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Relevant bibliographies by topics / Vibrato

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Academic literature on the topic 'Vibrato'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Vibrato"

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.

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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.

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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.

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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.

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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.

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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

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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.

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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.

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Glasner, Joshua D., and John Nix. "Perception of vibrato rate by professional singing voice teachers." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A54. http://dx.doi.org/10.1121/10.0015518.

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This study sought to investigate how voice clinicians perceive vibrato rate alterations when presented with controlled, synthesized singing voice samples which vary in vibrato rate and vibrato extent. Thirty-four professional voice teachers completed a twelve-item demographic survey and performed a visual sort and rate task (VSR). For the VSR task, each participant listened to twenty synthesized samples and sorted them from slowest vibrato rate to fastest vibrato rate. This task resulted in distance (i.e. individual perception of vibrato rate) and rank-difference measurements for each sample. Two generalized linear mixed effects models (GLMM) and one linear model (LM) were computed. Results for GLMM’s found significant associations between vibrato extent and vibrato rate and both individual perception of vibrato rate and rank-difference. Results for the LM found no significant relationships between demographic information and absolute total ranking error. From the results of this study, it seems that both vibrato extent and vibrato rate influence the perception of vibrato rate for professional voice teachers. Neither age nor teaching experience seemed to relate to the ability to discern vibrato rate accurately.

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Beauchamp, James W. "Vibrato parameterization." Journal of the Acoustical Society of America 136, no. 4 (October 2014): 2150. http://dx.doi.org/10.1121/1.4899766.

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Steyn, Mikki (Marietjie). "Flute vibrato." Ars Nova 28, no. 1 (January 1996): 25–41. http://dx.doi.org/10.1080/03796489608566540.

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Shi, Yang, and James W. Beauchamp. "Time-scaling vibrato tones while preserving vibrato rate." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2606. http://dx.doi.org/10.1121/1.5014540.

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Almeida, André, Emery Schubert, and Joe Wolfe. "Timbre Vibrato Perception and Description." Music Perception 38, no. 3 (February 1, 2021): 282–92. http://dx.doi.org/10.1525/mp.2021.38.3.282.

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In music, vibrato consists of cyclic variations in pitch, loudness, or spectral envelope (hereafter, “timbre vibrato”—TV) or combinations of these. Here, stimuli with TV were compared with those having loudness vibrato (LV). In Experiment 1, participants chose from tones with different vibrato depth to match a reference vibrato tone. When matching to tones with the same vibrato type, 70% of the variance was explained by linear matching of depth. Less variance (40%) was explained when matching dissimilar vibrato types. Fluctuations in loudness were perceived as approximately the same depth as fluctuations in spectral envelope (i.e., about 1.3 times deeper than fluctuations in spectral centroid). In Experiment 2, participants matched a reference with test stimuli of varying depths and types. When the depths of the test and reference tones were similar, the same type was usually selected, over the range of vibrato depths. For very disparate depths, matches were made by type only about 50% of the time. The study revealed good, fairly linear sensitivity to vibrato depth regardless of vibrato type, but also some poorly understood findings between physical signal and perception of TV, suggesting that more research is needed in TV perception.

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Silva, Ana Carla Schmidel Lourenço, Luzia da Silva Caçador, and Lívia Lima Ribeiro. "O vibrato de cantores profissionais da música gospel." Revista CEFAC 16, no. 4 (August 2014): 1255–65. http://dx.doi.org/10.1590/1982-0216201427212.

