The Baroque period of music began in 1600 and ended with Bach's death in 1750. Baroque music was written for the aristocracy and church to demonstrate power. It featured basso continuo accompaniment, contrasting sound masses, terraced dynamics, and tonality. Common instruments included harpsichord, violin, oboe, bassoon, and timpani. Vocal genres like opera and cantata rose to prominence, as did instrumental forms like the suite, fugue, and concerto grosso. Major composers included Bach, Handel, Vivaldi, and Rameau.
The document summarizes the music of the Renaissance period from 1400-1600 CE. It describes Renaissance music as becoming popular entertainment for amateurs and the educated. Secular music became more prominent than sacred music. Characteristics included polyphonic structure with imitation among voices in a flowing manner. Vocal music included the Mass, with sections like the Kyrie and Agnus Dei, as well as madrigals, which were secular polyphonic compositions sung in poetry. Famous Renaissance composers mentioned include Giovanni Pierluigi da Palestrina, known for church music, and Thomas Morley, known for secular compositions like "April is in my Mistress' Face."
El documento presenta una lista de importantes músicos del período barroco, incluyendo sus fechas de vida y breves descripciones de sus contribuciones musicales. Algunos de los compositores destacados son Jacopo Peri, fundador de la Camerata Fiorentina; Dietrich Buxtehude, cuyas obras para órgano influyeron en Bach; Arcangelo Corelli, conocido por sus sonatas y concerti grossi; y Johann Sebastian Bach, considerado la culminación del estilo barroco.
The document summarizes the key characteristics of music from the Classical period from 1780-1820. During this period, sonata form became the dominant form of instrumental composition. The piano emerged as the primary instrument. Important composers like Mozart and Beethoven worked in Vienna, leading to it being known as the "Viennese Classical Period". Significant developments also occurred in science, philosophy, literature and the arts during this era.
Medieval, renaissance and baroque period music9 quarter 1MariaNicaEllia
The document provides an overview of medieval, Renaissance, and Baroque period music. It discusses the influence of the Christian church on medieval music and the popularity of Gregorian chants. Troubadour music emerged during the later medieval period featuring monophonic songs about chivalry and courtly love. The Renaissance period saw the rise of secular music alongside sacred music, as well as the development of polyphonic vocal music like the mass and madrigal. Notable composers from the period include Palestrina and Thomas Morley. Baroque music highlighted grandiose ornamentation and included genres like the concerto, concerto grosso, fugue, and oratorio. Major Baroque composers mentioned are Handel, Bach, and Vival
El serialismo integral fue creado por Anton Webern a mediados del siglo XX y establece un orden para la sucesión de duraciones, dinámicas y otras series musicales que se repiten durante una obra. Algunos de los principales compositores asociados con este estilo incluyen a Karlheinz Stockhausen, Olivier Messiaen y Pierre Boulez.
El documento describe el desarrollo de la polifonía musical desde el siglo IX hasta el período Ars Antigua entre los siglos XII y XIII. La polifonía surgió de la combinación de melodías simultáneas y fue desarrollada por compositores como Leonín y Perotín en la escuela de París. Ellos introdujeron formas polifónicas como el organum, discantus y canon, y establecieron la técnica del contrapunto como base de la polifonía.
The Baroque period of music began in 1600 and ended with Bach's death in 1750. Baroque music was written for the aristocracy and church to demonstrate power. It featured basso continuo accompaniment, contrasting sound masses, terraced dynamics, and tonality. Common instruments included harpsichord, violin, oboe, bassoon, and timpani. Vocal genres like opera and cantata rose to prominence, as did instrumental forms like the suite, fugue, and concerto grosso. Major composers included Bach, Handel, Vivaldi, and Rameau.
The document summarizes the music of the Renaissance period from 1400-1600 CE. It describes Renaissance music as becoming popular entertainment for amateurs and the educated. Secular music became more prominent than sacred music. Characteristics included polyphonic structure with imitation among voices in a flowing manner. Vocal music included the Mass, with sections like the Kyrie and Agnus Dei, as well as madrigals, which were secular polyphonic compositions sung in poetry. Famous Renaissance composers mentioned include Giovanni Pierluigi da Palestrina, known for church music, and Thomas Morley, known for secular compositions like "April is in my Mistress' Face."
