摘要:

This paper, illustrated by 30 lantern slides, was in the nature of a demonstration of the making of an Ampico record showing the various processes through which a record passes in its development between the time of playing to the finished reproduction.The complete recording apparatus from the Ampico Laboratories was moved to the hall, and at the beginning of the reading of the paper, a record was taken of an artist's actual playing in person of Chaminade's Air de Ballet. Mr. Leslie Loth of New York was the artist. The paper explained in detail how every characteristic of the pianist's playing including quality of tone, feeling of “touch,” exact loudness of every individual note, etc. was translated into note sheet performations which give a facsimile perfect enough to reproduce the emotional characteristics of the artist's performance.After the reading of the paper, the Ampico reproduced Mr. Loth's playing of the Air de Ballet from a record which had been taken in the Ampico Laboratories three weeks previously and produced by the method explained in the paper.

ISSN:0001-4966    

DOI:10.1121/1.1901880

出版商:Acoustical Society of America    

年代:1929

数据来源: AIP

摘要:

A special form of portable Westinghouse oscillograph, using a Western Electric double‐carbon‐button 387‐W microphone, and one stage of radio amplification, was used to obtain a large number of sound‐wave photographs representing the sounds produced at the piano by various eminent artists, particularly Rudolf Ganz, John Powell, Ernest Schelling, and Olga Samaroff. The object was to discover how variations in attack upon the piano keys, transmitted to the strings through the hammers, affect (a) the intensity, (b) the quality of the sounds produced. The following conclusions were arrived at as a result of many experiments.(1) The number of possible variations in key speed and in the control thereof is indefinitely great, much greater than is commonly appreciated by ordinary hearers, or by ordinary players, of the piano.(2) An indefinitely great number of variations in the velocity of the hammer during its travel to the string is likewise possible.(3) Every velocity value of the hammer, in a manner dependent among other things upon the physical make‐up of hammer and string, produces a corresponding intensity value, and a parallel color value, in the sound.(4) Faint sounds on the piano tend to converge in color value until at the minimum of intensity all sounds from bass to treble have the same sine wave form, that is, are perfectly simple sounds. Contrariwise, as intensity increases, the number of audible harmonics increases accordingly.(5) It may therefore be concluded that every change in loudness involves a change in color, and every change in color requires a change in loudness; that is to say, tone color control on the piano is dependent upon control of intensity, that is, upon control of hammer velocity, and that again, on control of the speed and acceleration of the key.The paper is illustrated with numerous sound‐wave photographs, the evidence of which confirms the conclusions arrived at. The interpretation of these photographs is guided by the general rule that amplitude measures loudness, and shape of vibration‐pattern measures quantity.

ISSN:0001-4966    

DOI:10.1121/1.1901881

出版商:Acoustical Society of America    

年代:1929

数据来源: AIP

摘要:

The subjective experience of annoyance was measured with trained observers, using the tones of the 2‐A audiometer as stimuli. A method of paired comparisons was first used which yielded results later verified by a method of equal annoyance gradients. The raw records in decibels indicate that annoyance increases as the pitch of the stimulus varies above or below the range characteristic of human speech. When the audiometer readings are related to Fletcher's contours of equal loudness the records indicate that for the lower half of the loudness series annoyance is directly related to loudness, but that for the upper half of the loudness series annoyance is greatly increased as the frequency of the stimulus is increased.

ISSN:0001-4966    

DOI:10.1121/1.1901883

出版商:Acoustical Society of America    

年代:1929

数据来源: AIP

ISSN:0001-4966    

DOI:10.1121/1.1901469

出版商:Acoustical Society of America    

年代:1929

数据来源: AIP

ISSN:0001-4966    

DOI:10.1121/1.1901470

出版商:Acoustical Society of America    

年代:1929

数据来源: AIP

ISSN:0001-4966    

DOI:10.1121/1.1901471

出版商:Acoustical Society of America    

年代:1929

数据来源: AIP

摘要:

This paper gives some of the results of a study of the kind and frequency of occurrence of the words of telephone conversations, and the analysis of these words into the simple sounds of speech. The material for this study was obtained on typical toll circuits terminating in the City of New York. The process of noting the words of the conversations was carried out in the following manner. During one week the observer recorded nothing but the nouns used, during another week she recorded only the verbs; similarly for the other parts of speech. The observations were continued until data had been obtained on 500 conversations for each part of speech. With this method the results are, of course, not identical with those which would have been obtained had the entire conversations been recorded. It is likely, too, that some words were missed by the observer.

ISSN:0001-4966    

DOI:10.1121/1.1901472

出版商:Acoustical Society of America    

年代:1929

数据来源: AIP

ISSN:0001-4966    

DOI:10.1121/1.1901473

出版商:Acoustical Society of America    

年代:1929

数据来源: AIP

ISSN:0001-4966    

DOI:10.1121/1.1901474

出版商:Acoustical Society of America    

年代:1929

数据来源: AIP

ISSN:0001-4966    

DOI:10.1121/1.1901475

出版商:Acoustical Society of America    

年代:1929

数据来源: AIP