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--- principles [2022/10/12 14:48] – [Amplification] mete
+++ principles [2023/07/20 21:49] (current) – [Arts and Culture Related] mete
@@ Line 57: / Line 57: @@
 ====Sound Generation====
-[[Longitudinal Vibration]]- Fundamental behavior of such instruments as the [[Long-String Instrument]] and [[Cristal Baschet]], rarely the playing technique on string instruments or [[lamellophones]] also sometimes used on metal and glass tines. Paradoxically this is also the primary way sound vibrates inside of tubular wind instruments in the form of standing waves. \\
-[[Transverse Vibration]]- The most common form of vibration in string instruments, occurs when a string is plucked, struck, or bowed. This is also the primary form of vibration on drums and bar percussion instruments. \\
+[[vibration|Modes of Vibration]]- the different manners which a vibration generates sound. Vibration patterns include Longitudinal, Transverse, Lateral, Torsional, and Radial.  \\
-[[Torsional Vibration]]- \\
+[[Free Vibration]]- When a vibrating object is allowed to vibrate with minimal interference. This is the principle way almost all musical instruments vibrate. \\
+This is converse to [[Damped Vibration]].\\
-[[Lateral Vibration]]- \\
-[[Radial Vibration]]- \\
-[[Free Vibration]]- When a vibrating object is allowed to vibrate with minimal interference. This is the principle way almost all musical instruments vibrate. This is converse to [[Damped Vibration]].\\
 [[Damped Vibration]]- When the ability to vibrate is dampened by some force such as a shock absorber. This is rarely used in musical instruments and has unusual characteristics to it that are under explored in a musical context.  \\
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 ====Timbre Modifiers====
 [[Timbre Modifier]]- A part of an instrument that alters the character of its sound without that part being related to the sound source, a [[Mirliton]] and [[rattle tines]] are examples of these. \\
+[[Harmonic Filter]]- Similar to [[Enharmonic Filtering]] in that a column of air is able to selectively filter the harmonic structure of a separately generated pitch. In the case of Harmonic Filtering, when the length of a tube used to generate the filter is sufficiently long the degree that the fundamental of the generated pitch can be heard is greatly reduced, and the effect of harmonics of the tube length are strongly preferred instead, making a stepise harmonic jump between pitches where the fundimental can no longer be heard unless the pitch generated and the tube are in unison. Harmonic filtering is of course a more dramatic and advanced effect than [[Enharmonic Filtering]] and should be distinguished by the ability to still clearly distinguish the fundamental pitch of the generated tone.
+[[Enharmonic Filter]]- an enharmonic filtering effect is present in most techniques that use [[Bisbigliando]], the enharmonic filter is a secondary effect where when a pitch is generated and placed in a column of air various frequencies will preferentially be generated in response to the frequencies the tube is generating. Examples of this is humming into brass instruments or various other tubes and noting the stepwise shift in pitch even when a liquid pitch transition is generated using the voice. Another example can be done by humming into a wind instrument at a consistent pitch and noting the enharmonic filtering that happens as holes are opened and closed.
+[[Bisbigliando]]- When two or more of the same (or very near to one another) fundamental pitches are trilled between one another but with various harmonic differences between the two pitches played generating a kind of timbre trill. this technique is commonly done by using different string thicknesses that are tuned the same, different material tuned the same or with various lengths of pipe that are fingered differently and tuned the same.
