Acoustics, musical |
(from the Greek. axoystixos – auditory) – a science that studies the objective physical laws of music in connection with its perception and performance. A. m. explores such phenomena as the height, loudness, timbre, and duration of music. sounds, consonance and dissonance, music. systems and builds. She is studying music. hearing, the study of music. tools and people. votes. One of the central problems of A. m. is the clarification of how physical. and psychophysiological. patterns of music are reflected in the specific. laws of this lawsuit and affect their evolution. In A. m. data and methods of the general physical are widely used. acoustics, which studies the processes of the origin and propagation of sound. It is closely connected with architectural acoustics, with the psychology of perception, the physiology of hearing and voice (physiological acoustics). A. m. is used to explain a number of phenomena in the field of harmony, instrumentation, orchestration, etc.
As a section of music. The theory of A. m. originated in the teachings of ancient philosophers and musicians. So, for example, mathematical the basics of music systems, intervals and tunings were known in dr. Greece (Pythagorean school), cf. Asia (Ibn Sina), China (Lu Bu-wei) and other countries. The development of A. m. is associated with the names of J. Tsarlino (Italy), M. Mersenne, J. Sauveur, J. Rameau (France), L. Euler (Russia), E. Chladni, G. Ohm (Germany), and many others. other musicians and scientists. For a long time, the main music object. Acoustics were the numerical relationship between the frequencies of sounds in music. intervals, tunings and systems. Dr. sections appeared much later and were prepared by the practice of making muses. tools, pedagogical research. So, the patterns of construction of muses. instruments were empirically searched for by masters, singers and teachers were interested in the acoustics of the singing voice.
Means. stage in the development of A. m. is associated with the name of an outstanding German. physicist and physiologist G. Helmholtz. In the book “The doctrine of auditory sensations as the physiological basis of the theory of music” (“Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik”, 1863), Helmholtz outlined the results of his observations and experiments on music. sounds and their perception. In this study, the first complete concept of the physiology of pitch hearing was given, known under the name. resonance theory of hearing. She explains the perception of pitch as a result of resonant excitation tuned to decomp. frequency of the fibers of the organ of Corti. Helmholtz explained the phenomena of dissonance and consonance by beats. Acoustic Helmholtz’s theory retained its value, although some of its provisions do not correspond to modern. ideas about the mechanism of hearing.
A great contribution to the development of psychophysiology and acoustics of hearing was made at the end of the 19th – beginning. 20th century K. Stumpf and W. Köhler (Germany). The studies of these scientists expanded A. m. as a scientific. discipline; it included the doctrine of the mechanisms of reflection (sensation and perception) decomp. objective aspects of sound vibrations.
In the 20th century, the development of A. m. is characterized by a further expansion of the scope of research, the inclusion of sections related to the objective characteristics of decomp. music tools. It was caused by the rise of the Muses. prom-sti, the desire to develop for the production of music. tools solid theoretical. basis. In the 20th century, the method of analyzing music developed. sounds based on the selection of partial tones from a complex sound spectrum and their measurement. intensity. Experiment technique. research, based on the methods of electroacoustic. measurements, acquired great importance in the acoustics of music. tools.
The development of radio and sound recording technology also contributed to the expansion of research on acoustical music. The focus of attention in this area is the problems of acoustics in radio and recording studios, the reproduction of recorded music, and the restoration of old phonographic instruments. records. Of great interest are works related to the development of stereophonic sound recording and stereophonic broadcasting music on the radio.
An important stage in the development of modern A. m. is associated with the research of owls. musicologist and acoustics scientist N. A. Garbuzov. In his works, it was outlined and means. least, a new understanding of the very subject of A. m. took shape as a section of the modern. music theory. Garbuzov developed a coherent theory of auditory perception, in a swarm center. place is occupied by the zone concept of music. hearing (see Zone). The development of the zone concept led to the development of methods for deciphering and analyzing performance shades in intonation, dynamics, tempo and rhythm. In the study of music creativity and perception, in the study of music. prod. it became possible to rely on objective data characterizing the muses. sound, art. execution. This possibility is essential for solving many musicological problems of our time, for example. to clarify the relationship of intonation and mode in real-sounding music. production, interrelations of performing and composing components of arts. the whole, which is the sounding, executing, production.
If earlier A. the m was reduced to hl. arr. to the mathematical explanations arising in music. practice of organization systems – frets, intervals, tunings, then in the future the emphasis shifted to the study by objective methods of the laws of performing art and music. perception.
One of the sections of modern A. m. is the acoustics of a singer. vote. There are two theories explaining the mechanism for controlling the frequency of vibrations of the vocal cords – classical. myoelastic. theory and neurochronax. theory put forward by the French scientist R. Yusson.
L. S. Termen, A. A. Volodin and others are engaged in the acoustics of electric musical instruments in the USSR. Based on the method of synthesizing sound spectra, Volodin developed the theory of pitch perception, according to which the pitch perceived by a person is determined by its complex harmonic. spectrum, and not just the oscillation frequency of the main. tones. This theory is one of the greatest achievements of Soviet scientists in the field of musical instruments. The development of electric musical instruments has again increased the interest of acoustic researchers in questions of tuning, temperament, and the possibility of controlling free intonation.
As a branch of music theory, A. m. cannot be considered as a discipline capable of giving a complete explanation of such muses. phenomena, such as mode, scale, harmony, consonance, dissonance, etc. However, the methods of acoustics and the data obtained with their help allow musicologists to more objectively decide one or another scientific. question. Acoustic laws of music during the centuries-old development of muses. cultures were constantly used to build a socially significant system of muses. language with a specific laws subordinate to art.-aesthetic. principles.
Owls. specialists in A. m. overcame the one-sidedness of views on the nature of music, characteristic of scientists of the past, to-rye exaggerated the importance of physical. sound features. Samples of application of data A. m. in music. theories are the work of owls. musicologists Yu. N. Tyulin (“Teaching about harmony”), L. A. Mazel (“On melody”, etc.), S. S. Skrebkov (“How to interpret tonality?”). The concept of the zonal nature of hearing is reflected in decomp. musicologist. works and, in particular, in special research, dedicated performing intonation (works by O. E. Sakhaltuyeva, Yu. N. Rags, N. K. Pereverzev and others).
Among the tasks, to-rye is designed to solve the modern. A. m., – an objective justification of the new phenomena of mode and intonation in the work of modern. composers, clarifying the role of objective acoustic. factors in the process of formation of muses. language (sound-altitude, timbre, dynamic, spatial, etc.), further development of the theory of hearing, voice, music. perception, as well as the improvement of research methods for performing creativity and perception of music, methods based on the use of electroacoustic. recording equipment and technology.
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E. V. Nazaikinskiy