El documento presenta una lista de importantes músicos del período barroco, incluyendo sus fechas de vida y breves descripciones de sus contribuciones musicales. Algunos de los compositores destacados son Jacopo Peri, fundador de la Camerata Fiorentina; Dietrich Buxtehude, cuyas obras para órgano influyeron en Bach; Arcangelo Corelli, conocido por sus sonatas y concerti grossi; y Johann Sebastian Bach, considerado la culminación del estilo barroco.
The document summarizes the key characteristics of music from the Classical period from 1780-1820. During this period, sonata form became the dominant form of instrumental composition. The piano emerged as the primary instrument. Important composers like Mozart and Beethoven worked in Vienna, leading to it being known as the "Viennese Classical Period". Significant developments also occurred in science, philosophy, literature and the arts during this era.
Medieval, renaissance and baroque period music9 quarter 1MariaNicaEllia
The document provides an overview of medieval, Renaissance, and Baroque period music. It discusses the influence of the Christian church on medieval music and the popularity of Gregorian chants. Troubadour music emerged during the later medieval period featuring monophonic songs about chivalry and courtly love. The Renaissance period saw the rise of secular music alongside sacred music, as well as the development of polyphonic vocal music like the mass and madrigal. Notable composers from the period include Palestrina and Thomas Morley. Baroque music highlighted grandiose ornamentation and included genres like the concerto, concerto grosso, fugue, and oratorio. Major Baroque composers mentioned are Handel, Bach, and Vival
El serialismo integral fue creado por Anton Webern a mediados del siglo XX y establece un orden para la sucesión de duraciones, dinámicas y otras series musicales que se repiten durante una obra. Algunos de los principales compositores asociados con este estilo incluyen a Karlheinz Stockhausen, Olivier Messiaen y Pierre Boulez.
El documento describe el desarrollo de la polifonía musical desde el siglo IX hasta el período Ars Antigua entre los siglos XII y XIII. La polifonía surgió de la combinación de melodías simultáneas y fue desarrollada por compositores como Leonín y Perotín en la escuela de París. Ellos introdujeron formas polifónicas como el organum, discantus y canon, y establecieron la técnica del contrapunto como base de la polifonía.
Classical era music followed the late Baroque period of music. It maintained many styles of the Baroque tradition but placed new emphasis on elegance and simplicity (as opposed to Baroque music's grandiosity and complexity) in both choral music and instrumental music. It was followed by the Romantic period.
▶️ YouTube: https://www.youtube.com/c/JoynulAbadinRasel
☕ Buy me a Coffee: https://www.buymeacoffee.com/JoynulAbadinR
El documento resume el Romanticismo musical del siglo XIX, incluyendo su contexto histórico, características, períodos y géneros musicales más importantes como la ópera, el lied y la música programática.
The document provides an overview of Baroque period music from 1600-1750. It describes the ornate and elaborate characteristics of Baroque arts and music. The period was known for grandeur and flamboyance in architecture, painting, orchestra, and the growing popularity of opera. Key composers during this era included Monteverdi, Handel, Bach, and Vivaldi. Their major works incorporated elements of unity, rhythm, melody, dynamics, and new forms like opera, cantata, oratorio, concerto grosso, and Baroque suite.
The document discusses music of the Medieval period from 500 AD to 1500 AD. It describes the period as the "Dark Ages" characterized by warfare, lack of a centralized government, and decline of urban life. Sacred music like Gregorian chant dominated, consisting of monophonic melodies without harmony. Secular music later emerged outside the church in the 12th-13th century. Notable composers included Hildegard of Bingen, who experienced visions and composed Gregorian chants, and Adam de la Halle, dubbed the "Last of the Trouveres," who wrote the first known musical play.
GRADE 9 MEDIEVAL MUSIC FOR THE FIRST QUARTER
Follow and subscribe on my Youtube channel for the Video of this presentation with voice over
https://m.youtube.com/c/RoxanneLavarias
If you want to have a copy of this presentation, just message me at roxannelynredrico@gmail.com
The document discusses the history and characteristics of Western musical genres from the Middle Ages through the Renaissance period. It describes Gregorian chant, which originated in the Middle Ages and was monophonic and based on Latin liturgy. Troubadour songs of the same era told of courtly love. The Renaissance looked back to ancient Greece and Rome and was known for polyphonic a cappella choral music like masses and madrigals, with the mass setting the Catholic mass and madrigals being secular vocal music that originated in Italy.
