Perceptual evaluation of violins: a quantitative analysis of preference judgments by experienced players

The overall goal of the research presented here is to better understand how players evaluate violins within the wider context of finding relationships between measurable vibrational properties of instruments and their perceived qualities. In this study, the reliability of skilled musicians to evaluate the qualities of a violin was examined. In a first experiment, violinists were allowed to freely play a set of different violins and were then asked to rank the instruments by preference. Results showed that players were self-consistent, but a large amount of inter-individual variability was present. A second experiment was then conducted to investigate the origin of inter-individual differences in the preference for violins and to measure the extent to which different attributes of the instrument influence preference. Again, results showed large inter-individual variations in the preference for violins, as well as in assessing various characteristics of the instruments. Despite the significant lack of agreement in preference and the variability in how different criteria are evaluated between individuals, violin players tend to agree on the relevance of sound “richness” and, to a lesser extent, “dynamic range” for determining preference

Evaluating violin quality: How consistent are skilled players?

A perceptual experiment was designed to investigate how consistent violinists are at evaluating violin quality. The objective was to examine both intra‐ and inter‐subject consistency across a certain range of violins. Skilled classical violinists were asked to play a set of different violins, evaluate their quality, and order them by preference. Violins of different periods were used, varying from student to performance level. Low light conditions and dark sunglasses were used to hide the identity of the instruments as much as possible. Considering the bow as an extension of the player, violinists carried out the task using their own bow. Upon completing the task, participants had to comment on the ranking process and provide rationale for their choices. Preliminary results from a pilot study indicate that both intra‐ and inter‐subject consistency are high when violinists are presented a small group of instruments that are fairly distinct from one another. Results of a more in‐depth study (with more instruments, some very similar to one another) will be presented at the conference

In-Vitro and Numerical Investigations of the Influence of a Vocal-Tract Resonance on Lip Auto-Oscillations in Trombone Performance

International audienceControlling the acoustic impedance of the upstream airways in brass instrument performance may bean important factor influencing the efficiency of the sound production process. Because of the complexcharacteristics of the lip-valve oscillator, the conditions under which a vocal-tract resonance may be favorableto the sustain of lip auto-oscillations are not easy to determine. In order to investigate this aspect ofbrass performance, an experimental method based on an active control approach is applied to an artificialtrombone player system in order to simulate the influence of a vocal-tract resonance at the playing frequency.By varying the amplitude and phase characteristics of this upstream impedance load, we investigatethe acoustical influence of this resonance on lip vibrations and on the acoustic pressure generated in theinstrument. The observations reveal that variations of the phase difference between the downstream andupstream impedance induce significant variations of the playing frequency. An optimal phase tuning pointcharacterized by a maximum of downstream acoustic pressure at the input of the instrument, and uncorrelatedto a maximum of downstream input impedance, is identified. These experimental results are comparedwith numerical simulations, both of which produce similar findings. The optimal tuning point appears tobe partly related to the displacement of the playing frequency close to a mechanical resonance of the lips.This induces a greater “efficiency" of the lip-valve system, hence maximizing the acoustic flow generatedinto the instrument while other control parameters (quasi-static mouth pressure, lip tension) are maintainedconstant. In addition to an exploration of acoustical influence of the vocal tract, this experimental methodhence offers promising perspectives for the study of artificial lips under playing conditions