Formant |
formant (from lat. formans, genus formantis – forming) – an area of amplified partial tones in the spectrum of muses. sounds, sounds of speech, as well as these overtones themselves, which determine the originality of the timbre of sounds; one of the important factors of timbre formation. F. arise Ch. arr. under the influence of resonators (in speech, singing – the oral cavity, etc., in musical instruments – the body, air volume, soundboard, etc.), so their altitude position depends little on the height of the base. sound tones. The term “F.” introduced by the speech researcher, physiologist L. Herman to characterize the difference between some vowels from others. G. Helmholtz conducted a series of experiments on the synthesis of vowels of speech using organ pipes in a formant way. It has been established that the vowel “u” is characterized by an increase in partial tones from 200 to 400 hertz, “o” – 400-600 hertz, “a” – 800-1200, “e” – 400-600 and 2200-2600, “and “- 200-400 and 3000-3500 hertz. In singing, in addition to the usual speech functions, characteristic chanters appear. F.; one of them is a high singer. F. (about 3000 hertz) gives the voice “brilliance”, “silverness”, contributes to the “flight” of sounds, good intelligibility of vowels and consonants; the other – low (about 500 hertz) gives the sound softness, roundness. F. are available in almost all muses. tools. For example, the flute is characterized by F. from 1400 to 1700 hertz, for the oboe – 1600-2000, for the bassoon – 450-500 hertz; in the spectrum of good violins – 240-270, 500-550 and 3200-4200 hertz (the second and third F. are close to F. singing voices). The formant method of timbre formation and timbre control is widely used in speech synthesis, in electromusic. instruments, in sound engineering (magnetic and recording, radio, television, cinema).
References: Rzhevkin S. N., Hearing and speech in the light of modern physical research, M. – L., 1928, 1936; Rabinovich A. V., Short course of musical acoustics, M., 1930; Solovieva A.I., Fundamentals of the psychology of hearing, L., 1972; Helmholtz H., Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik, Braunschweig, 1863, Hildesheim, 1968 ); Hermann L., Phonophotographische Untersuchungen, “Pflger’s Archiv”, Bd 1875, 45, Bd 1889, 47, Bd 1890, 53, Bd 1893, 58, Bd 1894, 59; Stumpf C., Die Sprachlaute, B., 1895; Trendelenburg F., Einführung in die Akustik, V., 1926, V.-Gött.-Hdlb., 1939.
Y. H. Rags