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Objetivo verificar as características do vibrato de cantores profissionais de acordo com o estilo da música gospel; e se o comando verbal para a realização do vibrato interfere em suas características. Métodos aprovação do CEP. Analisou-se as características espectrográficas do vibrato de 20 cantores gospel profissionais, 06 homens e 14 mulheres (média de idade: 30 anos), por meio de dois estilos gospel – adoração e pentecostal. Estruturou-se duas situações de gravação – ausência e presença de comando verbal para a realização do vibrato. Todos os participantes responderam ao item de sinais e sintomas vocais do protocolo CPV-P e realizaram avaliação laringológica. Resultado observou-se que no estilo pentecostal 95% dos participantes realizaram vibrato regular, com maior variação da amplitude, maior energia do espectro e melhor definição dos harmônicos; na adoração 100% realizaram vibrato irregular, com menor variação da amplitude, menor energia no espectro e 50% tiveram presença de harmônicos com menor definição e 50% com ausência de harmônicos. Na análise espectrográfica observou-se que, no pentecostal, houve vibrato regular em 75% dos sujeitos, maior variação da amplitude em 65%, maior energia no espectro em 55%, e presença com maior definição em 70%, tanto para situação sem comando verbal quanto para a com comando para realização de vibrato. Não houve relação entre aulas de canto, terapia fonoaudiológica e características do vibrato. Conclusão o vibrato de cantores treinados modifica conforme o estilo gospel cantado. O comando verbal para a realização do vibrato aumenta a definição de regularidade, amplitude, energia no espectro e definição dos harmônicos.

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Dissertations / Theses on the topic "Vibrato"

1

Moens-Haenen, Greta. "Vibrato im Barock." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38344.

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Nandamudi, Srihimaja. "Aerodynamics of Vocal Vibrato." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1499427478103556.

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Reese, Lorie. "Laryngeal-level amplitude modulation in vibrato /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1535.pdf.

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Besouw, Rachel Marijke van. "Representing the pitch of vibrato tones." Thesis, University of York, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441069.

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Reese, Lorie C. "Laryngeal-Level Amplitude Modulation in Vibrato." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/767.

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Research in vocal vibrato has established that vocal tract filtering is primarily responsible for the amplitude modulation (AM) present in Western classical vibrato. Using electroglottography (EGG) and the EGG speed quotient, which is sensitive to fluctuations in the amplitude of vocal fold vibration, AM was detected at the laryngeal (source) level, in addition to the subsequent AM which results from vocal tract filtering. Seventeen classically-trained opera singers sang vowels in three pitch and loudness conditions. EGG and microphone measurements of FM and AM and their rates, extents, and periodicity were made. Airflow was also measured, and the samples were rated by voice professors for vibrato consistency, speed, and width. Physiologic and acoustic data revealed that AM from vocal tract filtering, or the resonance-harmonics interaction (RHI) described by Horii and associates, was present throughout the vibrato samples. Laryngeal-level AM was also present throughout, with soft conditions having the highest mean extents. Singers with lower degrees of laryngeal-level AM were also those rated highest for vibrato consistency. Vibrato rate increased as pitch increased, and, to a lesser extent, as intensity increased. These findings document, in addition to the AM resulting from the RHI, the concurrent presence of laryngeal-level AM in a group of singers representing a range of training and experience.

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Secan, Stephen R. "Amplitude and frequency modulation in Oboe Vibrato." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407510603.

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Draiblate, Yoni. "HISTORY, EVOLUTION AND PEDAGOGY OF CELLO VIBRATO." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/555692.

