Resonance |

French resonance, from lat. resono – I sound in response, I respond

An acoustic phenomenon in which, as a result of the influence of vibrations of one body, called a vibrator, in another body, called a resonator, vibrations similar in frequency and close in amplitude occur. R. is most fully manifested under conditions of precise tuning of the resonator to the vibration frequency of the vibrator and with good (with low energy losses) transmission of vibrations. When singing and performing on music. R. is used on instruments to amplify the sound (by including a larger area of ​​the resonator body in the vibrations), to change the timbre, and often to increase the duration of the sound (since the resonator in the vibrator-resonator system acts not only as a body dependent on the vibrator, but also as an independently oscillating body, having its own timbre and other characteristics). Any vibrator can serve as a resonator, however, in practice, special ones are designed. resonators, optimal in their characteristics and corresponding to the requirements for music. instrument requirements (in terms of pitch, volume, timbre, duration of sound). There are single resonators that respond to one frequency (resonating tuning fork stand, celesta, vibraphone resonators, etc.), and multiple resonators (fp decks, violins, etc.). G. Helmholtz used the phenomenon of R. to analyze the timbre of sounds. He explained with the help of R. the functioning of the human hearing organ; in accordance with his hypothesis, perceived by the ear fluctuate. movements most excite those Corti arches (located in the inner ear), to-rye are tuned to the frequency of a given sound; thus, according to Helmholtz’s theory, the distinction between sounds in pitch and timbre is based on R. The term “R.” often erroneously used to characterize acoustical the properties of the premises (instead of the terms “reflection”, “absorption”, “reverberation”, “dispersion”, etc. used in architectural acoustics).

References: Musical acoustics, M., 1954; Dmitriev L. B., Fundamentals of vocal technique, M., 1968; Heimholt “H. v., Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik, Braunschweig, 1863,” 1913 (Russian translation – Helmholtz G., The doctrine of auditory sensations as a physiological basis for music theory, St. Petersburg, 1875); Schaefer K., Musikalische Akustik, Lpz., 1902, S. 33-38; Skudrzyk E., Die Grundlagen der Akustik, W., 1954 See also lit. to the article Music acoustics.

Yu. N. Rags