This document summarizes the Classical period of music history from around 1750 to 1820. It describes the transition from the rococo style to the classical style, which emphasized classical influences from Greece and Rome. The classical period saw the development of public concerts and reflection of social changes in music. Important classical forms included the symphony, concerto, sonata, and chamber music. The major composers of the period were Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven, and their significant choral works are listed.
1) La orquesta es un conjunto instrumental compuesto por instrumentos de cuerda, viento madera, viento metal y percusión. Tradicionalmente era dirigida desde dentro por el primer violín o desde el clave u órgano.
2) En el siglo XIX surgió la figura del director de orquesta moderno, que se situaba al frente para coordinar a todos los músicos.
3) El documento explica la evolución histórica de las orquestas y la dirección orquestal desde sus orígenes hasta la actualidad.
El Renacimiento se caracterizó por la música polifónica entre 1400 y 1600. Las formas musicales incluyeron la misa, el motete y el madrigal. Compositores notables fueron Josquin Desprez, Palestrina, Orlando di Lasso y Tomás Luis de Victoria. El estilo se caracterizó por el contrapunto y el uso moderado de terceras y sextas como intervalos armónicos.
This document provides information on several composers and instruments from the Baroque period. It discusses the lives and important works of composers Johann Sebastian Bach, George Frederick Handel, and Antonio Vivaldi. It also briefly profiles Henry Purcell and violin maker Antonio Stradivari. Additionally, it identifies key musical instruments from the Baroque era, including harpsichord, clavichord, organ, violin, viola, oboe, and bassoon.
Music began to be seen as a fine art during the Renaissance as classical ideas were rediscovered. Composers were no longer anonymous and greater importance was placed on the aesthetic qualities of art. Sacred music was dominated by the motet, with Josquin des Prez emerging as a leading figure known for his expressive use of texture and style. Secular music saw the rise of the madrigal and English madrigals became popular. Palestrina's style came to exemplify Renaissance polyphony with its smooth textures and balance. Dance music such as the pavane and galliard were also popular during this period.
The art song flourished in the Romantic period as composers sought to capture the emotional impact of poetry through music. The genre is well-suited for personal expression, using a solo voice accompanied by piano. Notable composers of lieder, the German art song, included Franz Schubert and Robert Schumann. Their songs often combined to form song cycles on a theme. Character pieces for solo piano were also a form of program music from this era, allowing composers like Chopin to portray a mood or moment through music. Larger programmatic works included Berlioz's Symphonie Fantastique, which used a recurring theme to unite a multi-movement work depicting a story.
El serialismo es un método de composición musical que utiliza series de notas sin repeticiones siguiendo un orden definido. Fue desarrollado por Schönberg en los años 1920 y luego adoptado por compositores como Berg y Webern, quienes aplicaron la técnica serial a todos los elementos musicales. En los años 1950, el serialismo integral se convirtió en la tendencia dominante entre compositores de vanguardia, aunque perdió popularidad a partir de los años 1980.
El documento describe la música medieval en Europa entre los siglos IX y XIV. Se analizan géneros como el canto gregoriano, la monodia profana, y la polifonía sacra y profana. La polifonía evolucionó de los primeros organa paralelos hasta alcanzar su máximo desarrollo en las escuelas de Santiago y Notre Dame, con la introducción del ritmo medido. En el siglo XIV surgen el Ars Nova en Francia y el Trecento en Italia.
During the Classical period from 1750-1820, sonata form became the dominant way for composers to write instrumental music, including symphonies, sonatas, and concertos. It consisted of four movements with set tempos and structures. Opera evolved from a serious art form to a more showy style focused on solo singers. Church music took on operatic styles with arias and duets. Chamber music such as string quartets and divertimentos also grew in popularity. Major composers of the period included Haydn, Mozart, and Beethoven who helped bridge to the Romantic era.
