-toning of a domrist). Results. K. A. Martinsen holds the idea that the pianists technique must be inextricably linked with his artistic ideals, that is, the sound-making will. In the case of revisions of the repertoire of the violin for four-string domra, one can also speak about the sound-making will, which manifests itself not only in the artistic concept of interpreting the first text, but also the will to timbre, which is connected with the work on sound quality and its coloring. The strong-willed start is clearly manifested when timbre-articulation re-intoning in the editorial offices of violin music for four-string domra. The will to intonate a musical text is associated with the timbre-articulation features of the instruments. In connection with the interpretation of the musical text, intonation is relevant (concept by T. Verkina), that is, generated by the individual interpretation of the performer, the study of the composers text and he understanding of the sound images of the work. The sound will manifests itself through the sound extraction and sound science, which are inextricably linked with the specifics of articulation. In connection with the acoustic characteristics, the difference in the articulation apparatus is different, the timbre color of the sound of each of the instruments – the violin and the domra – is different. Hence the difference in the volitional regulation of intonation – the performing will to sound, timbre, sound, continual deployment of musical thought. The color of the work that acquires a new timbre-articulatory interpretation also changes. Due to the specifics of the domra sounding, a priori intermittent discrete sound is inherent, however, a separate sound due to the will of the performing musician to sound science is extended into the sounding continual melody. There is no doubt that domra is a singing instrument. The piano is a keyboard- stringed percussion instrument, which in the hands of the pianist-musician also becomes melodious. The predecessors of the piano – the harpsichord, the clavichord – the sound could be extended with the help of a trill. Performers on domra this task achieve with the help tremolo as one of the most common methods of playing the instrument. Tremolo on domra can be likened to treble vibrato. For the dombrist, the will to sound is consistent with the desire to extend each individual sound extracted by a pinch, and to include it in the melodic line. A violinist connects sounds with the help of a bow, in connection with which his instrument differs from a domra in articulation, a way of sound and sound. The nature of the violin contributes to greater continuity of intonation, while the domrist achieves a similar result, contrary to the nature of the instrument. When creating editions of violin works for four-string domra, one should speak about the memory of the first text (the violin original and its performance versions). After all, for the creator and performer of the editors of violin compositions for four-string domra, the first text acts as a source of sound images, ideas about the specifics of its timbre field and articulation, artistic expressiveness of strokes, which determines the specifics of communicative processes in this form of artistic practice. At the same time, the translation of the text is required, which requires the domrist-interpreter to connect editorial thinking and sound creation will. Conclusions. So, addressing the classics of the violin repertoire, the dоmrists are guided by the violin original in its graphic and sound projections. The domrists sound-making will is initiated by the desire to re-enter the original violin version, which is inextricably linked with the instruments nature – the conditions of sound formation, the specifics of its timbre and articulation, and the performing intonation. The main provisions of the publication can be used for further study of the revisions of violin works for four-string domra as an artistic phenomenon in the relationship of the three components: the text of the work – the nature of the instrument – the performer’s interpretation.

APA, Harvard, Vancouver, ISO, and other styles

25

Zhang, Cheng Zhong, Bang Yan Ye, Xi Zhi Hu, Xue Zhi Zhao, and Yun Feng Cao. "Finite Element Simulation Application for Vibration Characteristic of Violin." Key Engineering Materials 620 (August 2014): 662–67. http://dx.doi.org/10.4028/www.scientific.net/kem.620.662.

Full text

Abstract:

In this paper, Finite Element Technology is applied to study the vibration state of violin sounding box using numerical simulation. By means of geometric modeling for the complicated shape of violin sounding box and Finite Element Analysis, the structural parameters of violin box, including thickness of violin plate, height and distribution and change of the shape of arch in front plate geometry, status of bass bar and sound-post etc, are investigated for their influence on vibration patterns and frequency response of violin box. Experiment is carried out for measuring the frequencies responses of violin box to verify the results of the Finite Element Analysis. This research provides a feasible way of theories for violin makers to improve the vibration characteristics of violin.

