Pipa is one of the most important Chinese traditional
plucked instruments, but its directivity has never been measured
systematically. In western, directivity of loudness for western
instruments is deeply researched through analysis of sound pressure
level, whereas the directivity of timbre is seldom studied. In this paper,
a new method for directivity of timbre was proposed, and horizontal
directivity patterns of loudness and timbre of Pipa were measured.
Directivity of Pipa radiation was measured in an anechoic room. The
sound of Pipa played by a musician was recorded simultaneously by
32 microphones with Pipa in the center. The measuring results were
examined through listening test. According to the measurement of
Pipa directivity radiation, we put forward the best localization of Pipa
in the Chinese traditional orchestra and the optimal recording region.
[1] J. Meyer, Acoustics and the Performance of Music (Fifth Edition).
Branschweig: Springer, 2010, ch. 4.
[2] T. Halkosaari, M. Vaalgamaa and M. Karjalainen, “Directivity of
artificial and human speech,” J Audio Eng Soc, vol. 53, no.7/8,
pp.620-631, Jul. 2005.
[3] Ingolf Bork, “Sound Radiation from a Grand Piano,” in the 100th AES
Convention, Copenhagen, 1996.
[4] J. Patynen, T. Lokki, “Directivities of Symphony Orchestra Instruments,”
Acta Acustica united with Acustica, vol.96, pp. 138-167, 2010.
[5] BB Monson, EJ Hunter and BH Story, “Horizontal directivity of low- and
high-frequency energy in speech and singing,” J. Acoust. Soc. Am.,
vol.132, no.1, pp. 433-41, Jul. 2012.
[6] S. Pelzer, M. Pollow and M. Vorlander, “Auralization of a Virtual
Orchestra using Directivities of Measured Symphonic Instruments,” in
Proceedings of the Acoustics 2012 Nantes Conference, Nantes, 2012,
pp.2379-2384.
[7] Gabriel Weinreich, “Directional tone color,” J. Acoust. Soc. Am., vol.
101, no. 4, pp.2338 – 2346, Apr. 1997.
[8] Zdenek Otcenasek, Jan Stepanek, “Violin Sound Radiation - Directivity
of Violin Timbre,” in DAGA, Oledenburg, 2000, pp.240-241.
[9] Zdeněk Otčenášek, Jan Štěpánek, “Directional Timbre Spaces of Violin
Sounds,” in Proceedings of ISMA, Perugia, 2001, pp.495-498.
[10] Zdeněk Otčenášek, Jan Štěpánek, “Sound quality preference of violin
tones and its directional dependence,” in DAGA, Bochum, 2002,
pp.404-405.
[11] F. Otondo, J. H. Rindel, “Directional representation of a clarinet in a
room,” ULTRAGARSAS, vol. 48, no. 3, pp.A1-A8, 2003.
[12] David Howard, Jamie Angus, Acoustics and Psychoacoustics (Fourth
Edition), Oxford: Focal Press, 2009, ch.5.
[13] R.Plomp,W.J.M.Levelt, “Tonal consonance and critical bandwidth,” J.
Acoust. Soc. Am., vol.38, pp. 548-560, Apr. 1965.
[14] William A. Sethares, Tuning,Timber,Spectrum,Scale, London: Springer
verlag, 1997, pp. 345-347.
[1] J. Meyer, Acoustics and the Performance of Music (Fifth Edition).
Branschweig: Springer, 2010, ch. 4.
[2] T. Halkosaari, M. Vaalgamaa and M. Karjalainen, “Directivity of
artificial and human speech,” J Audio Eng Soc, vol. 53, no.7/8,
pp.620-631, Jul. 2005.
[3] Ingolf Bork, “Sound Radiation from a Grand Piano,” in the 100th AES
Convention, Copenhagen, 1996.
[4] J. Patynen, T. Lokki, “Directivities of Symphony Orchestra Instruments,”
Acta Acustica united with Acustica, vol.96, pp. 138-167, 2010.
[5] BB Monson, EJ Hunter and BH Story, “Horizontal directivity of low- and
high-frequency energy in speech and singing,” J. Acoust. Soc. Am.,
vol.132, no.1, pp. 433-41, Jul. 2012.
[6] S. Pelzer, M. Pollow and M. Vorlander, “Auralization of a Virtual
Orchestra using Directivities of Measured Symphonic Instruments,” in
Proceedings of the Acoustics 2012 Nantes Conference, Nantes, 2012,
pp.2379-2384.
[7] Gabriel Weinreich, “Directional tone color,” J. Acoust. Soc. Am., vol.
101, no. 4, pp.2338 – 2346, Apr. 1997.
[8] Zdenek Otcenasek, Jan Stepanek, “Violin Sound Radiation - Directivity
of Violin Timbre,” in DAGA, Oledenburg, 2000, pp.240-241.
[9] Zdeněk Otčenášek, Jan Štěpánek, “Directional Timbre Spaces of Violin
Sounds,” in Proceedings of ISMA, Perugia, 2001, pp.495-498.
[10] Zdeněk Otčenášek, Jan Štěpánek, “Sound quality preference of violin
tones and its directional dependence,” in DAGA, Bochum, 2002,
pp.404-405.
[11] F. Otondo, J. H. Rindel, “Directional representation of a clarinet in a
room,” ULTRAGARSAS, vol. 48, no. 3, pp.A1-A8, 2003.
[12] David Howard, Jamie Angus, Acoustics and Psychoacoustics (Fourth
Edition), Oxford: Focal Press, 2009, ch.5.
[13] R.Plomp,W.J.M.Levelt, “Tonal consonance and critical bandwidth,” J.
Acoust. Soc. Am., vol.38, pp. 548-560, Apr. 1965.
[14] William A. Sethares, Tuning,Timber,Spectrum,Scale, London: Springer
verlag, 1997, pp. 345-347.
@article{"International Journal of Mechanical, Industrial and Aerospace Sciences:69841", author = "Xin Wang and Yuanzhong Wang", title = "Horizontal Directivity of Pipa Radiation", abstract = "Pipa is one of the most important Chinese traditional
plucked instruments, but its directivity has never been measured
systematically. In western, directivity of loudness for western
instruments is deeply researched through analysis of sound pressure
level, whereas the directivity of timbre is seldom studied. In this paper,
a new method for directivity of timbre was proposed, and horizontal
directivity patterns of loudness and timbre of Pipa were measured.
Directivity of Pipa radiation was measured in an anechoic room. The
sound of Pipa played by a musician was recorded simultaneously by
32 microphones with Pipa in the center. The measuring results were
examined through listening test. According to the measurement of
Pipa directivity radiation, we put forward the best localization of Pipa
in the Chinese traditional orchestra and the optimal recording region.", keywords = "Directivity, Pipa, Roughness, Listening test.", volume = "9", number = "5", pages = "808-4", }