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Music Performance
D.M.A.
On 9 April 1860, seventeen years before Thomas Edison invented the phonograph, a Parisian inventor named Leon Scott de Martinville invented the “phonautograph,” the first device capable of recording sound. In the demonstration recording produced by de Martinville, the listener hears the inventor singing a short section of the song “Au clair de la lune.” The recording lasts about ten seconds and is not of very good audio quality—it is full of interference and white noise, making it hard to decipher words. Technology has since evolved and improved to the point where we can examine the evolution of vibrato with relative ease, simply by listening to different recordings. When examining the question of cello vibrato prior to the second half of the 19th century with its technological innovations, however, we are left with a somewhat paradoxical question: “How did vibrato sound?“ This question is important for two reasons. First, through exploring the history of cello vibrato we may be able to make clearer inferences or, at the very least, establish more educated hypotheses, pertaining to general questions of sound and musical aesthetics throughout the centuries. Second, examining early cello technique and how it evolved can greatly help us understand the evolution of the left hand’s role in performance, particularly in the creation of vibrato. I am well aware that when it comes to historical performances prior to the introduction of quality recording technology, we can only deal with probabilities, never certainties, and we have no way of knowing what soloists and orchestral musicians sounded like, nor do we have a way to know what composers wished to hear. Since it is not possible to draw conclusions based on audio recordings prior to the end of the 19th century, I will explore the evolution of cello vibrato through close examination of early cello performance practice, as outlined in treatises and texts, as well as accounts by musicians who were key figures in developing and advancing playing techniques. While it will never be feasible to go back in time and hear this evolution for ourselves, it is possible to construct a better understanding of the use of vibrato prior to the second half of the 19th century. My aim in this paper is to better understand the evolution of cello vibrato, its origins, early techniques for producing it, and the influence of technique on vibrato over the years, mainly throughout Europe, in order to better answer this question: when did vibrato become an integral part of the cellist’s sound? Have cellists always used vibrato, and if so, did they use it continuously on all possible pitches? For the performing artist and teacher, it is highly beneficial to know the history and evolution of vibrato, and its role in the development of the cello sound over the years. Having this knowledge can have a direct effect on interpretation. By way of background, I will first discuss the origins of both the instrument and vibrato itself, in separate chapters.
Temple University--Theses

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Holmes, Sharee Oakes. "The Effects of Emotion on Acoustic Characteristics of Vocal Vibrato in Trained Singers." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3616.

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The purpose of this study was to investigate the effects of emotion on several key acoustic features of vibrato including vibrato rate, extent, and steadiness (measured by FM rate COV and FM extent COV). We hypothesized that intensity of emotion would have a significant effect on vibrato rate, extent, and periodicity, although the direction of these changes was undetermined. There were 10 participants, including eight females and two males, who were graduate student singers with high competency ratings. Each participant completed a series of tasks including sustained vowels at several pitch and loudness levels, an assigned song that was determined to have neutral emotion, and a personal selection that was selected because it included sections of intense emotion. Vowel tokens were averaged for each task, and measurements of mean f0, mean dB, FM rate, FM extent, FM rate COV and FM extent COV were calculated by task for each participant. Contrast analyses were performed comparing each task against the personal selection (high emotion) task. The results suggest that FM rate and FM rate COV may have been influenced by level of emotion, and FM extent, FM rate COV and FM extent COV were likely influenced by the performance nature of the task.

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Reidlinger, Christopher R. "Review and analysis of violin vibrato pedagogy with beginning violin students." Full text available online (restricted access), 2000. http://images.lib.monash.edu.au/ts/theses/Reidlinger.pdf.

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Manfredi, Zo Hurd. "Physical Problems in Vibrato Amongst First-year College Violinists: a Descriptive Study." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804848/.

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The purpose of this descriptive study was to first identify to what extent first-year college violinists physically struggle with the vibrato motion, and further, to identify physical problems within the motion that are contributing to their challenges during the learning process. The 16 participants in this study were chosen randomly from the College Music Society Directory of Music Faculties in Colleges and Universities (2013-2014 edition). Participants completed a questionnaire of 32 quantitative and qualitative questions addressing the vibrato of their 2013-2014 first-year violinists. 62% of participants’ first-year students had a physical problem with vibrato, 70% of participants’ students were working on correcting physical problems in vibrato during lessons. Participants also reported that 15% of their students were not able to create a vibrato motion at all. Almost all professors (n=15) indicated that students with a problematic vibrato were too tense in parts of the arm or hand and this negatively affected the motion and thus, the sound. Specific problems also included vibrato being too narrow, but rarely too wide, vibrato being too fast or too slow caused by tension, problems with when and how vibrato was being applied, problems with maintaining intonation before or during use of vibrato, and problems with not understanding the motion needed or imagining an intended sound. Most professors used movement terminology to describe physical problems with vibrato as well as aural problems with vibrato. Only a few professors discussed aural problems in vibrato using terminology depicting the sound. Participants revealed that the most commonly used types of vibrato amongst their first-year students were arm vibrato and a combination vibrato (use of wrist, arm and finger vibratos). Most participants also listed these combined parts of finger, wrist and arm in their own definitions of a good-sounding vibrato. Results from this study can be directed to the attention of classroom teachers, studio teacher and private instructors to these specific physical and aural problems before a student begins to study vibrato early in learning. Conclusions suggest possible ways in which the college or pre-college teacher can address these issues in students that have a problematic vibrato motion.