APA, Harvard, Vancouver, ISO, and other styles

26

Ye, Bang Yan, Jian Ping Liu, Cheng Zhong Zhang, X. Z. Zhao, S. S. Liang, and J. Y. Niu. "Vibration Characteristic of Violin Bowstring and Experimental Research on Helmholtz Motion of String." Key Engineering Materials 621 (August 2014): 707–11. http://dx.doi.org/10.4028/www.scientific.net/kem.621.707.

Full text

Abstract:

The sound source of violin is string vibration. By the stick–slip friction action between bow and string of violin, string and bridge form a complicated vibration system. The interaction mechanism of bowstring is very intricacy. In this paper, through theoretical analysis and experiment, the vibration behavior of violin string is investigated. We measured the vibration images of bowing and plucking violin string on a high-speed photography optical platform and got two different character of string vibration, including vibration displacement, velocity and space trajectory of the mark point on string. By comparing the displacement curves of the different points among on string, the variety of the ratio of positive process time to negative one of vibration sawtooth waveform are studied, and also the formation process of string vibration enveloping curve. On this basis, the Helmholtz motion of string vibration which is presented at 1862 is studied.

APA, Harvard, Vancouver, ISO, and other styles

27

Hansen, Uwe J., and Thomas D. Rossing. "Normal modes of vibration in a violin." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1126. http://dx.doi.org/10.1121/1.425255.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Zhao, Guo Ming. "Vibration Characteristics of Violin Bow String and its Timbre Effect." Applied Mechanics and Materials 670-671 (October 2014): 1130–33. http://dx.doi.org/10.4028/www.scientific.net/amm.670-671.1130.

Full text

Abstract:

This paper analyzes the modes of vibration of the strings and the strings of the material, the thickness effect on pronunciation, the establishment of a mass-spring model of vibrating strings and studied when the force pulling the strings and plucked violins panel vibration. Spectrum analysis and processing by MATLAB, the vibration of the resonance box is directly converted into sound, a sound judgment using spectral analysis methods.

APA, Harvard, Vancouver, ISO, and other styles

29

Kusumaningtyas, Indraswari, and Subagio Subagio. "Indonesian Wood as Material for Acoustic Guitars and Violins." Wood Research Journal 3, no. 1 (August 27, 2017): 11–17. http://dx.doi.org/10.51850/wrj.2012.3.1.11-17.

Full text

Abstract:

Traditionally, acoustic guitars and violins are made from European woods. Spruce is most preferred for the top plate (soundboard), whereas maple, sycamore and rosewood are often used for the back plate. However, these woods are not easily available in Indonesia. In this paper, we present a study on the suitability of a selection of Indonesian woods, namely acacia, mahogany, pine, sengon and sonokembang, as materials for acoustic guitars and violins. The most important acoustical properties for selecting materials for musical instruments, i.e. the speed of sound, the sound radiation coefficient and the damping factor, were investigated. Furthermore, the performance of pine and mahogany were tested by making them into a violin and a guitar. The vibration frequency spectrum and the damping factor of the top plate were measured. The results show that the acoustical characteristics of mahogany are very close to those of maple and still quite close to those of Indian rosewood, which makes it a very suitable local material for back plates. Pine has quite similar acoustical characteristics to spruce. Although its sound radiation coefficient is slightly lower, its aesthetic appeal and workability makes pine a suitable alternative for top plates. However, instruments with pine top plates exhibit different tonal colour compared to instruments with spruce top plates, due to some differences in the vibration frequency spectrum. Furthermore, the generally higher damping factors of pine and mahogany compared to those of the European woods should be taken into account, because they affect the sustain-time of the generated sound.

