Contents
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Introduction Introduction
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What Governs the Loudness of a Stringed Instrument? What Governs the Loudness of a Stringed Instrument?
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Bowed Strings Bowed Strings
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How bowed strings work How bowed strings work
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How can a player influence Helmholtz motion? How can a player influence Helmholtz motion?
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Playability of bowed strings Playability of bowed strings
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The wolf note The wolf note
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The Role of the Instrument Maker: Setup and Tonal Adjustment The Role of the Instrument Maker: Setup and Tonal Adjustment
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Key References Key References
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Reflective Questions Reflective Questions
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References References
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16 String Instruments—Bowed
Get accessJim Woodhouse studied mathematics as an undergraduate at Cambridge University, and completed a PhD and post-doctoral work on the acoustics of the violin in the Department of Applied Mathematics and Theoretical Physics in Cambridge. This interest developed from a hobby interest in making musical instruments. After a few years working in a consultancy company on noise and vibration issues, he joined the Engineering Department at Cambridge in 1985, and remained there throughout his career: as Lecturer, then Reader, then Professor, and now Emeritus Professor. His musical instrument interest has continued through the years, together with research on vibration of complex systems, statistical approaches to vibration prediction, and vibration driven by friction. His work has always focused on the interplay between theoretical understanding and laboratory measurements, aiming to combine research in fundamental physics with practical implications, both for industrial applications and for musical instrument makers.
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Published:18 March 2022
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Abstract
This chapter provides an introduction to the scientific study of bowed-string instruments, concentrating on aspects that are of direct relevance to performers. Points of similarity and contrast with plucked-string instruments are discussed. A key similarity is in the question of what governs the loudness of any acoustical string instrument. The key contrast is in the manner in which a bowed string vibrates: this is governed by more complicated physics than the vibration of a plucked string, and this has important implications for “playability” and other aspects of performance such as the wolf note. Because of the nature of the subject matter, the organization of the chapter does not separate the background science from the implications for performance: as each successive topic is discussed, implications for performers and teachers are discussed in an integrated way.
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