 [[Raunch]]- "Rauchification" or "Rauchifies" is used by [[Bart Hopkin]] to define the vulgar buzzing sound that can be given to a tongue or tine when it chatters against another hard surface.\\
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 [[Rattle Tine]]- is a loose scrap of metal that vibrates against a tine on a lamellophone to modify the timbre of the tines. \\
+[[Movement]]- Using movement to alter the sound profile of an instrument. This is often done by the rapid shaking of an instrument while it is being played. This can be done by the use of moving parts next to an instrument as is seen on the vibraphone. This also includes modifying the sound of an instrument through the use of the Doppler Effect. \\
 [[Moving Water]]- The use of a small amount of moving water inside a resonator to alter the timbre of an instrument. Popularized by the [[Richard Waters]]' Waterphone. Also found on experimental instruments by [[Bart Hopkin]]. For a wider discussion on the use of water in musical instruments see [[Water]].\\
-[[Nonuniform strings]]\\
+[[Nonuniform strings]]- The use of none uniform strings to produce a distinct inharmonic qualities to strings. Used to great effect by [[William A. Sethares]]' Hyperpiano.\\
+[[Regulation]]- Regulation is relevant to wind instruments and the ways that reeds can have selective vibrating regulation applied to them in the form of lips on the reed or mouthpiece (also the way lips vibrate in a brass mouthpiece). The regulation comes in 3 forms, non regulated (like that seen on windcap instruments) where the reed vibrated uninhibited, regulated, where the reed is held by the lips and the sound produced is controlled and manipulated by lip pressure and position, and damped where the reed is crushed by the lips and only allowed to play in a muted form. \\
+[[Undertone Series]]- A brief discussion on instruments can that play the undertone series (Didgeridoo, Large strings, Forced vibration instruments, savarts wheel, terpodione)
 ====Arts and Culture Related====
 [[Idiosyncrasy]]- This wiki focuses on musical instruments that are made for idiosyncratic reasons.\\
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 A term for wacky/ridiculous instrument that look outlandish but sound relatively normal (weird guitars, cigar box guitars, carrot clarinets ect.. ) \\
-[[Tinkerer]]- A person who takes an existing instrument and alters it to their needs, often done as an experiment. This is distinct from [[Prepared]] which is describing a temporary and reversible alteration, while tinkerers tend to make more permanent alterations.\\
+[[Tinkerer]]- A person who takes an existing instrument and alters it to their needs, often done as an experiment. This is distinct from [[Prepared]] which is describing a temporary and reversible alteration, while tinkerers tend to make more permanent alterations. ((Called American Tinkering culture by Andrew Raffo Dewar in "Handmade Sounds: The Sonic Arts Union and American Technoculture")) \\
-A term for a person who primarily improves existing instruments and attempt to maximize range and color on them (like [[Richard Bobo]], [[Bret Newton]], [[Jared De Leon]], and [[Wayne Stuart]])\\
+A term for a person who primarily improves existing instruments and attempt to maximize range and color on them (like [[Richard Bobo]], [[Bret Newton]], [[Jared De Leon]], [[Guntram Wolf]], [[Benedikt Eppelsheim]], [[Wayne Stuart]], [[Giles Brindley]], and [[Ernesto Molinari]])\\
 [[lowercase]]- The use of very quiet materials as musical instruments. this is most often significantly amplified. There is often a material philosophy of hearing essential sounds of those objects. \\
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 ====In Need of Terms====
-a word for instruments that are intentionally against high craftsmanship or that avoid using difficult constructions methods, DIY instrument look \\
+a term for instruments that are intentionally against high craftsmanship or that avoid using difficult constructions methods, DIY instrument look, think of cigar box banjos/ guitars. This term differs from people who want to specifically create well made low cost instruments in that this aesthetic entails a certain roughness to the sound outcomes as well, the instruments in this case are intended to sound like DIY instruments. \\
+Good terminology for the makers who intentionally remove and replace elements of expensive to make instruments in order to create low cost (hardware store) copies. This approach is dependent on reducing instruments down to sound making principles and removing unnecessary elements (in terms of that goal) and replacing them with less expensive or easier to make alternatives. For example using thin plywood instead of solid boards of spruce in string instruments or using ABS tubing instead of bored out tropical hardwoods in woodwinds. This approach is closely related to DIY instruments and often has an aesthetic look in common. This approach is also strongly counter to instrument makers who focus on the material culture of the instruments they make and the instruments are dependent on the use of culturally relative materials in the instrument construction.
+the practice of making archeological recreations of musical instruments. The practice of recreating ancient instruments and attempting to work out how they were made and what they should sound like. This paractice is highly dependent on attempting to accurately make tools and materials that were used in the original archeological examples. This is a kind of experimental archeology. Examples include the works of [[Roberto Velázquez Cabrera]], [[Lucy-Anne Taylor]], and [[Susan Rawcliffe]]. Also the recreation of the Carnyx, Neolithic Bone Flute, Aulos and the ASTRA project.
 A word for instruments made from scavenged materials, maybe something that emphasizes the tendency for the instruments to look like a conglomeration of unrelated parts/ objects assembled together. assemblage perhaps? \\