APA, Harvard, Vancouver, ISO, and other styles

30

IMAZU, Taku, Toru YAMAZAKI, and Yoshiaki ITOH. "11202 Vibration Transmission thorough Bridge Structure of Violin." Proceedings of Conference of Kanto Branch 2013.19 (2013): 145–46. http://dx.doi.org/10.1299/jsmekanto.2013.19.145.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Torres, Jesús A., Carlos Torres-Torres, Eduardo Vidal, Francisco Fernández, Miguel de Icaza-Herrera, and Achim M. Loske. "Violin vibration state determined from laser streak patterns." Applied Acoustics 185 (January 2022): 108384. http://dx.doi.org/10.1016/j.apacoust.2021.108384.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Zhou, Jun Rong, Wen Zhang, and Ju Nan Hu. "The Measurement and Application on Point Impedance Characteristics of Violin Resonator." Applied Mechanics and Materials 235 (November 2012): 245–49. http://dx.doi.org/10.4028/www.scientific.net/amm.235.245.

Full text

Abstract:

This paper will study the vibration performance of resonator by using the engineering measurement, and try to quantify the sound quality of violin body with point impedance parameters so to provide an effective instruction method for the traditional manual of slap-up violin making.

APA, Harvard, Vancouver, ISO, and other styles

33

Donoso, José Pedro, Alberto Tannús, Francisco Guimarães, and Thiago Corrêa de Freitas. "A física do violino." Revista Brasileira de Ensino de Física 30, no. 2 (2008): 2305.1–2305.21. http://dx.doi.org/10.1590/s1806-11172008000200006.

Full text

Abstract:

Neste artigo apresentamos uma descrição geral da física do violino, analisando os conceitos que lhes dão sustentação física e que revelam toda a riqueza e o potencial pedagógico do assunto. Destacamos as contribuições de físicos como Helmholtz, Savart, Raman e Saunders no esforço para descrever a vibração produzida pelo arco nas cordas, e por compreender as propriedades acústicas do instrumento. Descrevemos a função de cada uma das componentes do instrumento e discutimos a importância dos modos normais de vibração dos tampos e do cavalete na resposta acústica do violino. A ressonância acústica da caixa do violino (ressonância de Helmholtz) será discutida fazendo-se um paralelo entre osciladores mecânico, elétrico e acústico. Discutiremos a resposta acústica do violino e descreveremos a produção de seu som caraterístico, que resulta da forma de onda originada pela excitação das cordas pelo arco, influenciada pelas vibrações e ressonâncias do corpo do violino, seus tampos e o cavalete.

APA, Harvard, Vancouver, ISO, and other styles

34

Zhang, Cheng Zhong, Bang Yan Ye, Li Dong Liang, Xiong Jia, and Guang Ming Zhang. "Experimental and Numerical Studies of Violin Bridge Vibration Mechanism." Key Engineering Materials 579-580 (September 2013): 536–41. http://dx.doi.org/10.4028/www.scientific.net/kem.579-580.536.

Full text

Abstract:

A violin bridge kept in place by the pressure of the four strings has a powerful effect on the tone of the instrument. Its dynamic mechanical behaviors are investigated using finite elemental modeling and experiments in this paper. Modal and frequency response analysis of an isolated bridge are carried out. Numerical results show that the frequency responses are related to the vibration modes of the bridge. Particularly, the bridge hill is due to the bridge itself, and linked to the in-plane rocking mode of the bridge near the bridge hill peak. Three-dimensional dynamic forces exerted to the violin plates by the strings and bridge are then experimentally measured using a dynamometer. The experimental results are then analyzed and correlated to the simulation. The frequency response analysis of an isolated bridge is demonstrated to be a potential tool to study the mechanical behaviors of the violin bridge.

