408
9 Looking Back and Looking Forward
tube were slightly longer. The red curve in Fig. 9.9a shows the calculated EFP plot
for an instrument identical to the Tintignac carnyx except that an additional section
10 cm long has been inserted near the mouthpiece end. The impedance peaks from
the fourth to the eighth now lie very close to a vertical line representing perfect
harmonicity on an EFP plot. There is of course no evidence that the repertoire
of the original carnyx players included the well-tuned bugle calls possible on an
instrument with harmonic resonances, but the centring and stability of notes on a
brass instrument are improved when the upper resonances are close to harmonics.
Consultation with Christophe Maniquet revealed that there was indeed another
fragment in the Tintignac hoard, 11 cm long, which could well have been missed
when the original instrument was reassembled. A second reconstruction was made,
in which the additional length could be inserted; the measured EFP plot for the
lengthened carnyx showed the expected improvement in harmonicity (Fig. 9.9b, red
plot). The musician John Kenny reported that the extra section notably improved the
performance of the carnyx.
9.2 Brass Instruments in the Digital World
In recent decades the speed of technological innovation has revolutionised many
aspects of our lives, particularly in the areas of information retrieval and communication. Superficially it appears that the world of brass instrument manufacture
and performance has been little affected by this whirlwind of change: the trumpets,
trombones, french horns and tubas in modern bands and orchestras are remarkably
similar to the instruments which would have been played in similar ensembles a
century ago. During that century, however, many important advances have been
made in our understanding of the scientific principles which govern the behaviour
of brass instruments. Thanks to the endeavours of the international community of
researchers whose theories and experiments have been reviewed in the previous
chapters of this book, we have now reached a stage where manufacturers are
increasingly using scientific measurement techniques and computer simulations in
the design of instruments, composers and performers are exploring the possibilities
of electronic enhancement and synthesis and teachers are turning to science for
advice on novel pedagogical approaches.
As the great Danish physicist Niels Bohr warned, it is difficult to make
predictions, especially about the future. We end our book with a brief and inevitably
speculative glance at some areas in which science is already making a contribution
to the brass community and exciting new developments seem to be in prospect.
9 Looking Back and Looking Forward
tube were slightly longer. The red curve in Fig. 9.9a shows the calculated EFP plot
for an instrument identical to the Tintignac carnyx except that an additional section
10 cm long has been inserted near the mouthpiece end. The impedance peaks from
the fourth to the eighth now lie very close to a vertical line representing perfect
harmonicity on an EFP plot. There is of course no evidence that the repertoire
of the original carnyx players included the well-tuned bugle calls possible on an
instrument with harmonic resonances, but the centring and stability of notes on a
brass instrument are improved when the upper resonances are close to harmonics.
Consultation with Christophe Maniquet revealed that there was indeed another
fragment in the Tintignac hoard, 11 cm long, which could well have been missed
when the original instrument was reassembled. A second reconstruction was made,
in which the additional length could be inserted; the measured EFP plot for the
lengthened carnyx showed the expected improvement in harmonicity (Fig. 9.9b, red
plot). The musician John Kenny reported that the extra section notably improved the
performance of the carnyx.
9.2 Brass Instruments in the Digital World
In recent decades the speed of technological innovation has revolutionised many
aspects of our lives, particularly in the areas of information retrieval and communication. Superficially it appears that the world of brass instrument manufacture
and performance has been little affected by this whirlwind of change: the trumpets,
trombones, french horns and tubas in modern bands and orchestras are remarkably
similar to the instruments which would have been played in similar ensembles a
century ago. During that century, however, many important advances have been
made in our understanding of the scientific principles which govern the behaviour
of brass instruments. Thanks to the endeavours of the international community of
researchers whose theories and experiments have been reviewed in the previous
chapters of this book, we have now reached a stage where manufacturers are
increasingly using scientific measurement techniques and computer simulations in
the design of instruments, composers and performers are exploring the possibilities
of electronic enhancement and synthesis and teachers are turning to science for
advice on novel pedagogical approaches.
As the great Danish physicist Niels Bohr warned, it is difficult to make
predictions, especially about the future. We end our book with a brief and inevitably
speculative glance at some areas in which science is already making a contribution
to the brass community and exciting new developments seem to be in prospect.