Dissertationen zum Thema „Instruments à cordes – Propriétés acoustiques“
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Condi, Louise. „L’instrumentarium européen à cordes sympathiques des XVIIe et XVIIIe siècles. Étude historique, esthétique et acoustique des instruments, de leurs pratiques et de leurs répertoires“. Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL169.
Der volle Inhalt der QuelleThe term 'sympathetic strings' is used on cordophones to describe strings that are never played directly, but which nevertheless vibrate. These strings modify the timbre and resonance time of the instrument, creating an atypical sound signature. Sympathetic string instruments are found all over the world. In Europe, this device has inspired makers, composers and performers to create a rich instrumentarium: viola d'amore, baryton, nyckelharpa, hardingfele, hurdy-gurdy, violin d'amore, marine trumpet, and so on. This thesis explores the influence of the sympathetic strings of these instruments on their respective repertoires, using the methods of musicology, acoustics and heritage sciences
Orelli, Paiva Guilherme. „Vibroacoustic Characterization and Sound Synthesis of the Viola Caipira“. Thesis, Le Mans, 2017. http://www.theses.fr/2017LEMA1045/document.
Der volle Inhalt der QuelleThe viola caipira is a type of Brazilian guitar widely used in popular music. It consists of ten metallic strings arranged in five pairs, tuned in unison or octave. The thesis work focuses on the analysis of the specificities of musical sounds produced by this instrument, which has been little studied in the literature.The analysis of the motions of plucked strings using a high speed camera shows the existance of sympathetic vibrations, which results in a sound halo, constituting an important perceptive feature. These measurements also reveal the existence of shocks between strings, which lead to very clearly audible consequences. Bridges mobilities are also measured using the wire-breaking method, which is simple to use and inexpensive since it does not require the use of a force sensor. Combined with a high-resolution modal analysis (ESPRIT method), these measurements enable to determine the modal shapes at the string/body coupling points and thus to characterize the instrument.A physical modelling, based on a modal approach, is carried out for sound synthesis purposes. It takes into account the strings motions according to 2 polarizations, the couplings with the body and the collisions between strings. This model is called a hybrid model because it combines an analytical approach to describe the vibrations of strings and experimental data describing the body. Simulations in the time domain reveal the main characteristics of the viola caipira
Wofford, Timothy. „Study of the interaction between the musician and the instrument. Application to the playability of the cello“. Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUS336.
Der volle Inhalt der QuelleWe attempt to validate the link between the bridge mobility and the perception of playability by observing whether the musician perceives differences in Schelleng’s upper and lower limits for notes other than the wolf note. We also look for other factors which are relevant to the musician’s perception of playability by studying the interactions between the player and the instrument during an evaluation and performance task. Unlike previous approaches, we observe all parts of the playability feedback loop, including the control parameters, some vibro-acoustical measurements taken with an impact hammer, the response of the instrument to the control parameters, and the musician’s comments about perceptual properties. We find that geometric features of the cello set-up (in particular, the bridge curvature) may lead the musician to use less force than usual in order to avoid accidentally touching adjacent strings. This results in longer transients and different timbres, which are perceived in ways that are not related to geometry or control parameters. Sometimes unconscious adaptations to the geometry affect the sounds produced and the subsequent perception of the instrument. A conscious effort is needed to overcome these natural behaviors in order to compensate for set-up geometry and arrive at a stable evaluation
Nief, Guillaume. „Comportement vibroacoustique des conduits : modélisation, mesure et applications aux instruments de musique à vent“. Le Mans, 2008. http://cyberdoc.univ-lemans.fr/theses/2008/2008LEMA1020.pdf.
Der volle Inhalt der QuelleThe wall vibrations of a wind musical instrument imply various vibroacoustic couplings:duct/internal fluid and duct/external fluid. The duct/internal fluid is studied via the input impedance of the vibrating duct, which differs from the perfectly rigid case. The disturbance of the impedance, still very weak for usual parameters, is maximal when the eigenfrequency of a mechanical ovalling mode of the duct coincides with the one of an acoustic mode. When such a mechanical/acoustical matching occurs, slight timbre modification, or even more important disturbance can be observed on the produced sound. The duct/external fluid coupling is investigated via the acoustic radiation of a trombone bell free to vibrate, which differs from the case where its vibration are damped using sand. Some small differences of a few decibels are measured at frequencies of radiating mechanical modes, which are efficient from the acoustic radiation point of view
Caramiaux, Baptiste. „Etudes sur la relation geste-son en performance musicale“. Paris 6, 2011. http://www.theses.fr/2011PA066461.
