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keyboard_arrow_downTitleAbstractKey Takeaways1.B -Pipe Voicing / Task Analysis4 -Summary2.D -Summary3.D -Summary4 -Sound Quality Methods and Listening Tests2.B.II -On the Methods2.C -Objective Parameters1 -IntroductionPerspectives and Future WorkVoicing Techniques: An OverviewTime-Frequency AnalysisObjective Description of Starting TransientsSubjective Evaluation: Listening Tests and MethodsConclusionFuture WorkParticipants and Data CollectionQualitative AnalysisResults and DiscussionGoart Participants Organ BuilderMethodResultsDiscussionIntroductionWhy a New Method?Presentation of the MethodStatistical AnalysisConclusionsProcedureReferencesFAQsAll TopicsPhysicsAcoustics and Ultrasonicsdownload

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Abstract

This thesis presents a research study carried out in collaboration with a department of applied acoustics, a department of musical acoustics and an organ workshop. The description of the sound quality of flue organ pipes has received fairly little attention either in organ-building or scientific literature, despite its importance in the overall quality of the instrument, probably due to the difficulties inherent in doing so. This thesis addresses this issue while focusing on the process of voicing a flue organ pipe. The treatment of such a topic requires an interdisciplinary approach in the use of methods and results that have originated in acoustics, signal processing, experimental psychology and linguistics.

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Key takeaways

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1. This interdisciplinary thesis explores the voicing techniques of flue organ pipes, highlighting the importance of sound quality.
2. The study identifies a structured list of verbal descriptors for flue organ pipe sounds through listening tests.
3. Methodologies include computer-assisted listening tests, factor analysis, and spectral analysis of pipe sounds.
4. Key findings suggest a complex interplay between physical parameters and perceptual qualities in organ pipe sound.
5. The research advocates for the development of a standardized lexicon for better communication among organ builders and acousticians.

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In this country there exist, mainly in churches, around ten thousand pipe organs, some with pipework dating back four hundred years. This represents a time capsule because today you can sit and listen to exactly the same sounds as heard by our fore fathers all that time ago. The same of course applies to other ancient instruments. Another remarkable thing is that the musical elite have always managed to find money for these very expensive machines even though they are not preferred listening of the public at large. Pipe organs as you know consist of hundreds – sometimes thousands of pipes fitted to wind chests and controlled by one man operating an array of stops and keys which selectively admit pressurized air into the pipes. The wind, nowadays provided by a motor driven fan, known as the blower, can vary in pressure from 1/10 th bar to 3 bar on some big instruments. The pressure from the blower is controlled by a reservoir consisting of a large bellows like chest top loaded with iron weights. If the organist plays a large number of pipes together, the reservoir deflates to keep up with the air demand and the downward movement is used to open a shutter in the airline recharging the reservoir. The traditional organ is operated by a system known as tracker action, the keynotes and stops being linked to the pipework by wires and levers which move wooden slides which uncover holes beneath the pipes. This makes it necessary to group the pipework closely around the organ console. This ancient mechanism is still the preference of many serious musicians who find that it gives them expressive control over the admission of air into the pipes. This type of organ requires precision woodwork since it must be airtight, and every decade or so, depending on how much the instrument is used, a major overhaul is needed due to wear in these wooden components causing what is termed whispers and murmurs. During the nineteenth century the Victorians ambitiously constructed very large organs in cathedrals and civic halls when new technology available removed the constraints of the physical strength of the organist and the strength of the man at the pump handle maintaining the wind supply. Hundreds of thin lead tubes conveying air impulses enabled the controls to operate miniature bellows in sections of the instrument considerably remote from the organ console with only a light touch being required by the organist. Also in another part of the building was a boiler and steam engine, and the pump man now became the stoker. The pneumatic action with all these lead tubes, and components made of wood, leather and wire was very was very complex and predictive of todays' electrical circuits. The miniature bellows in reality a soft leather bag called a purse would when inflated block a hole beneath a larger bellows called a motor, and when the air pressure from the lead tube was released by the organist playing a note at the console, the purse would deflate causing the motor to deflate and open a hole beneath the required pipe causing it to play or in technical language to speak.

