428
References
Kergomard, J. and Caussé, R. (1986). Measurement of acoustic impedance using a capillary: An
attempt to achieve optimization. J. Acoust. Soc. Am. 79, 1129–1140, https://doi.org/10.1121/
1.393385.
Kinsler, L. E., Frey, A. R., Coppens, A. B. and Sanders, J. V. (1999). Fundamentals of Acoustics,
4th Ed. New York, Wiley.
Klaus, S. K. and Pyle, R. W. (2015). Trumpet mute pitch: an analysis of three historic trumpet
mutes. Proc. Third Vienna Talk on Musical Acoustics, University of Music and Performing
Arts, Vienna, 88–91.
Kolar, M. A. (2014) Pututus, resonance and beats: Acoustic wave interference effects at Ancient
Chavín de Huántar, Peru. J. Acoust. Soc. Am. 136, 2270, https://doi.org/10.1121/1.4900202.
Lay language version: https://ccrma.stanford.edu/groups/chavin/ASA2014.html.
Kolar, M. A., Rick, J. W., Cook, P. R. and Abel, J. S. (2012). Ancient Pututus contextualized:
integrative archaeoacoustics at Chavín de Huántar, Perú. In M. Stöckli and A. Adje Both (Eds.),
Flower World—Music Archaeology of the Americas, Vol.1, pp. 23–54. Berlin, Ekho.
Kopiez, R. (2003). Intonation of harmonic intervals: Adaptability of expert musicians to equal
temperament and just intonation. Music Percept. 20(4), 383–410.
Krehl, P. and Engemann, S. (1995). August Toepler – the first who visualized shock waves. Shock
Waves 5, 1–18.
Kühnelt, H. (2007). Vortex sound in recorder- and flute-like instruments: Numerical simulation and
analysis. Proc. International Symposium on Musical Acoustics, Barcelona, 1-S1-6.
Kuhl, P. K. (2020). Demonstration of the McGurk Effect. https://auditoryneuroscience.com/
vocalizations-speech/mcgurk-effect. Accessed April 2020.
Leeuw, H. (2009). The Electrumpet, a hybrid electro-acoustic instrument. Proc. International
Conference New Interfaces for Musical Expression (NIME), 193–198.
Leeuw, H. (2012). The electrumpet, additions and revisions. Proc. International Conference New
Interfaces for Musical Expression (NIME), 258–259.
Lefebvre, A. (2010). Computational acoustic methods for the design of woodwind instruments.
Ph.D. thesis, McGill University, Montreal.
Leissa, A. (1973). Vibrations of shells. Acoustical Society of America.
Levine, H. and Schwinger, J. (1948). On the radiation of sound from an unflanged pipe. Phys. Rev.
73, 383–406.
Li, A., Sharp, D. B. and Forbes, B. J. (2005). Increasing the axial resolution of bore profile measurements using acoustic pulse reflectometry. Meas. Sci. Technol. 16, 2001–2019,
doi:10.1088/0957-0233/16/10/017.
Libin, L. (Ed.) (2014) The Grove Dictionary of Musical Instruments, 2nd Edn. Oxford University
Press.
Logie, S. (2012). An Acoustical Study of the Playing Characteristics of Brass Wind Instruments.
Ph.D. thesis, University of Edinburgh.
Lokki, T. (2014). Tasting music like wine – sensory evaluation of concert halls. Physics Today
67(1), 27.
López, I., Hirschberg, A., van Hirtum, A., Ruty, N. and Pelorson, X. (2006). Physical modeling of
buzzing artificial lips: The effect of acoustical feedback, Acta Acust. united Ac. 92, 1047–1059.
López-Carromero, A. (2018). Experimental investigation of acoustic characteristics of radiation
and playing gestures for lip-excited musical instruments. Ph.D. thesis, University of Edinburgh.
López-Carromero, A., Campbell, D. M., Kemp, J. and Rendon, P. L. (2016). Validation of brass
wind instrument radiation models in relation to their physical accuracy using an optical
Schlieren imaging setup. Proc. Mtgs. Acoust. 28, 035003.
Lous, N. J. C., Hofmans, G. C. J., Veldhuis, R. N. J. and Hirschberg, A. (1999). A symmetrical
two-mass vocal fold model coupled to vocal tract and trachea, with application to prosthesis
design, Acta Acust. united Ac, 84, 1135–1150.
Luce, D. and Clark, M. (1967). Physical correlates of brass instrument tones, J. Acoust. Soc. Am.
42, 1232–1243, https://doi.org/10.1121/1.1910710.
Lurton, X. (1981). Etude analytique de l’impédance d’entrée des instruments à embouchure.
Acustica 49, 142–151.