Este documento resume las principales características de la música del Renacimiento en Europa. Se desarrolló la polifonía y la música profana, sustituyendo las voces por instrumentos. Algunas formas musicales religiosas importantes fueron el motete y la misa, mientras que las formas profanas incluyeron la chanson, el madrigal y el villancico. La música instrumental se basó en modelos vocales y danzas, y se desarrollaron familias de instrumentos como la vihuela.
The document summarizes characteristics of the Romantic period in music from 1830-1910. It moved away from classical form towards softer lighting, expressive emotions, and nationalism. Composers like Beethoven, Schubert, Chopin, Liszt, Verdi, and Rossini are discussed. Their works expressed feelings through melodies, instrumentation, and stories.
The Baroque period saw developments in musical notation and instrumental techniques. Tonality evolved with the establishment of major and minor scales. Baroque music is characterized by elaborate melodies, contrapuntal textures, and dynamic contrasts between loud and soft. Common forms included binary, ternary, ground bass, and fugue. Popular genres were the concerto, concerto grosso, oratorio, and chorale. Famous composers from this period were Johann Sebastian Bach, known for his sacred music, Antonio Vivaldi who composed instrumental concertos such as The Four Seasons, and George Frideric Handel best known for his oratorios including Messiah.
La orquesta evolucionó desde el Barroco hasta el siglo XX, incorporando nuevos instrumentos y ensambles. En el Barroco, las orquestas variaban en tamaño y se encontraban en cortes reales, iglesias e instituciones. En la era Clásica, los instrumentos se especificaron y la orquesta sinfónica se consolidó. En el Romanticismo, las orquestas crecieron y compositores exploraron nuevos colores. En el siglo XX, la orquesta se amplió aún más con instrumentos de percusión e innovaciones eléct
Classical era music followed the late Baroque period of music. It maintained many styles of the Baroque tradition but placed new emphasis on elegance and simplicity (as opposed to Baroque music's grandiosity and complexity) in both choral music and instrumental music. It was followed by the Romantic period.
▶️ YouTube: https://www.youtube.com/c/JoynulAbadinRasel
☕ Buy me a Coffee: https://www.buymeacoffee.com/JoynulAbadinR
El documento resume el Romanticismo musical del siglo XIX, incluyendo su contexto histórico, características, períodos y géneros musicales más importantes como la ópera, el lied y la música programática.
The document provides an overview of Baroque period music from 1600-1750. It describes the ornate and elaborate characteristics of Baroque arts and music. The period was known for grandeur and flamboyance in architecture, painting, orchestra, and the growing popularity of opera. Key composers during this era included Monteverdi, Handel, Bach, and Vivaldi. Their major works incorporated elements of unity, rhythm, melody, dynamics, and new forms like opera, cantata, oratorio, concerto grosso, and Baroque suite.
The document discusses music of the Medieval period from 500 AD to 1500 AD. It describes the period as the "Dark Ages" characterized by warfare, lack of a centralized government, and decline of urban life. Sacred music like Gregorian chant dominated, consisting of monophonic melodies without harmony. Secular music later emerged outside the church in the 12th-13th century. Notable composers included Hildegard of Bingen, who experienced visions and composed Gregorian chants, and Adam de la Halle, dubbed the "Last of the Trouveres," who wrote the first known musical play.
GRADE 9 MEDIEVAL MUSIC FOR THE FIRST QUARTER
Follow and subscribe on my Youtube channel for the Video of this presentation with voice over
https://m.youtube.com/c/RoxanneLavarias
If you want to have a copy of this presentation, just message me at roxannelynredrico@gmail.com
The document discusses the history and characteristics of Western musical genres from the Middle Ages through the Renaissance period. It describes Gregorian chant, which originated in the Middle Ages and was monophonic and based on Latin liturgy. Troubadour songs of the same era told of courtly love. The Renaissance looked back to ancient Greece and Rome and was known for polyphonic a cappella choral music like masses and madrigals, with the mass setting the Catholic mass and madrigals being secular vocal music that originated in Italy.
This document summarizes the Classical period of music history from around 1750 to 1820. It describes the transition from the rococo style to the classical style, which emphasized classical influences from Greece and Rome. The classical period saw the development of public concerts and reflection of social changes in music. Important classical forms included the symphony, concerto, sonata, and chamber music. The major composers of the period were Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven, and their significant choral works are listed.