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268. __________, Hirschberg, A., and Caussé, R. (1997). "Sound Production in Recorderlike Instruments II: A Simulation Model." Journal of the Acoustical Society of America, 101(5), 2925-2939.
269. Västfjäll, D. (2000). Personal communication. __________. (2001). Affective Reactions to Interior Aircraft Sound. Unpublished licentiate thesis, Chalmers University of Technology, Göteborg.
270. __________. (2001). Methods for Assessment of Perceived Sound Quality. Göteborg.
271. __________, Gärling, T., and Kleiner, M. (1999). "Preference for Mood, Emotional Reaction, and Anticipated Emotional Reaction." (Submitted to Acta Psychologica).
272. Wells, J., and House, J. (1995). The Sounds of the International Phonetic Alphabet. London: Department of Phonetics and Linguistics, University College of London.
273. Williams, J. (1976). "Synaesthetic Adjectives: A Possible Law of Semantic Change". Language 52.2:461-78.
274. Williams, P., and Owen, B. (1988). The Organ-The New Groove Musical Instrument Series. New York: W. W. Norton & Company.
275. Zwicker, E., and Fastl, H. (1999). Psychoacoustics-Facts and Models. 2nd edition. Berlin, Germany: Springer Verlag.

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How does voicing affect the sound quality of flue organ pipes?add

Voicing techniques allow for fine adjustments in sound qualities, including timbre modification and transient adjustments, impacting the music produced. For instance, harmonization may vary significantly across historical styles and individual voicers, illustrating the intricate interplay between physics and artistry.

What methodologies were employed to evaluate the sounds of flue organ pipes?add

The study utilized listening tests combining qualitative and quantitative analyses, including semantic differential scales and factor analysis, to derive structured verbal descriptors. This multi-faceted approach enhanced understanding of sound perception and provided a valid lexicon for organ builders.

What are the main attributes of flue organ pipe sounds identified in the research?add

The research identified key attributes such as transient speed, timbre quality, and the balance between noise and harmonic elements, which correlate to perceptual processes. These attributes were categorized through listening tests and refined using statistical analysis techniques.

How does the acoustic properties of flue pipes differ among historical and modern constructions?add

Historic pipes exhibited distinct tonal characteristics influenced by traditional materials and voicing techniques, while modern copies often lacked the same depth and richness. This empirical evidence illustrates how craftsmanship and aesthetics affect acoustic outcomes.

What role do verbal descriptors play in the perception of organ pipe sounds?add

Verbal descriptors provide a framework for communicating nuanced auditory experiences, allowing for precise discussions about sound quality among experts. The study revealed that descriptors like 'chiff' and 'hiss' serve crucial roles in categorizing the transient qualities of sounds.

Vincent RiouxÉcole National Superieure des Beaux Arts de Paris, Faculty MemberaddFollowmailMessagePapers12Followers58View all papers from Vincent Riouxarrow_forward

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The Journal of the Acoustical Society of America, 2004

When basic phenomena of the physics of flue organ pipes are studied, experiments on models are acceptable. But frequently, these models differ considerably from real organ pipes. For this reason, the fine details of pipe sounds should be investigated on real pipes. The sound quality of an organ pipe is mainly influenced by the attack transients. This onset is first dominated by the edge tone, while later the pipe resonator will play a more important role. To understand the physics of a flue organ pipe, it is necessary to measure the acoustic properties of the pipe resonator, to analyse the edge tone, the attack transient and the stationary sound of the pipe. Several special pipes with the same pitch have been investigated: pipes with different diameters; a pipe, of which the cut-up, and a pipe, of which the length is adjustable. By the evaluation all physical effects contributing to the production of sound were taken into account. The results together with the results of subjective listening tests will be used for developing a scaling method for dimensioning labial organ pipes and a software for designing organ pipe dimensions of the most important ranks.

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The application of ears is one of the voicing techniques for flue organ pipes. The ears are the projections on both sides of the pipe mouth and have been used since the Renaissance period. They are frequently used to narrow scaled and low pitched pipes. By the structure around the mouth not only the radiation characteristics of the pipe but also the jet, the source of the pipe sound, will be influenced. Since the ears are attached to the mouth, their effect must be seen both in the sound and the jet. The aim of this research is to find out in details what kind of effect the ears have on the pipe sound and on the jet. According to the opinion of organ builders, the pipe sound will be lower and darker, and the build-up of the sound smoother and faster by attaching the ears. By our measurements, these recognitions were approved. The sound becomes more fundamental and the number of the harmonics is increased by adding the ears. Looking the growth of the harmonics in the attack transient...

