The sound of the violin is the result of interaction between many parts. Drawing an arc on a string causes the string to vibrate. This vibration is transmitted through bridges and voicemails to the body of the violin, allowing the sound to radiate effectively into the surrounding air. The tension and type of strings, the placement and strain of the heading, the arc quality, and the body's construction, all contribute to the loudness and tonal sound quality.
Video Basic physics of the violin
String
The violin strings are stretched across bridges and violin nuts so the bottom is silent, allowing for the creation of standing waves. The fundamental frequency and tone of the harmonic sound of the resulting sound depends on the material properties of the string, such as voltage, length, mass, elasticity and damping factor.
Tension
The strain of the rope affects the sound produced by the violin in a clear way. Increasing the tension on the string produces a higher frequency tone. Violin strings wrapped around adjustable pegs. By rotating the corresponding stake, each string can be loosened or fastened to produce the desired tone, which can be explained in frequency. The violin playing string ranges from about 9 lbf (40 N) to 20 lbf (89 N).
Length
The length of the string also affects the tone, and is the basis for how the violin is played. The violinist "stops" the string with the fingertips of the left hand, shortening the length. Often the string is stopped against the violin fingerboard, but in some cases the fingertip contact alone is enough to stop the string at the desired length. Stopping strings with shorter lengths has the effect of raising the tone.
Materials
Material straps affect the sound quality. A vibrating string produces no frequency. Sound can be described as a combination of the fundamental frequency and the additional tones, which make up the sound timbre. String material affects the overtone mixture. Response and ease of articulation are also influenced by the choice of string material.
The violin string originally made from catgut is still available, although its market niche is limited, due to its price and the sensitivity of adjustment to moisture and temperature. Modern strings are made of steel, welded steel, or various synthetic materials. The violin strings (with the exception of most E strings and some "historically informed" gut strings) are spirally or "overloaded" with metal to keep their thickness within comfortable limits and to manage their surface frictional properties. Some stranded steel strings have additional rolls in the underside of the surface coil. Supplementary materials increase the mass per unit length of the string, lowering the sound tone generated by the measuring string and the given tension.
Maps Basic physics of the violin
Bridge
This bridge supports one long edge plays of strings. It must stand under a combined combined strength of about 20 lbf (89 N). Down force preloads over violins, or tables, affect the sound of sensitive instruments. The breaking angle of the rope along the bridge affects the downward force, and is usually 158 Â °.
More importantly, the bridge transferes vibrations from the string to the top of the violin. The most significant bridge movement is side-to-side shake, coming from the transverse component of the string vibration. Bridges may be useful to be seen as mechanical filters, or mass arrangements and "springs" that filter and form sound timbre. Often bridges are formed to emphasize singer formarians at around 3000 Hz.
Bow
Excitation of string vibrations is generally provided by an arc consisting of flat ribs of parallel horse hair stretched between the ends of a stick, which can be made of wood or synthetic materials such as fiberglass or carbon fiber composites. The length, weight, and point of balance of the modern arc are standardized. Players may see variations of sound and handling from arc to arc, based on this parameter as well as stiffness and moment of inertia.
Hair is coated with rosin to provide controlled sticks as it moves across the string. Different types of rosin are available, providing various "grip" or static friction.
In bending, the three most prominent factors under the direct control of the player are arc speed, downward force, and the location of the audible point where the hair cuts the rope. The desired sound point will usually move closer to the bridge when the strings stop to a shorter length. Players can also vary the amount of hair that comes in contact with a string by tilting the bow stick more or less from the bridge. The violinist is trained to keep the arc perpendicular to the strings in many cases, since other corners can affect the sound.
Body
The violin body must be strong enough to withstand the strain of its strings, but it is also light and thin enough to vibrate properly. The violin body consists of two curved wooden plates as the top and bottom of the box, whose sides are formed by a thin "curved rib" of wood. The ribs are reinforced at the edges with lining strips, which provide an extra gluing surface in which the plates are attached. An animal protective glue is used to tighten the parts together, as it is capable of making well-fitted joints that do not absorb vibration or add reflective discontinuities to vibrating structures.
An internal voice post helps to transmit sound to the back of the violin and serves as a structural support.
The violin body acts as a "sound box" to pair the string vibrations into the surrounding air, making it audible. The construction of this sound box, and especially curved from the top and back, has a profound effect on the overall sound quality of the instrument. The system produces sounds from the violin body including the top and back (and to some degree of sides, or ribs), the bass bar attached to the lower part of the top, and the bridge and the outpost. In addition to the body structure resonance mode, the closed air volume shows the Helmholtz resonance mode.
Bibliography
- Hutchins, M. 1962. Music Physics. Scientific American, W. H. Freeman and Company, 1974.
- Hutchins, M. Acoustics of Violin Plates. Scientific American, vol 245, No. 4. Oct 1981
Note
External links
- Acoustic violin: introduction
- William F. Fry: A Physicist's Quest for "Secrets" from Stradivari (review of Wisconsin academy)
- Through the Forest - Use of Medical Imaging in Researching History Instruments Use of computer-aided tomography (CT Scanning) to examine great Italian instruments for replicating their acoustics in modern instruments.
- A violin animation that shows how plates vibrate at different frequencies
- Animated Stradivari 1712 violin wire frame at various eigenmode frequencies
Source of the article : Wikipedia
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