Aulos and Harp: Questions of Pitch and Tonality

Hagel, Stefan

doi:10.1163/22129758-12341241

Cited by 7 publications

(7 citation statements)

References 5 publications

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“…Despite the uncertainty on results that the player's input introduces, the described approaches should not be considered redundant. The musical reproduction needs forced musical instrument makers to follow certain construction patterns [2].…”

Section: Aulos Case Study a Previous Workmentioning

confidence: 99%

“…ENTROTUNER's task is to find the set of fundamental frequencies that minimizes the entropy of the aggregate spectrum of Aulos. Repeated patterns in construction details of the ancient musical instruments indicate that they were built to favor certain frequencies [2]. Therefore, the proposed modified set of fundamentals should not significantly variate from the initial one [24].…”

Section: B Building the Modelmentioning

confidence: 99%

“…[1]. However, missing parts of excavated musical instruments and lack of concrete evidence on the ancient playing techniques (i.e., the players' interaction with them) lead us to ambiguities regarding their function and relation to specific tuning systems and practices [2]. An ancient musical instrument is not an apparatus detached from the cultural practices of that era but rather an item whose study can reveal unknown aspects of prior civilizations.…”

Section: Introductionmentioning

confidence: 99%

“…Even in the hypothetical scenario that a musical instrument was found intact and with no missing parts, the musician's interaction with it cannot be accurately described, especially in regards to tuning [2]. The musician can adjust the tuning and intonation either by stressing the strings of a string instrument [9] or by using certain blowing and lip abutment techniques in woodwind instruments [10].…”

Section: Introductionmentioning

confidence: 99%

“…However, so far, there is not a study combining all three factors, specifically for an ancient instrument. The study of ancient wind instruments revealed a consistency of the finger hole positions' design [2] to derive a certain tuning [6]. These characteristics indicate that the study of the musical instrument alone is inadequate and highlight the necessity to adopt a more holistic approach.…”

Section: Introductionmentioning

confidence: 99%

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ENTROTUNER: A Computational Method Adopting the Musician’s Interaction With the Instrument to Estimate its Tuning

et al. 2020

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Archeomusicologists commonly use methods based on the physical properties and the relative tuning system of a musical instrument in order to estimate its tones. However, because the musician often alters the tones' frequency, for example, while playing in wind instruments by means of embouchure or by stressing the string in string instruments, the current methods that neglect the musician's interaction with the instrument cannot provide solid results. In this work, we introduce ENTROTUNER, a computational method, based on mathematical optimization, to more accurately estimate the generated tones by considering: the instrument as a sound production mechanism, the relevant musical scale(s), and the musician's interaction with the instrument. We simulate this interaction as a system that, by following tuning rules, aims to maximize the partials' overlap (harmonicity), coded as entropy's minimization of the aggregated tones' spectrum. Last, we put ENTROTUNER into practice for the ancient Greek wind instrument Aulos. The results reveal that, compared with the traditional methods, ENTROTUNER highlights increased harmonicity (entropy decreased by 0.341bits), eleven additional consonant intervals, as well as 47.8% more tuning quality for the musical instrument.

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Section: Aulos Case Study a Previous Workmentioning

confidence: 99%

Section: B Building the Modelmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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ENTROTUNER: A Computational Method Adopting the Musician’s Interaction With the Instrument to Estimate its Tuning

et al. 2020

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Creation of Functional Replica Roman and Late Antique Musical Instruments through 3D Scanning and Printing Technology, and their use in research and museum education

et al. 2021

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Replica artefacts are a well-established feature of Roman archaeology, particularly as used in experimental archaeology, by re-enactors, and in museum education. 3D scanning offers a new methodology for the accurate production of such artefacts, which can then be used both in scholarly research and in public engagement activities. This article describes methodologies for 3D scanning and 3D printing, together with appropriate craft techniques, in the creation of replica musical instruments from the collection of UCL's Petrie Museum of Egyptian Archaeology in London. While there were some challenges in replica creation, discussed in further detail, 'functional replicas' were successfully made, that, we argue, replicate sufficiently accurately those features of the objects under investigation from a research perspective. These were the decibel levels (sound power levels), and, for some objects, frequency (pitch) ranges produced, and the variety of sounds that they could produce. This evidence makes an important contribution to our understanding of the contexts of use of the original instruments. Sound recordings virtually modelled in a likely use location, the courtyard of a typical house from Roman-period Egypt, were also produced and assist in our conceptualisation of the wider acoustic environment. Sound recordings and replicas were additionally used for public engagement purposes in a temporary exhibition at the Petrie Museum, and their contribution to museum education is assessed. 3D scanning and printing technology are demonstrated to be valuable techniques for the production of accurate replicas, which can be used successfully to contribute to scholarly research and museum education in new ways. Appendices include .stl files that may be downloaded and 3D printed, to make copies of the replicas for use in new research and education projects.

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Restringing the Daphne Harp

Najock

2015

Greek Rom Music Stud

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Aulos and Harp: Questions of Pitch and Tonality

Cited by 7 publications

References 5 publications

ENTROTUNER: A Computational Method Adopting the Musician’s Interaction With the Instrument to Estimate its Tuning

ENTROTUNER: A Computational Method Adopting the Musician’s Interaction With the Instrument to Estimate its Tuning

Creation of Functional Replica Roman and Late Antique Musical Instruments through 3D Scanning and Printing Technology, and their use in research and museum education

Restringing the Daphne Harp

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