Tools

LEADER 02923cam a2200349 a 4500

001 ocm29702397;

003 OCoLC;

005 20141212113933.0;

008 940106s1994 inu b 001 0 eng ;

010 a| 94000075;

020 a| 0253325765 (alk. paper);

035 a| (Sirsi) o29702397;

035 a| (OCoLC)29702397;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML946b| .G5 1994;

082 00 a| 788.6/219232| 20;

100 1 a| Gibson, O. Leeq| (Oscar Lee)=| ^A352660;

245 10 a| Clarinet acoustics /c| O. Lee Gibson.;

300 a| vii, 84 pages ;c| 22 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 77-78) and index.;

505 0 a| Acoustical history of the clarinet -- Famous clarinetists and their instruments -- National schools of clarinet manufacture -- The ear as an analyzer of musical tones -- Principles for the acoustical design of the clarinet -- Body materials: density and weight, finish, and formants -- Pitch standards: the century, the country, and the atmosphere -- The bore: cylindrical diameter, effective bore size, and modal ratios -- Bore perturbations: modal ratios of differently sized cylinders -- Variations on a reversed cone: the left-hand joint -- Tone holes and fraising -- Flare in the lower bore and the bell -- Clarinet speaker vents and the third-line B[flat] -- The clarinet barrel -- Mouthpieces: contrasting French and German designs -- Alternative mechanisms and systems -- Reeds and ligatures -- Appendix A. A summary of clarinet acoustics -- Appendix B. Tonal formants in clarinets -- Appendix C. Mouthpieces: Beware of the bore.;

520 a| Most symphonic instruments were standardized in the eighteenth and nineteenth centuries, but the design of the clarinet is still changing. The author begins this first complete study of its acoustical principles with a history of the clarinet, a survey of the instruments of famous clarinetists, and the characteristics of the national schools of clarinet manufacture. He then describes the modal frequency ratios of a clarinet and the timbres of its tones, as well as its dynamic range, stability, flexibility, and responsiveness. He stresses that all the dimensions of a wind instrument--length, volume, size, weight, and material--are interrelated. He concludes with a discussion of existing but rarely available mechanical improvements and suggests other acoustical enhancements that have not been fully utilized.;

650 0 a| Clarinetx| Construction.=| ^A36899;

650 0 a| Musicx| Acoustics and physics.=| ^A16688;

596 a| 3;

998 a| 559838;

999 a| ML946 .G5 1994w| LCc| 1i| 30372008558691d| 2/13/2024e| 1/26/2020f| 4/4/2024g| 4l| MSTm| JMUSICn| 17p| $16.11q| 2r| Ys| Yt| MGESBKu| 10/13/1994x| BOOKz| MCIRCo| .STAFF. enhanced 12/5/22 -jjab;

Clarinet acoustics / O. Lee Gibson.

Author/creator	Gibson, O. Lee
Format	Book
Publication Info	Bloomington : Indiana University Press, ©1994.
Description	vii, 84 pages ; 22 cm
Subjects	Clarinet--Construction. Music--Acoustics and physics.

Contents	Acoustical history of the clarinet -- Famous clarinetists and their instruments -- National schools of clarinet manufacture -- The ear as an analyzer of musical tones -- Principles for the acoustical design of the clarinet -- Body materials: density and weight, finish, and formants -- Pitch standards: the century, the country, and the atmosphere -- The bore: cylindrical diameter, effective bore size, and modal ratios -- Bore perturbations: modal ratios of differently sized cylinders -- Variations on a reversed cone: the left-hand joint -- Tone holes and fraising -- Flare in the lower bore and the bell -- Clarinet speaker vents and the third-line B[flat] -- The clarinet barrel -- Mouthpieces: contrasting French and German designs -- Alternative mechanisms and systems -- Reeds and ligatures -- Appendix A. A summary of clarinet acoustics -- Appendix B. Tonal formants in clarinets -- Appendix C. Mouthpieces: Beware of the bore.
Abstract	Most symphonic instruments were standardized in the eighteenth and nineteenth centuries, but the design of the clarinet is still changing. The author begins this first complete study of its acoustical principles with a history of the clarinet, a survey of the instruments of famous clarinetists, and the characteristics of the national schools of clarinet manufacture. He then describes the modal frequency ratios of a clarinet and the timbres of its tones, as well as its dynamic range, stability, flexibility, and responsiveness. He stresses that all the dimensions of a wind instrument--length, volume, size, weight, and material--are interrelated. He concludes with a discussion of existing but rarely available mechanical improvements and suggests other acoustical enhancements that have not been fully utilized.
Bibliography note	Includes bibliographical references (pages 77-78) and index.
LCCN	94000075
ISBN	0253325765 (alk. paper)

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Clarinet acoustics / O. Lee Gibson.

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