1) La orquesta es un conjunto instrumental compuesto por instrumentos de cuerda, viento madera, viento metal y percusión. Tradicionalmente era dirigida desde dentro por el primer violín o desde el clave u órgano.
2) En el siglo XIX surgió la figura del director de orquesta moderno, que se situaba al frente para coordinar a todos los músicos.
3) El documento explica la evolución histórica de las orquestas y la dirección orquestal desde sus orígenes hasta la actualidad.
El Renacimiento se caracterizó por la música polifónica entre 1400 y 1600. Las formas musicales incluyeron la misa, el motete y el madrigal. Compositores notables fueron Josquin Desprez, Palestrina, Orlando di Lasso y Tomás Luis de Victoria. El estilo se caracterizó por el contrapunto y el uso moderado de terceras y sextas como intervalos armónicos.
This document provides information on several composers and instruments from the Baroque period. It discusses the lives and important works of composers Johann Sebastian Bach, George Frederick Handel, and Antonio Vivaldi. It also briefly profiles Henry Purcell and violin maker Antonio Stradivari. Additionally, it identifies key musical instruments from the Baroque era, including harpsichord, clavichord, organ, violin, viola, oboe, and bassoon.
Music began to be seen as a fine art during the Renaissance as classical ideas were rediscovered. Composers were no longer anonymous and greater importance was placed on the aesthetic qualities of art. Sacred music was dominated by the motet, with Josquin des Prez emerging as a leading figure known for his expressive use of texture and style. Secular music saw the rise of the madrigal and English madrigals became popular. Palestrina's style came to exemplify Renaissance polyphony with its smooth textures and balance. Dance music such as the pavane and galliard were also popular during this period.
The art song flourished in the Romantic period as composers sought to capture the emotional impact of poetry through music. The genre is well-suited for personal expression, using a solo voice accompanied by piano. Notable composers of lieder, the German art song, included Franz Schubert and Robert Schumann. Their songs often combined to form song cycles on a theme. Character pieces for solo piano were also a form of program music from this era, allowing composers like Chopin to portray a mood or moment through music. Larger programmatic works included Berlioz's Symphonie Fantastique, which used a recurring theme to unite a multi-movement work depicting a story.
El serialismo es un método de composición musical que utiliza series de notas sin repeticiones siguiendo un orden definido. Fue desarrollado por Schönberg en los años 1920 y luego adoptado por compositores como Berg y Webern, quienes aplicaron la técnica serial a todos los elementos musicales. En los años 1950, el serialismo integral se convirtió en la tendencia dominante entre compositores de vanguardia, aunque perdió popularidad a partir de los años 1980.
El documento describe la música medieval en Europa entre los siglos IX y XIV. Se analizan géneros como el canto gregoriano, la monodia profana, y la polifonía sacra y profana. La polifonía evolucionó de los primeros organa paralelos hasta alcanzar su máximo desarrollo en las escuelas de Santiago y Notre Dame, con la introducción del ritmo medido. En el siglo XIV surgen el Ars Nova en Francia y el Trecento en Italia.
During the Classical period from 1750-1820, sonata form became the dominant way for composers to write instrumental music, including symphonies, sonatas, and concertos. It consisted of four movements with set tempos and structures. Opera evolved from a serious art form to a more showy style focused on solo singers. Church music took on operatic styles with arias and duets. Chamber music such as string quartets and divertimentos also grew in popularity. Major composers of the period included Haydn, Mozart, and Beethoven who helped bridge to the Romantic era.
Este documento resume las principales características de la música del Renacimiento en Europa. Se desarrolló la polifonía y la música profana, sustituyendo las voces por instrumentos. Algunas formas musicales religiosas importantes fueron el motete y la misa, mientras que las formas profanas incluyeron la chanson, el madrigal y el villancico. La música instrumental se basó en modelos vocales y danzas, y se desarrollaron familias de instrumentos como la vihuela.
The document summarizes characteristics of the Romantic period in music from 1830-1910. It moved away from classical form towards softer lighting, expressive emotions, and nationalism. Composers like Beethoven, Schubert, Chopin, Liszt, Verdi, and Rossini are discussed. Their works expressed feelings through melodies, instrumentation, and stories.