References
Kergomard, J. and Caussé, R. (1986). Measurement of acoustic impedance using a capillary: An
attempt to achieve optimization. J. Acoust. Soc. Am. 79, 1129–1140, https://doi.org/10.1121/
1.393385.
Kinsler, L. E., Frey, A. R., Coppens, A. B. and Sanders, J. V. (1999). Fundamentals of Acoustics,
4th Ed. New York, Wiley.
Klaus, S. K. and Pyle, R. W. (2015). Trumpet mute pitch: an analysis of three historic trumpet
mutes. Proc. Third Vienna Talk on Musical Acoustics, University of Music and Performing
Arts, Vienna, 88–91.
Kolar, M. A. (2014) Pututus, resonance and beats: Acoustic wave interference effects at Ancient
Chavín de Huántar, Peru. J. Acoust. Soc. Am. 136, 2270, https://doi.org/10.1121/1.4900202.
Lay language version: https://ccrma.stanford.edu/groups/chavin/ASA2014.html.
Kolar, M. A., Rick, J. W., Cook, P. R. and Abel, J. S. (2012). Ancient Pututus contextualized:
integrative archaeoacoustics at Chavín de Huántar, Perú. In M. Stöckli and A. Adje Both (Eds.),
Flower World—Music Archaeology of the Americas, Vol.1, pp. 23–54. Berlin, Ekho.
Kopiez, R. (2003). Intonation of harmonic intervals: Adaptability of expert musicians to equal
temperament and just intonation. Music Percept. 20(4), 383–410.
Krehl, P. and Engemann, S. (1995). August Toepler – the first who visualized shock waves. Shock
Waves 5, 1–18.
Kühnelt, H. (2007). Vortex sound in recorder- and flute-like instruments: Numerical simulation and
analysis. Proc. International Symposium on Musical Acoustics, Barcelona, 1-S1-6.
Kuhl, P. K. (2020). Demonstration of the McGurk Effect. https://auditoryneuroscience.com/
vocalizations-speech/mcgurk-effect. Accessed April 2020.
Leeuw, H. (2009). The Electrumpet, a hybrid electro-acoustic instrument. Proc. International
Conference New Interfaces for Musical Expression (NIME), 193–198.
Leeuw, H. (2012). The electrumpet, additions and revisions. Proc. International Conference New
Interfaces for Musical Expression (NIME), 258–259.
Lefebvre, A. (2010). Computational acoustic methods for the design of woodwind instruments.
Ph.D. thesis, McGill University, Montreal.
Leissa, A. (1973). Vibrations of shells. Acoustical Society of America.
Levine, H. and Schwinger, J. (1948). On the radiation of sound from an unflanged pipe. Phys. Rev.
73, 383–406.
Li, A., Sharp, D. B. and Forbes, B. J. (2005). Increasing the axial resolution of bore profile measurements using acoustic pulse reflectometry. Meas. Sci. Technol. 16, 2001–2019,
doi:10.1088/0957-0233/16/10/017.
Libin, L. (Ed.) (2014) The Grove Dictionary of Musical Instruments, 2nd Edn. Oxford University
Press.
Logie, S. (2012). An Acoustical Study of the Playing Characteristics of Brass Wind Instruments.
Ph.D. thesis, University of Edinburgh.
Lokki, T. (2014). Tasting music like wine – sensory evaluation of concert halls. Physics Today
67(1), 27.
López, I., Hirschberg, A., van Hirtum, A., Ruty, N. and Pelorson, X. (2006). Physical modeling of
buzzing artificial lips: The effect of acoustical feedback, Acta Acust. united Ac. 92, 1047–1059.
López-Carromero, A. (2018). Experimental investigation of acoustic characteristics of radiation
and playing gestures for lip-excited musical instruments. Ph.D. thesis, University of Edinburgh.
López-Carromero, A., Campbell, D. M., Kemp, J. and Rendon, P. L. (2016). Validation of brass
wind instrument radiation models in relation to their physical accuracy using an optical
Schlieren imaging setup. Proc. Mtgs. Acoust. 28, 035003.
Lous, N. J. C., Hofmans, G. C. J., Veldhuis, R. N. J. and Hirschberg, A. (1999). A symmetrical
two-mass vocal fold model coupled to vocal tract and trachea, with application to prosthesis
design, Acta Acust. united Ac, 84, 1135–1150.
Luce, D. and Clark, M. (1967). Physical correlates of brass instrument tones, J. Acoust. Soc. Am.
42, 1232–1243, https://doi.org/10.1121/1.1910710.
Lurton, X. (1981). Etude analytique de l’impédance d’entrée des instruments à embouchure.
Acustica 49, 142–151.