Der volle Inhalt der QuelleBonnet, Marie-Dominique. „La simulation numérique : le rôle des modèles formalisés, à la frontière de la recherche scientifique et de la création musicale : exemple de la synthèse par modèles physiques“. Paris, EHESS, 2002. http://www.theses.fr/2002EHESA109.
Der volle Inhalt der QuelleComputer simulation of how an instrument works – whether it be the vibrating structures, the excitation modes, the propagation modes, as well as the radiation of the instrument – is the structural foundation of any synthesis procedure using physical models. Some of the main techniques currently used, are “waveguide synthesis”, “modal synthesis” with the Modalys software, and the Cordis-Anima system. I have studied the fundamental implications, prospectives and possible orientations of the use of the physical model synthesis through a pragmatic approach of the following three main axes: space, gesture and instrument. These simulation techniques aim at two things: on the one hand it can help theory-developing in acoustic physics, on the other hand it can lead to an analogical, extensive and metaphoric use in the field of musical creation. Moreover, unlike signal model synthesis, physical model synthesis aims at modelling and simulating the causes of an acoustic phenomenon rather than the results of such a phenomenon. This computer simulation of the causes raises numerous epistemological and musical issues. As a result not only will this add a new dimension to sound synthesising, but it might also alter the approach of the composer who will be able to change physical parameters thus revealing new creative fields of research in relation with computer simulation of vibrating objects
Hérold, Nathalie. „Timbre et forme : la dimension timbrique de la forme dans la musique pour piano de la première moitié du dix-neuvième siècle“. Strasbourg, 2011. http://www.theses.fr/2011STRA1065.
Der volle Inhalt der QuelleThis thesis examines the structuring role of timbre through the pianistic repertory of the first half of the nineteenth century, an exploratory period in which timbre, as multidimensional compound, occupies a central place. Based on an architectonic and organic conception of form, it conveys acoustics and psychology, in a transdisciplinary perspective. Relationship between timbre and language is based on the timbral resources of writing. This material, provided with strong structural potentialities, is modelled by pianistic and textural factors in interaction. Low-level timbral units, delimited by different types of articulations, find their cohesion in timbral groupings provided with emerging properties. The resulting orientated structures converge or diverge with the other musical dimensions. Formal deployment of timbre involves timbral associations, giving rise to orientated and polarized spaces and to network structures. Timbral prolongations, implying temporal extension, generativity and recursion of form, concern the spectral and temporal dimensions of timbre and question the notion of fundamental structure. Timbral hierarchies, considered in terms of subordination and reduction, involve fractal and treelike structures. Relationship between timbre and overall formal plan implies the examination of high-level timbral units, resulting from statistical and syntactic groupings, and whose articulations present many similarities with low level. The typology of forms renders the resulting structures’ diversity and brings to light the notions of climax, symmetry, progression, anticipation and return. Timbre, structured in interrelated levels, thus constitutes a dimension essential to the comprehension of nature and evolution of pianistic forms
Pallone, Grégory. „Dilatation et transposition sous contraintes perceptives des signaux audio : application au transfert cinéma-vidéo“. Aix-Marseille 2, 2003. https://tel.archives-ouvertes.fr/tel-00003363v4.
Der volle Inhalt der QuelleRobine, Matthias. „Analyse de la performance musicale et synthèse sonore rapide“. Bordeaux 1, 2006. http://www.theses.fr/2006BOR13327.
Der volle Inhalt der QuelleMarco, Olivier. „Instrumentation d'un site avalancheux : de l'utilisation des propriétés acoustiques de la neige et des techniques d'imageries pour la mesure de paramètres physiques d'une avalanche dense“. Grenoble 1, 1994. http://www.theses.fr/1994GRE10076.
Der volle Inhalt der QuelleVauthrin, Camille. „Acoustique et respiration dans le jeu musical des instruments à vent : application aux flûtes“. Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066388/document.