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Proceedings of Meetings on Acoustics, 2022

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The article presents the design and capabilities of the Inton measurement system. The system is developed in MARC Prague for an in-situ repeatable unbiased acoustical documentation of sound condition of pipe organs and for the analysis of the organ pipe sounds in the process of organ building and voicing. The organ sound documentation is independent on the precise actual placing of the microphones in the space. In addition to the usual review of spectra of the individual pipes the system allows to evaluate balance of the tone sound quality within registers of an organ, to discover out-of-tendency tones and to asses the room acoustic parameters from the point of view of an organ position in the space without any other equipment. The system consists of a microphone set, microphone preamplifiers, A/D converters and two laptop computers with special software. The system was already used for the subsequent objective and/or subjective evaluations and comparisons of documented sounds after...

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The Journal of the Acoustical Society of America, 1982

The scaling of ranks of organ flue pipes to produce a coherent, characteristic, and tonally balanced ensemble is a problem which has confronted organ builders for many centuries, but the temperament used to tune these pipes has likewise been of concern. With an analysis of the Fantasia Chromatica by Jan Pieterszoon Sweelinck, and its contrapuntal fabric, the proposition by Simon Stevin of “finding 11 mean proportional parts between 2 and 1, learned through the 45th proposition of my French arithmetic” serves as a solution for a modification in temperament of the organ pipes at the Oude Kerk in Amsterdam where it was performed by Sweelinck.

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hit.bme.hu

The sound generation of an organ pipe is a very complex physical process, since the acoustical phenomena take place coupled with fluid flow effects. Even so, by modeling the organ pipe merely as an acoustic resonator, one can predict several key parameters of the sounding with sufficient accuracy. As these parameters are highly affected by even small changes of the pipe's geometry, the resolution of the numeric model should be adequately fine, which means that computational time and effort will raise enormously. The aim of our work is to develop a simulation program, which provides the chance to accurately predict acoustic properties of organ pipes. At the same time, the obtained results can serve as guidelines for scaling and intonating the pipes. Taking into consideration that an organ consists of thousands of pipes, an efficient simulation method would greatly aid the work of organ builders, by speeding up the industrial procedure of organ fabrication and intonation. Int he course of the work reported herein we modeled organ pipes by means of various numerical techniques (such as FEM, BEM, coupled FEM/BEM, etc.). Commercial and self-developed software packages were used and the obtained data were compared analytic solutions and measurement results. It was shown that by using these techniques one can approximate key acoustic parameters of the pipe. We have also examined, how certain approximations and neglects can affect the accuracy of simulation.

downloadDownload free PDFView PDFchevron_rightNumerical Techniques for Acoustic Modelling and Design of Brass Wind InstrumentsDaniel Noreland

2003

Preface. When H. Bouasse published his Instrumentsà Vent in two volumes in 1929-30, he set the starting point for what can be regarded as modern research on musical acoustics. Some 40 years later, the stock of published papers could be counted in their hundreds. However, it is only during the last two or three decades that our physical understanding, in combination with the development of computers, has made it possible to analyse wind instruments with the precision necessary, not only to explain the basic principles of their function, but also to be of practical use for instrument makers. This thesis deals with numerical methods and procedures for the analysis and design of acoustic horns of the kind found in brass instruments. The same models are applicable also to loudspeaker horns, with which one part of the thesis is concerned. Although the properties and merits of different systems for sound reproduction, such as loudspeakers, are sometimes debated lively, it is at least possible to define an ideal system, in the sense that the sound at the position of the listener's ears should be in as good agreement as possible with the sound at the position of the microphone in the concert hall during the recording. When speaking about optimisation of musical instruments, one has to be much more careful. The instruments of the modern western orchestra are the result of centuries of evolution, where tradition, musical ideals, performance techniques, and acoustical considerations have been inextricably intertwined with each other. Our judgement about a certain instrument is dependent on a preconception about how the instrument should sound [13], and this preconception may vary between individuals, different musical settings and different times. It is important to bear in mind that the term "quality" for the sound of a musical instrument lacks sense, unless one also places the instrument in its musical context. Nevertheless, research on musical acoustics is of more than constructional interest. Firstly, it gives the possibility to quantify the differences between instruments, and to answer the question why one instrument is considered to be better than another. Secondly, once we have a clear-cut idea about what we expect from an instrument, we can apply the mathematical tools in order to make instruments that comply with our standards as far as possible.

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