The Baroque period saw developments in musical notation and instrumental techniques. Tonality evolved with the establishment of major and minor scales. Baroque music is characterized by elaborate melodies, contrapuntal textures, and dynamic contrasts between loud and soft. Common forms included binary, ternary, ground bass, and fugue. Popular genres were the concerto, concerto grosso, oratorio, and chorale. Famous composers from this period were Johann Sebastian Bach, known for his sacred music, Antonio Vivaldi who composed instrumental concertos such as The Four Seasons, and George Frideric Handel best known for his oratorios including Messiah.
La orquesta evolucionó desde el Barroco hasta el siglo XX, incorporando nuevos instrumentos y ensambles. En el Barroco, las orquestas variaban en tamaño y se encontraban en cortes reales, iglesias e instituciones. En la era Clásica, los instrumentos se especificaron y la orquesta sinfónica se consolidó. En el Romanticismo, las orquestas crecieron y compositores exploraron nuevos colores. En el siglo XX, la orquesta se amplió aún más con instrumentos de percusión e innovaciones eléct
Breve introduzione al funzionamento dell'orecchio e di come i principi base della percezione sonora possono essere usati per codifiche digitali efficienti
Breve presentazione dell'argomento con le relative leggi fisiche. (4° Liceo Scientifico) - Roberto Testa - IV^H Liceo Scientifico "Leonardo" - Giarre (CT).
Le onde e il suono, la frequenza, la lunghezza d'onda, la velocità, onde armoniche, riflessione, onde sonore, ultrasuoni, intensità..
1. Seminario sulla Fisica Musicale
Propagazione di un’onda sonora
all’interno di una canna d’organo
Fosca Fimiani
2. IL SUONO
Il suono è una perturbazione dell’aria che si propaga
trasferendo energia da un punto ad un altro in un mezzo.
Da un punto di vista fisico il suono è un fenomeno
ondulatorio che ha luogo in un mezzo elastico (es. aria)
per effetto della perturbazione oscillatoria provocata da
una sorgente (es. vibrazione di un corpo )
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
3. La propagazione di un suono in aria può essere equiparata allo svilupparsi di una hola
fatta allo stadio.
Le onde acustiche in aria sono
longitudinali. Si trovano ad
esempio nella generazione e
propagazione del suono all’interno
della canna d’organo.
Le onde trasversali caratterizzano
invece la generazione del suono negli
strumenti a corde.
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
4. Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
L’oscillazione locale si traduce in una serie di variazioni di pressione
(compressioni e rarefazioni) che vengono trasmesse alle particelle
adiacenti e si propagano a distanze molto superiori a quelle del
movimento microscopico: in pratica ha luogo una perturbazione ondosa
✔ La proprietà fondamentale della propagazione ondosa è che si ha
trasporto di energia ma non di materia
✔ Il caso più semplice da visualizzare è quello in cui tale fenomeno
avviene in maniera sinusoidale
✔ Le onde sinusoidali possono essere interpretate come le componenti
fondamentali di tutte le forme d’onda
5. Un’onda descritta da una configurazione sinusoidale:
prendendo in esempio un’onda trasversale si ottiene un
andamento nel tempo e dello spazio del tipo in figura. Si
noti la relazione tra i due grafici!
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
6. Per riuscire a spiegare alcuni fenomeni è necessario introdurre un paio
di grandezze fisiche quali la lunghezza d’onda, il periodo, la frequenza e
l’ampiezza.
Si definisce lunghezza d’onda, λ, la distanza fra due creste o valli
contigue (o fra due punti aventi stesso valore nello stesso istante), e
definisce la distanza minima affinché una medesima configurazione si
ripeta.
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
7. Il periodo è il tempo necessario ad un’onda a percorrere una distanza
pari alla lunghezza d’onda stessa. È anche il tempo che impiega una
singola particella a compiere un’oscillazione completa.
Come si nota dall’immagine in questo caso abbiamo un grafico
composto da tre periodi (suddivisi dalle barrette verticali).