Der volle Inhalt der QuelleThis thesis presents an acoustical study of flute-like instruments, which is developed by the analysis of flautist’s breathing. The flautist acquires during his musical background an expert control of his instrument. The control developed by the musician directly depends on the freedoms and constraints provided by the musician musical expertise, his respiratory physiology, the musical tasks and the acoustic behavior of the flute. Studying the playing techniques requires us to consider the flautist and the instrument as a whole.First, this work focuses on the study of the acoustic response of the flute through two studies: one on the contribution of the linear acoustics in the design of a new instrument with a flute-maker, the other on the influence of the position of the flautist’s lips. This work allows us to highlight irregularities in the acoustic behavior of the flute according to the fingerings, and leads us to study how the flautist compensates them. Secondly, we study the respiratory strategies developed by the musician while playing, in order to obtain detailed analysis and understanding of relationships between respiratory and aeroacoustic control parameters in a musical context. We answer two questions: how does a flute player adapt his breathing and playing to musical tasks, and when does the musical playing begin. Finally, we were interested in the respiratory efforts developed by the musician, in terms of work and power. A new question is asked: how does the flautist use his respiratory system in order to achieve and/or to highlight a musical intention
Velut, Lionel. „Contrôle par le musicien des régimes d'oscillation des instruments de la famille des cuivres : modélisation et mesures acoustiques, analyse du système dynamique“. Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM4764/document.
Der volle Inhalt der QuelleThis thesis focuses on how a musician controls and chooses the oscillation regimes of brass instruments.The association of an instrument and a musician is a complex dynamical system. The nonlinear coupling between the lips and the resonator can lead to a stationary regime, periodic or quasi-periodic self-sustained oscillations. Through several control parameters, a musician can select the desired regime.Two approaches are developed to understand the emergence of the instrument oscillation regimes and how a musician controls it. A physical model of brass instrument is studied. It consists in a one-degree-of-freedom lip valve nonlinearly coupled to a modal fit of the input impedance of the instrument. The features of several oscillation regimes of this model are studied through linear stability analysis, numerical simulation and harmonic balance. Goals are the assessment of the ability of this model to reproduce the behavior of the modelled instrument. An experimental setup is also developed to measure simultaneously playing parameters used by a musician and instrument variables.Results provide a better understanding of the behavior of brass instrument oscillation regimes. Measurements provide ranges of the control parameters. Results of the analysis methods of the model are complementary. A global vision of the occurrence of certain oscillation regimes is provided, along with more detailed information for some operating points. Some specific playing situations are examined in detail, such as the trombone pedal note, the influence of a passive or active mute on the latter, and the nature of multiphonic sounds
Cabanes, Gilles. „Analyser des oeuvres mixtes en fonction de leur nature : éléments de réflexion et propositions“. Pau, 2008. http://www.theses.fr/2008PAUU1009.
Der volle Inhalt der QuelleDuring the XXth century, new types of musical works appeared from the use of electricity and technological tools unknown in occidental music. A vast repertory of works has been developing from the 50’s to nowadays constituting the general category of electroacoustic music. More specifically, what were then named the mixed works originally combine the secular instrumental tradition with the new electroacoustic conception. This research work proposes to set up an analytical approach specific to these mixed works. In that sense, it is necessary to precisely define what the aims are (what is analyzed?) and what the method is (how can it be analyzed?). Besides, the stakes of the various questions studied in this work deal not only with these previous points but also with the specificity of the repertory to be analyzed. That is the reason why this work first focus on the fundamentals of occidental music from their evolution to nowadays. The point of the first part is indeed to define as precisely as possible the nature of mixed works according to their artistic background. Once this two axes set up (nature of the mixed works and methods of analysis), the work will focus on the analysis of various extracts of works which well exemplify the category. These analysis are articulated according to two major perspectives: the analysis of the causes of the sounds in a work and the analysis of the morphologic and structural relations between the sounds either produced by instruments or speakers
Terrien, Soizic. „Instruments de la famille des flûtes : analyse des transitions entre régimes“. Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM4756.
Der volle Inhalt der QuelleVarious studies have highlighted the diversity of regimes in flute-like instruments : static, periodic or non periodic regimes. However, some aspects of their dynamics remain poorly understood. Both for flute players and makers, transitions between regimes are particularly important : on the one hand, they correspond to a change of the note played, and on the other hand, production of a given regime is determined by parameters related to making and to playing of the instrument. In this document, we are interested in caracteristics of regime change in flute-like instruments, in relation with making and playing issues.Different approches are considered. First, experimental methods, with measurement on both musician and an artificial mouth. On the other hand, a physical model of the instrument - a system of delay differential equations of neutral type - is studied, through time-domain integration, and using orthogonal collocation coupled to numerical continuation. This last approach provides access to bifurcation diagrams.Considering results of these different methods, it becomes possible to better understand different experimental phenomena, such as regime change and associated hysteresis, or production mechanisms of non periodic regimes. Influence of different parameters is further studied : the crucial importance of the channel geometry in recorders is highlighted, and the influence of the mouth pressure dynamics on regime change thresholds is analysed
Bergeot, Baptiste. „Naissance des oscillations dans les instruments de type clarinette à paramètre de contrôle variable“. Phd thesis, Université du Maine, 2013. http://tel.archives-ouvertes.fr/tel-00877550.