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Books on the topic "Vibrato"

1

Leimdorfer, Gilles. Cannes, vibrato: Photographies, Gilles Leimdorfer. Cannes: Musées de la mer, 2006.

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Alanna, Heiss, Leffingwell Edward G, Kalina Richard, and Sundaram Tagore Gallery, eds. Judith Murray: From vibrato to legato. New York, NY: Sundaram Tagore Gallery, 2006.

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Szende, Ottó. Unterweisung im Vibrato auf der Geige. Wien: Universal Edition, 1985.

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Drushler, Paul. Clarinet vibrato: Terminology, utilization, aesthetics : research article. Rochester, N.Y: Shall-u-mo Publications, 1991.

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Moens-Haenen, Greta. Das Vibrato in der Musik des Barock: Ein Handbuch zur Aufführungspraxis für Vokalisten und Instrumentalisten. Graz: Akademische Druck- und Verlagsanstalt, 1988.

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Instrumentalvibrato im 19. Jahrhundert: Technik, Anwendung, Notationsformen : mit einem Ausblick ins 20. Jahrhundert. Schneverdingen: K.D. Wagner, 2007.

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Hamber, C. R. Without vibrato: Distant memories and reflections of a cavalry boy trumpeter. London: Minerva, 1998.

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Chto mozhet vibrat͡sii͡a?: O "vibrat͡sionnoĭ mekhanike" i vibrat͡sionnoĭ tekhnike. Moskva: "Nauka," Glav. red. fiziko-matematicheskoĭ lit-ry, 1988.

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Frolov, K. V. Vibration technology: Theory and practice. Moscow: Mir Publishers, 1991.

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Goncharevich, Igorʹ Fomich. Theory of vibratory technology. Edited by Frolov K. V and Rivin Eugene I. New York: Hemisphere Pub. Corp., 1990.

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Book chapters on the topic "Vibrato"

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Milsom, David. "Vibrato." In Theory and Practice in Late Nineteenth-Century Violin Performance, 111–48. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315193731-5.

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MacLeod, Rebecca B. "Shifting and Vibrato." In Teaching Strings in Today’s Classroom, 141–44. New York ; London : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351254144-14.

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Giles, Michael B. "Vibrato Monte Carlo Sensitivities." In Monte Carlo and Quasi-Monte Carlo Methods 2008, 369–82. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04107-5_23.

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Loni, Deepali Y., and Shaila Subbaraman. "Timbre-Vibrato Model for Singer Identification." In Information and Communication Technology for Intelligent Systems, 279–92. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-1747-7_27.

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Cao, Guangzhuang, Lunpeng Liu, and Tianping Dong. "Speech Synthesis and Vibrato Effect in Digital Music." In Lecture Notes in Electrical Engineering, 567–75. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-40633-1_71.

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Hopfner, Rudolf. "„Vibrato, mit innigster Empfindung“. Zur Klangkultur der Streicher zur Zeit Gustav Mahlers." In Musikinstrumente und Musizierpraxis zur Zeit Gustav Mahlers 2, 235–54. Wien: Böhlau Verlag, 2020. http://dx.doi.org/10.7767/9783205211204.235.

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Beauchamp, James W. "Comparison of Vocal and Violin Vibrato with Relationship to the Source/Filter Model." In Current Research in Systematic Musicology, 201–21. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47292-8_7.

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Brown, Clive. "Vibrato." In Classical and Romantic Performing Practice 1750-1900, 517–57. Oxford University Press, 1999. http://dx.doi.org/10.1093/acprof:oso/9780198161653.003.0015.

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"King’s Vibrato." In King's Vibrato, 185–228. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022992-007.

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"King’s Vibrato." In King's Vibrato, 185–228. Duke University Press, 2022. http://dx.doi.org/10.2307/j.ctv2vr9czb.10.