APA, Harvard, Vancouver, ISO, and other styles

35

YAMAZAKI, Toru, Takamasa SONE, Takashi HASHIMOTO, and Katsuhiko KURODA. "Discussion on Violin Structure by Using Vibration Energy Flow." TRANSACTIONS OF THE JAPAN SOCIETY OF MECHANICAL ENGINEERS Series B 78, no. 789 (2012): 988–92. http://dx.doi.org/10.1299/kikaib.78.988.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

UTSUNO, Hideo, and Tsuneaki SEKINO. "Study of transient stick-slip vibration of violin string." Proceedings of the Dynamics & Design Conference 2019 (2019): 163. http://dx.doi.org/10.1299/jsmedmc.2019.163.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Bissinger, George. "Comprehensive experimental characterization of violin vibration and radiation dynamics." Journal of the Acoustical Society of America 146, no. 4 (October 2019): 2822. http://dx.doi.org/10.1121/1.5136773.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

UTSUNO, Hideo, Tsuneaki SEKINO, and Junichi KURATA. "Stick slip vibration of violin string using eigen function." Proceedings of the Dynamics & Design Conference 2020 (August 25, 2020): 111. http://dx.doi.org/10.1299/jsmedmc.2020.111.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

HU, MAO-BIN, XIANG-ZHAO KONG, QING-SONG WU, and YONG-HONG WU. "GRANULAR SEGREGATION IN A MULTI-BOTTLENECK CONTAINER: MOBILITY EFFECT." International Journal of Modern Physics B 19, no. 10 (April 20, 2005): 1793–800. http://dx.doi.org/10.1142/s021797920502950x.

Full text

Abstract:

We investigate experimentally and via computer simulations the segregation pattern of binary granular mixtures in a vibrated container with bottlenecks. During the vibration the granular motion is more violent at the bottlenecks than at the bellies. Particles with more mobility congregate to the necks, while those with less mobility congregate to the bellies. We use discrete element simulations to reproduce the main characteristics of the experimental observations.

APA, Harvard, Vancouver, ISO, and other styles

40

Zhao, Ming Hui. "Vibration Analysis of a Shell Structure by Finite Element Method." Advanced Materials Research 591-593 (November 2012): 1929–33. http://dx.doi.org/10.4028/www.scientific.net/amr.591-593.1929.

Full text

Abstract:

Plate-shell structures, especially cylindrical shells and spherical shells, are widely used in engineering fields, such as aircraft and tanks, missiles, submarines, ships, hydraulic pumps, infusion pipelines and gas pipelines, and so on. These structures are usually in a fluid medium, which are related to the structure fluid-solid coupling and acoustic radiation field. As many experiments show that enclosed air in a thin walled structure, just like the violin, affects some modes of vibration significantly, air coupling between vibrating sides of the structure cannot be neglected. In order to explore the sound pressure distribution of vibrational frequencies, this paper, considering the material anisotropy, analyzes a typical complex shell structure of the violin by finite element method, including acoustic-structure coupling analysis and post-processing, especially sound pressure vibration frequency extraction. Finally, we get the conclusion that the distribution of sound pressure vibration frequency is similar to the normal distribution.

APA, Harvard, Vancouver, ISO, and other styles

41

YAMAZAKI, Toru, Takamasa SONE, Takashi HASHIMOTO, and Katsuhiko KURODA. "125 Discussion on Violin Structure by using Vibration Energy Flow." Proceedings of the Symposium on Environmental Engineering 2011.21 (2011): 86–89. http://dx.doi.org/10.1299/jsmeenv.2011.21.86.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

LU, Xiaofeng, and Hideo UTSUNO. "J232021 A Study of Friction-induced Vibration in Violin String." Proceedings of Mechanical Engineering Congress, Japan 2013 (2013): _J232021–1—_J232021–5. http://dx.doi.org/10.1299/jsmemecj.2013._j232021-1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

YAMAZAKI, Toru, Takamasa SONE, Takashi HASHIMOTO, and Katsuhiko KURODA. "710 Discussion on Violin Structure by using Vibration Energy Flow." Proceedings of the Dynamics & Design Conference 2011 (2011): _710–1_—_710–7_. http://dx.doi.org/10.1299/jsmedmc.2011._710-1_.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Shen, Yang, Yong Jie Chen, Hai Tao Fang, and Jia Pang. "Experiment Study on Vibration in Milling of Stainless Steel 304 in Time Domain and Frequency Domain." Advanced Materials Research 548 (July 2012): 406–11. http://dx.doi.org/10.4028/www.scientific.net/amr.548.406.

