Do trumpet players tune resonances of the vocal tract?
Identifieur interne : 001352 ( Main/Exploration ); précédent : 001351; suivant : 001353Do trumpet players tune resonances of the vocal tract?
Auteurs : Jer-Ming Chen [Australie] ; John Smith ; Joe WolfeSource :
- The Journal of the Acoustical Society of America [ 1520-8524 ] ; 2012.
Descripteurs français
- KwdFr :
- MESH :
- physiologie : Bouche, Perception de la hauteur tonale.
- instrumentation : Acoustique, Humains, Musique, Spectrographie sonore.
English descriptors
- KwdEn :
- MESH :
- instrumentation : Acoustics.
- physiology : Mouth, Pitch Perception.
- Humans, Music, Sound Spectrography.
Abstract
The acoustic impedance spectrum was measured in the mouths of seven trumpeters while they played normal notes and while they practiced "bending" the pitch below or above the normal value. The peaks in vocal tract impedance usually had magnitudes rather smaller than those of the bore of the trumpet. Over the range measured, none of the trumpeters showed systematic tuning of the resonances of the vocal tract. However, all players commented that the presence of the impedance head in the mouth prevented them from playing the very highest notes of which they were normally capable. It is therefore possible that these players might use either resonance tuning or perhaps very high impedance magnitudes for some notes beyond the measured range. The observed lack of tuning contrasts with measurements for the saxophone which, like the trumpet, has weak resonances in the third and fourth octaves. Saxophonists are only able to play the highest range by tuning resonances of the vocal tract, so that the series impedance has a very strong peak at a frequency near that of the desired note. This difference is explained by the greater control that the trumpet player has over the natural frequency of the vibrating valve.
DOI: 10.1121/1.3651241
PubMed: 22280694
Affiliations:
Links toward previous steps (curation, corpus...)
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The peaks in vocal tract impedance usually had magnitudes rather smaller than those of the bore of the trumpet. Over the range measured, none of the trumpeters showed systematic tuning of the resonances of the vocal tract. However, all players commented that the presence of the impedance head in the mouth prevented them from playing the very highest notes of which they were normally capable. It is therefore possible that these players might use either resonance tuning or perhaps very high impedance magnitudes for some notes beyond the measured range. The observed lack of tuning contrasts with measurements for the saxophone which, like the trumpet, has weak resonances in the third and fourth octaves. Saxophonists are only able to play the highest range by tuning resonances of the vocal tract, so that the series impedance has a very strong peak at a frequency near that of the desired note. This difference is explained by the greater control that the trumpet player has over the natural frequency of the vibrating valve.</div></front></TEI><pubmed><MedlineCitation Status="MEDLINE" Owner="NLM"><PMID Version="1">22280694</PMID><DateCompleted><Year>2012</Year><Month>05</Month><Day>11</Day></DateCompleted><DateRevised><Year>2012</Year><Month>01</Month><Day>27</Day></DateRevised><Article PubModel="Print"><Journal><ISSN IssnType="Electronic">1520-8524</ISSN><JournalIssue CitedMedium="Internet"><Volume>131</Volume><Issue>1</Issue><PubDate><Year>2012</Year><Month>Jan</Month></PubDate></JournalIssue><Title>The Journal of the Acoustical Society of America</Title><ISOAbbreviation>J Acoust Soc Am</ISOAbbreviation></Journal><ArticleTitle>Do trumpet players tune resonances of the vocal tract?</ArticleTitle><Pagination><MedlinePgn>722-7</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.1121/1.3651241</ELocationID><Abstract><AbstractText>The acoustic impedance spectrum was measured in the mouths of seven trumpeters while they played normal notes and while they practiced "bending" the pitch below or above the normal value. The peaks in vocal tract impedance usually had magnitudes rather smaller than those of the bore of the trumpet. Over the range measured, none of the trumpeters showed systematic tuning of the resonances of the vocal tract. However, all players commented that the presence of the impedance head in the mouth prevented them from playing the very highest notes of which they were normally capable. It is therefore possible that these players might use either resonance tuning or perhaps very high impedance magnitudes for some notes beyond the measured range. The observed lack of tuning contrasts with measurements for the saxophone which, like the trumpet, has weak resonances in the third and fourth octaves. Saxophonists are only able to play the highest range by tuning resonances of the vocal tract, so that the series impedance has a very strong peak at a frequency near that of the desired note. This difference is explained by the greater control that the trumpet player has over the natural frequency of the vibrating valve.</AbstractText><CopyrightInformation>© 2012 Acoustical Society of America.</CopyrightInformation></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Chen</LastName><ForeName>Jer-Ming</ForeName><Initials>JM</Initials><AffiliationInfo><Affiliation>School of Physics, The University of New South Wales, Sydney, NSW 2052, Australia. jerming@phys.unsw.edu.au</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Smith</LastName><ForeName>John</ForeName><Initials>J</Initials></Author><Author ValidYN="Y"><LastName>Wolfe</LastName><ForeName>Joe</ForeName><Initials>J</Initials></Author></AuthorList><Language>eng</Language><PublicationTypeList><PublicationType UI="D016428">Journal Article</PublicationType><PublicationType UI="D013485">Research Support, Non-U.S. Gov't</PublicationType></PublicationTypeList></Article><MedlineJournalInfo><Country>United States</Country><MedlineTA>J Acoust Soc Am</MedlineTA><NlmUniqueID>7503051</NlmUniqueID><ISSNLinking>0001-4966</ISSNLinking></MedlineJournalInfo><CitationSubset>IM</CitationSubset><MeshHeadingList><MeshHeading><DescriptorName UI="D000162" MajorTopicYN="N">Acoustics</DescriptorName><QualifierName UI="Q000295" MajorTopicYN="Y">instrumentation</QualifierName></MeshHeading><MeshHeading><DescriptorName UI="D006801" MajorTopicYN="N">Humans</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D009055" MajorTopicYN="N">Mouth</DescriptorName><QualifierName UI="Q000502" MajorTopicYN="Y">physiology</QualifierName></MeshHeading><MeshHeading><DescriptorName UI="D009146" MajorTopicYN="Y">Music</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D010898" MajorTopicYN="N">Pitch Perception</DescriptorName><QualifierName UI="Q000502" MajorTopicYN="Y">physiology</QualifierName></MeshHeading><MeshHeading><DescriptorName UI="D013018" MajorTopicYN="N">Sound Spectrography</DescriptorName></MeshHeading></MeshHeadingList></MedlineCitation><PubmedData><History><PubMedPubDate PubStatus="entrez"><Year>2012</Year><Month>1</Month><Day>28</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="pubmed"><Year>2012</Year><Month>1</Month><Day>28</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="medline"><Year>2012</Year><Month>5</Month><Day>12</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate></History><PublicationStatus>ppublish</PublicationStatus><ArticleIdList><ArticleId IdType="pubmed">22280694</ArticleId><ArticleId IdType="doi">10.1121/1.3651241</ArticleId></ArticleIdList></PubmedData></pubmed><affiliations><list><country><li>Australie</li></country></list><tree><noCountry><name sortKey="Smith, John" sort="Smith, John" uniqKey="Smith J" first="John" last="Smith">John Smith</name><name sortKey="Wolfe, Joe" sort="Wolfe, Joe" uniqKey="Wolfe J" first="Joe" last="Wolfe">Joe Wolfe</name></noCountry><country name="Australie"><noRegion><name sortKey="Chen, Jer Ming" sort="Chen, Jer Ming" uniqKey="Chen J" first="Jer-Ming" last="Chen">Jer-Ming Chen</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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