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Conference papers on the topic "Vibrato"

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Shi, Yang, and James W. Beauchamp. "Time-scaling vibrato musical tones while retaining vibrato rates." In International Conference on Underwater Acoustics. ASA, 2017. http://dx.doi.org/10.1121/2.0001297.

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Vatti, Marianna, Sébastien Santurette, Niels H. Pontoppidan, and Torsten Dau. "Maximum acceptable vibrato excursion as a function of vibrato rate in musicians and non-musicians." In 166th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4894272.

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Chrysochoidis, Georgios, Georgios Kouroupetroglou, and Sergios Theodoridis. "Vibrato detection in Byzantine Chant Music." In 2014 6th International Symposium on Communications, Control and Signal Processing (ISCCSP). IEEE, 2014. http://dx.doi.org/10.1109/isccsp.2014.6877955.

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Zhao, Yudong, Changhong Wang, Gyorgy Fazekas, Emmanouil Benetos, and Mark Sandler. "Violinist identification based on vibrato features." In 2021 29th European Signal Processing Conference (EUSIPCO). IEEE, 2021. http://dx.doi.org/10.23919/eusipco54536.2021.9616197.

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Yoshinaga, Ikuyo, and Jiangping Kong. "Voice production mechanisms of vibrato in Noh." In Interspeech 2012. ISCA: ISCA, 2012. http://dx.doi.org/10.21437/interspeech.2012-541.

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Zhang, Mingfeng, Mark Bocko, and James Beauchamp. "Measurement and analysis of musical vibrato parameters." In 169th Meeting of the Acoustical Society of America. Acoustical Society of America, 2015. http://dx.doi.org/10.1121/2.0000136.

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Zhang, Mingfeng, Mark Bocko, and James Beauchamp. "Temporal analysis, manipulation, and resynthesis of musical vibrato." In ICA 2013 Montreal. Acoustical Society of America, 2015. http://dx.doi.org/10.1121/2.0000096.

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Mellody, Maureen, and Gregory H. Wakefield. "Modal distribution analysis of vibrato in musical signals." In SPIE's International Symposium on Optical Science, Engineering, and Instrumentation, edited by Franklin T. Luk. SPIE, 1998. http://dx.doi.org/10.1117/12.325678.

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Liu, Ruolan, Xue Wen, Chunhui Lu, Liming Song, and June Sig Sung. "Vibrato Learning in Multi-Singer Singing Voice Synthesis." In 2021 IEEE Automatic Speech Recognition and Understanding Workshop (ASRU). IEEE, 2021. http://dx.doi.org/10.1109/asru51503.2021.9688029.

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Hung-Yan Gu and Zheng-Fu Lin. "Mandarin singing voice synthesis using ANN vibrato parameter models." In 2008 International Conference on Machine Learning and Cybernetics (ICMLC). IEEE, 2008. http://dx.doi.org/10.1109/icmlc.2008.4620973.

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Reports on the topic "Vibrato"

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Rahman, Shahedur, Rodrigo Salgado, Monica Prezzi, and Peter J. Becker. Improvement of Stiffness and Strength of Backfill Soils Through Optimization of Compaction Procedures and Specifications. Purdue University, 2020. http://dx.doi.org/10.5703/1288284317134.