Full text

Abstract:

Vibration is a common phenomenon in cutting process, which is harmful for machining quality and machine tools. This paper focused on the occurrence and characteristics of vibration of the cutting tool and workpiece by changing cutting speed in milling of stainless steels 304. Vibration acceleration signals of both the cutting tool and the workpiece were sampled and analyzed in time domain and frequency domain. Vibration noise and vibration mark were used to judge the occurrence of violent vibration. In the experiments, both self-excited vibration and violent forced vibration were found at different value of cutting speed. Violent forced vibration was easy to be induced owing to interrupted continuous impulsion cutting.The Maximum amplitude of vibration acceleration signals varied with the cutting speed changing. With the cutting speed increased, the probability of violent vibration increased. Bigger amplitude of vibration will not always lead to vibration mark on surface of workpiece, obvious vibration mark only occurred when n=600 r/min and 700 r/min. In order to reduce the impact of violent vibration on machining quality, more attention should also be paid to the static and dynamics characteristics of the cutting tools and workpiece in milling of stainless steels.

APA, Harvard, Vancouver, ISO, and other styles

45

HASHIMOTO, Takashi, Toru YAMAZAKI, Katsuhiko KURODA, and Masamichi KOJIMA. "737 Propagation Analysis of Vibration energy on Violins." Proceedings of the Dynamics & Design Conference 2010 (2010): _737–1_—_737–4_. http://dx.doi.org/10.1299/jsmedmc.2010._737-1_.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

ZHANG Cheng-zhong, 张承忠, 叶邦彥 YE Bang-yan, 赵学智 ZHAO Xue-zhi, and 胡习之 HU Xi-zhi. "High-speed photographic system for 3D vibration measurement of violin string." Optics and Precision Engineering 22, no. 9 (2014): 2329–36. http://dx.doi.org/10.3788/ope.20142209.2329.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Utsuno, Hideo. "Time history theoretical analysis for stick-slip vibration of violin strings." Journal of the Acoustical Society of America 140, no. 4 (October 2016): 3036. http://dx.doi.org/10.1121/1.4969423.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Fushimi, Akira, Keinosuke Nagai, and Koichi Mizutani. "Measurement of violin plate vibration by acoustical holography using boundary element method." Acoustical Science and Technology 23, no. 5 (2002): 258. http://dx.doi.org/10.1250/ast.23.258.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Gren, Per, Kourosh Tatar, Jan Granström, N.-E. Molin, and Erik V. Jansson. "Laser vibrometry measurements of vibration and sound fields of a bowed violin." Measurement Science and Technology 17, no. 4 (February 10, 2006): 635–44. http://dx.doi.org/10.1088/0957-0233/17/4/005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Wu, Zhou Ping, Bei Zhi Li, and Jian Guo Yang. "Order Vibration Analysis of High-Speed Spindle System." Advanced Materials Research 712-715 (June 2013): 1653–58. http://dx.doi.org/10.4028/www.scientific.net/amr.712-715.1653.

Full text

Abstract:

Before the working speed of high-speed spindle system reaches the critical speed, violent vibration which directly affects the quality of the work piece has been already discovered. To precisely study the speed at which violent vibration happens and the modes of vibration, this paper provided an order vibration approach through studying the model analysis and order of spindle system. The nature frequencies of model analysis were verified and the order of spindle system was confirmed by speed ascend experiment. The result shows that the violent vibration is caused by the manufacturing error of outer ring race of bearing and the mode of vibration mainly located on the grinding wheel which greatly affects the accuracy of spindle system. It is useful for optimizing the structure and operation procedure of high-speed spindle system.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!