Der volle Inhalt der QuelleTaillard, Pierre-André. „Theoretical and experimental study of the role of the reed in clarinet playing“. Thesis, Le Mans, 2018. http://www.theses.fr/2018LEMA1010/document.
Der volle Inhalt der QuelleThis thesis deals with the acoustics of the clarinet and the role of the reed, summarizing studies carried out between 2001 and 2018 on various topics : I) Study of elementary analytical models, focused on 1) role of losses. 2) iterated maps, highlighting various operating regimes, which are also useful for the instrumental pedagogy. II) Reed characterization study : 1) Dynamic study of the reed resonances, by holography. It leads to a model of viscoelastic material explaining some differences observed in the frequencies of the first 15 modes of the reed. 2) Static study of the mechanical and aeraulic characteristics of the exciter (reed + mouthpiece + lip). The method accurately measures the airflow entering the instrument as a function of lip and air pressure. III) Sound synthesis by physical model in real time : 1) Mechanical and aeraulic modeling of the reed, according to measurements. The proposed nonlinear stiffening spring model allows for an efficient dynamic simulation. 2) Modal estimation of the (measured) input impedance of wind instruments. Design techniques for accurate digital filters, passive at any frequency, are described. 3) Modal estimation and simulation of wind instruments by waveguides, implemented in C ++ software. IV) A playability study of a panel of 40 reeds by canonical correlation analysis reveals statistically strong links between physical measurements, subjective evaluations and sound synthesis. It allows a characterization of the reeds that can be made by the manufacturer, according to at least 4 independent factors
Roche, Fanny. „Music sound synthesis using machine learning : Towards a perceptually relevant control space“. Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALT034.
Der volle Inhalt der QuelleOne of the main challenges of the synthesizer market and the research in sound synthesis nowadays lies in proposing new forms of synthesis allowing the creation of brand new sonorities while offering musicians more intuitive and perceptually meaningful controls to help them reach the perfect sound more easily. Indeed, today's synthesizers are very powerful tools that provide musicians with a considerable amount of possibilities for creating sonic textures, but the control of parameters still lacks user-friendliness and may require some expert knowledge about the underlying generative processes. In this thesis, we are interested in developing and evaluating new data-driven machine learning methods for music sound synthesis allowing the generation of brand new high-quality sounds while providing high-level perceptually meaningful control parameters.The first challenge of this thesis was thus to characterize the musical synthetic timbre by evidencing a set of perceptual verbal descriptors that are both frequently and consensually used by musicians. Two perceptual studies were then conducted: a free verbalization test enabling us to select eight different commonly used terms for describing synthesizer sounds, and a semantic scale analysis enabling us to quantitatively evaluate the use of these terms to characterize a subset of synthetic sounds, as well as analyze how consensual they were.In a second phase, we investigated the use of machine learning algorithms to extract a high-level representation space with interesting interpolation and extrapolation properties from a dataset of sounds, the goal being to relate this space with the perceptual dimensions evidenced earlier. Following previous studies interested in using deep learning for music sound synthesis, we focused on autoencoder models and realized an extensive comparative study of several kinds of autoencoders on two different datasets. These experiments, together with a qualitative analysis made with a non real-time prototype developed during the thesis, allowed us to validate the use of such models, and in particular the use of the variational autoencoder (VAE), as relevant tools for extracting a high-level latent space in which we can navigate smoothly and create new sounds. However, so far, no link between this latent space and the perceptual dimensions evidenced by the perceptual tests emerged naturally.As a final step, we thus tried to enforce perceptual supervision of the VAE by adding a regularization during the training phase. Using the subset of synthetic sounds used in the second perceptual test and the corresponding perceptual grades along the eight perceptual dimensions provided by the semantic scale analysis, it was possible to constraint, to a certain extent, some dimensions of the VAE high-level latent space so as to match these perceptual dimensions. A final comparative test was then conducted in order to evaluate the efficiency of this additional regularization for conditioning the model and (partially) leading to a perceptual control of music sound synthesis