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Vibration compaction is the most effective way of compacting coarse-grained materials. The effects of vibration frequency and amplitude on the compaction density of different backfill materials commonly used by INDOT (No. 4 natural sand, No. 24 stone sand, and No. 5, No. 8, No. 43 aggregates) were studied in this research. The test materials were characterized based on the particle sizes and morphology parameters using digital image analysis technique. Small-scale laboratory compaction tests were carried out with variable frequency and amplitude of vibrations using vibratory hammer and vibratory table. The results show an increase in density with the increase in amplitude and frequency of vibration. However, the increase in density with the increase in amplitude of vibration is more pronounced for the coarse aggregates than for the sands. A comparison of the maximum dry densities of different test materials shows that the dry densities obtained after compaction using the vibratory hammer are greater than those obtained after compaction using the vibratory table when both tools were used at the highest amplitude and frequency of vibration available. Large-scale vibratory roller compaction tests were performed in the field for No. 30 backfill soil to observe the effect of vibration frequency and number of passes on the compaction density. Accelerometer sensors were attached to the roller drum (Caterpillar, model CS56B) to measure the frequency of vibration for the two different vibration settings available to the roller. For this roller and soil tested, the results show that the higher vibration setting is more effective. Direct shear tests and direct interface shear tests were performed to study the impact of particle characteristics of the coarse-grained backfill materials on interface shear resistance. The more angular the particles, the greater the shear resistance measured in the direct shear tests. A unique relationship was found between the normalized surface roughness and the ratio of critical-state interface friction angle between sand-gravel mixture with steel to the internal critical-state friction angle of the sand-gravel mixture.

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2

Hart, Carl. Vibration survey of Room 47 with a laser doppler vibrometer : Main Laboratory Basement, U.S. Army ERDC-CRREL. Engineer Research and Development Center (U.S.), November 2020. http://dx.doi.org/10.21079/11681/38919.

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Plans are underway to create an acousto-optic laboratory on the campus of the Cold Regions Research and Engineering Laboratory. For this purpose, existing space in the basement of the Main Laboratory will be renovated. Demanding measurement techniques, such as interferometry, require a sufficiently quiet vibration environment (i.e., low vibration levels). As such, characterization of existing vibration conditions is necessary to determine vibration isolation requirements so that highly sensitive measurement activities are feasible. To this end, existing vibro-acoustic conditions were briefly surveyed in Room 47, a part of the future laboratory. The survey measured ambient noise and ambient vertical floor vibrations. The ambient vibration environment was characterized according to generic velocity criteria (VC), which are one-third octave band vibration limits. At the time of the survey, the ambient vibration environment fell under a VC-A designation, where the tolerance limit is 2000 μin/s across all one-third octave bands. Under this condition, highly sensitive measurement activities are feasible on a vibration-isolated working surface. The conclusion of this report provides isolation efficiency requirements that satisfy VC-E limits (125 μin/s), which are necessary for interferometric measurements.

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Casten, R. F., and N. V. Zamfir. Anharmonic vibrator description of collective nuclei. Office of Scientific and Technical Information (OSTI), July 1995. http://dx.doi.org/10.2172/94556.

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Brangham, D., and K. Olson. Vibration Mitigation System. Office of Scientific and Technical Information (OSTI), September 2020. http://dx.doi.org/10.2172/1661032.

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McBride, Maranda, Tomasz R. Letowski, and Phuong K. Tran. Bone Conduction Head Sensitivity Mapping: Bone Vibrator. Fort Belvoir, VA: Defense Technical Information Center, July 2005. http://dx.doi.org/10.21236/ada436360.

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Yoshikawa, Shoko, and S. K. Kurtz. Passive Vibration Damping Materials: Piezoelectric Ceramics Composites for Vibration Damping Applications. Fort Belvoir, VA: Defense Technical Information Center, February 1993. http://dx.doi.org/10.21236/ada260792.

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Yoshikawa, Shoko, R. Meyer, J. Witham, S. Y. Agadda, and G. Lesieutre. Passive Vibration Damping Materials: Piezoelectric Ceramic Composites for Vibration Damping Applications. Fort Belvoir, VA: Defense Technical Information Center, August 1995. http://dx.doi.org/10.21236/ada298477.

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8

Chen, S. S. Flow-induced vibration: 1992. Office of Scientific and Technical Information (OSTI), September 1992. http://dx.doi.org/10.2172/10103206.

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9

Noble, C. R., and Hoehler, M.S., S.C. Sommer. NIF Ambient Vibration Measurements. Office of Scientific and Technical Information (OSTI), November 1999. http://dx.doi.org/10.2172/802614.

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Chen, S. S. Flow-induced vibration: 1992. Office of Scientific and Technical Information (OSTI), September 1992. http://dx.doi.org/10.2172/7005247.

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