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
8. Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
La frequenza è il numero di volte, in un secondo, in cui una particella
passa per la stessa posizione. Cioè compie un ciclo completo
9. Il nostro orecchio percepisce suoni in una intervallo che va dai 20
ai 20000 Hz (dove con Hz s’intende l’unità di misura della
frequenza);
la velocità del suono in aria è pari a circa 345 m/s ad una
temperatura di 20°(si consideri che la luce viaggia a 3x108 m/s);
le lunghezze d’onda che ricoprono quindi la gamma dell’udibile
hanno estensioni che vanno dai 2 cm ai 15 m dei suoni più bassi;
Il livello di un suono si misura tipicamente in decibel SPL (Sound
Pressure Level), dove lo zero corrisponde a 20 μPa;
il suono che noi percepiamo è il risultato di molte onde sonore
sinusoidali indipendenti e senza influenza reciproca (Helmholtz
dimostrò che la qualità distintiva, o timbro, di un suono complesso
è determinata dalle frequenze che lo compongono)
Fatti interessanti:
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
12. La fabbricazione di canne d’organo è una tradizione del settore industriale
europeo. Il fattore che influenza maggiormente la competizione, fra
grandi e piccole imprese di costruzione di organi, è la qualità delle canne.
Si possono mettere in evidenza due aspetti qualitativi:
la qualità tecnica, cioè la qualità dell’organo come prodotto tecnico;
la qualità estetica che è, sostanzialmente, la qualità del suono. La
qualità del suono è un fattore fondamentale perchè è la firma del
costruttore dell’organo ed incide sulla reputazione del costrutture (come
per i liutai).
Lo scaling e il voicing sono i parametri usati per assicurare la qualità
richiesta del suono percepito, selezionando e aggiustando parametri
geometrici della canna.
La costruzione delle canne d’organo è fatta per lo più manualmente ma
tecniche innovative possono facilitarne il lavoro e ridurre i costi di
produzione.
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
13. Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
Come in tutti gli strumenti musicali anche nella canna d’organo si possono
identificare 3 sottosistemi acustici essenziali:
il meccanismo di eccitazione (generatore)
l’elemento vibrante (risuonatore)
l’antenna acustica (radiatore)
MANTICE
14. Guardiamo cosa succede quando un fluido (scorrendo lungo le proprie
linee di flusso) incontra un ostacolo; in questo caso osserviamo il
comportamento del flusso d’aria in corrispondenza dell’ancia della
canna.
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
16. Perché una colonna d’aria “risuona”?
Le onde sonore godono di una proprietà: quella di “sommarsi”
sempre tra di loro per dar luogo ancora a delle onde sonore;
Le onde cercano sempre di girare intorno agli ostacoli (diffrazione) ma se
non ce la fanno cercano di tornare indietro (riflessione) e se, così facendo,
incontrano le onde di coda, si “sommano” a queste ultime ma non si
confondono con esse;
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
17. Capita praticamente sempre che durante la manovra di ritorno
(riflessione) qualche onda aerea “cambi natura”, ad esempio, pur
continuando a viaggiare nell’aria, cominci a propagarsi anche in altre
dimensioni spaziali come succede alle onde che “escono dalla colonna
d’aria” e che gli ascoltatori alla fine percepiscono come il “suono
dell’organo”.
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
20. Teorema e Trasformata di Fourier
Il teorema di Fourier, tradotto in termini di acustica, nelle parole di
Helmholtz recita: “ogni movimento vibratorio dell’aria nel condotto
uditivo, corrispondente ad un suono musicale, può sempre, e sempre in
un solo modo, essere riguardato come la somma di un certo numero di
movimenti vibratori, corrispondenti ai suoni parziali del suono
considerato”.
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013
Il teorema di Fourier afferma che ogni funzione periodica, quale che
sia il suo profilo temporale, è esprimibile come una sovrapposizione di
funzioni monocromatiche pure, ossia di funzioni sinusoidali, le cui
frequenze sono multipli interi della frequenza che caratterizza la
periodicità della funzione complessiva, o frequenza fondamentale.
22. Laboratorio di ricerca a Ferrara:
Referente:
Dott. Domenico Stanzial, istituto d’acustica e sensoristica
Orso Mario Corbino, Roma;
Collaboratori/Ricercatori:
Dott. Giorgio Sacchi;
Martina Buiat.
http://web.fe.infn.it/acustica/
Fosca Fimiani presentazione di acustica musicale San Polo D’Enza Luglio-Agosto 2013