CURRENT DEVELOPMENTS IN MUSICAL ACOUSTICS

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CURRENT DEVELOPMENTS IN MUSICAL ACOUSTICS TUESDAY 5 JULY 2016 LONDON SOUTH BANK UNIVERSITY
Organised by the Musical Acoustics Group
with the support of London South Bank University
 
CURRENT DEVELOPMENTS IN MUSICAL ACOUSTICS
 
Tuesday 5 July 2016
London South Bank University
Edric Theatre, 103 Borough Road, London SE1 0AA
 
 
Programme
 
10.00     Registration and refreshments
 
10.30     Welcome: Michael Wright, Chairman, Musical Acoustics Group
 
10.45     Improving the stability of a hybrid wind instrument using two microphones
Kurijn Buys David Sharp, Robin Laney, The Open University
 
11.15     An empirical study of mouthpieces for three-hole pipes
 Michael Hutley, Retired
 
11.45     Two-polarisation finite difference model of bowed strings with nonlinear contact and friction forces
Charlotte Desvages, University of Edinburgh
 
12.15     Musical Acoustics Group AGM
12.30     Lunch
 
13.15     The best stop on the organ
Alan Taylor, University of Salford
 
13.45     ReS, Resonant String Shell, development and design of an Acoustic shell for outdoor   chamber music concerts
Serafino Di Rosario, Buro Happold Engineering; Sergio Pone, Università degli studi di Napoli; Bianca Parenti, CMMKM Architettura e Design; Eduardo Pignatelli, CMMKM Architettura e Design.
 
14.15     Effects of room acoustics on vocal loading of Opera singers
 Gizem Okten and Stephen Dance, London South Bank University
 
14.45     Refreshments
 
15.00     Modern straight strung concert grand piano
 Wolf Leye, Chris Maene Instruments
 
15.45     Q&A Discussion
               
16.30       Close
___________________________________________________________________

 

Wolf Leye
Most music written for piano before the middle of the 19th century was by composers that only knew straight strung instruments during their lifetime. Johannes Brahms, who died in 1897, never owned a cross strung instrument. The current ‘standard’ was set when Steinway introduced their cross-strung instruments in 1859. At the same time the direction of the grain of the soundboard and the position of the bridge was changed. In addition, the cast-iron frame allowed a greater tension, which gave the instrument more volume. The result was a homogenous sound in which all tones mixed with each other. The concept was praised on many exhibitions and from that point on other manufacturers tried to emulate the success of Steinway by adopting their innovations. Erard and Broadwood were the exceptions. They continued building straight strung pianos. Wolf Leye is product manager Chris Maene Instruments will be discussing a new straight strung concert grand piano     This differs in many ways from the contemporary concert grand. By placing the strings parallel, the bridges are positioned on the same height and they are positioned differently on the soundboard in comparison with a contemporary grand piano. . The presentation describes the differences between the keyboard instrument builders in the 19th century and explains the collaboration with Daniel Barenboim in the evolution of the Chris Maene Concert Grand Piano.
Alan Taylor
graduated from Salford University in 1969 and trained as a civil engineer. After being employed on major road and bridge contracts he changed careers in 1979 and started an organ building supply business. He developed the first microprocessor organ control system and over the last twenty years  has been involved in the sale of pipe organ fans. After Post Graduate Research at Salford University concerns the supply of air from a centrifugal fan which can, under certain conditions, excite the natural frequency of the wind reservoir and cause organ pipe flutter. In this presentation he considers the sound of an organ from the perspective of the organ builders of the 19th century. At the end of that century, Wallace Clement Sabine was given the task of improving the acoustic performance of the Lecture Room in the Fogg Art Museum. Sabine collaborated with George Sherburn Hutchings, an organ builder from Boston. Using a one foot Gemshorn organ pipe and cushions borrowed from the nearby Sanders Theatre, Sabine improved the acoustic performance of the Lecture Room and developed his famous equation for determining the reverberation time of a room. The presentation will demonstrate Sabine’s apparatus.
05 July 2016   through   4:30 PM
London South Bank University
Edric Theatre
103 Borough Road
London, SE1 0AA
United Kingdom

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Event Fee(s)
Members IOA/Galpin/IBO £ 40.00
Non-Members £ 50.00
Sponsor £ 30.00
Young Members £ 30.00
Students £ 25.00
Retired Members £ 25.00
Required £ 0.00

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Event Fee(s)
Members IOA/Galpin/IBO £ 40.00
Non-Members £ 50.00
Sponsor £ 30.00
Young Members £ 30.00
Students £ 25.00
Retired Members £ 25.00
Required £ 0.00