INTERNATIONAL IPSI-2003 CONFERENCE IN MONTENEGRO OCTOBER 4 – 11, 2003 1

INTERNET – PROCESSING – SYSTEMS – INTERDISCIPLINARIES

Development of New String-Instruments of the

Violin-Family and Guitar-Family via
Engineering Physics and Computer Resolved
Harmonic Spectral Intensities
Michael Kasha, Thomas H. Phipps, Dapo Sanu, and Ahmed S. Moussa

agrees readily with the assessment of perfection. However,

Abstract—Hearing virtuoso performers play the beautiful many if not most concert musicians sense a missing quality in
instruments produced by the famous craftsmen of yore would not some aspects of tonal production even from the most highly
seem to leave much room for significant advancement in design. esteemed instruments. This feeling centers generally on the
Yet, in general, the mechanical structures which evolved have
critical functioning components which arose accidentally, and
fourth-string tone: a lack of brilliance or fundamental tone is
before the development of theoretical physical mechanics. sensed, in the violin G string, the viola and cello C, and
Analyzing the structures by the theory of plate harmonics, both probably most strongly, the E of the bass viol.
the frequency dependence on physical variables, as well as the Upon study of the long history of the apparently accidental
implications of the Bessel function components, and also the introduction of the bass-bar, by a craftsman’s error, and its
variables affecting the mechanical impedance - all these lead to subsequent great increase in height, and length, to cope with
radically different mechanical (internal) designs. The bass-bar
and sound-post constitute the main focal points of the present steel-string tension and elevated concert pitch, the origin of the
research. These components are the critical structural elements quenching of the fourth-string fundamental becomes obvious.
in the transmission of the bowed-string vibrational energy to the A somewhat parallel origin of the treble sound-post, which led
top-plate (the soundboard), which is the principal transducer of to the required asymmetry of the soundboard mechanics, also
vibrational to acoustical energy. Working with virtuoso builders resulted in some suppression of treble acoustical resonance
and virtuoso musicians, using instruments of such novel design,
and power. So ‘perfection’ of the bowed-string musical
and recording the output audio-spectral display for tonal
brilliance by the Backhaus criterion, has led to dramatic positive instruments is not as high as it could be developed physically
enhancement of tone-color and expressiveness. by suitable structural alteration of the traditional bass-bar and
sound-post.
Index Terms—Acoustical Spectrum, Violin Family, Vibration
Physics, Musical Instruments.
II. RESEARCH PLAN
The Systems Analysis, Fig. 1, brings into focus the primary
I. INTRODUCTION
functioning components of the musical bowed-string

A N extensive literature on the physical and mathematical

analysis of traditionally-evolved bowed-string musical
instruments has been developed [1] – [4]. This serves as a
instrument. We can trace the train of vibrational energy
transfer from the vibrating string to the final transduction to
acoustic power generation. The aim is not to derive a complex
comprehensive overlay on the vast descriptive literature computer or mathematical model of the traditional instrument
tracing their evolution over three and a half centuries or more structure and dynamics, but to seek the source of the virtuoso
[5] – [8]. The violin has been described as the most performer’s perception of inadequate tonal response.
acoustically perfect of all musical instruments. This has been In order to achieve our goal of overcoming these
the thematic basis of scientific efforts to characterize the deficiencies, we adopt a Model Physics approach [9], [10].
assumed perfection. Putting aside the full complexity of the instrument, we extract
The connaisseur of music, listening to the virtuoso musician, the simplest mechanical analog components which could
simulate the principle vibrators of the violin bowed-string
M. Kasha, Chemical Physics Program and Center for Music Research,
Florida State University, Tallahassee, FL 32306 USA (corresponding author
instrument family. Thus, for the top-plate or soundboard we
to e-mail: kasha@chem..[Link]). take an isotropic circular plate of finite thickness, with suitable
T. H. Phipps, Dept. of Physics, FSU (Currently at Applied Research boundary conditions. We examine the string-soundboard
Laboratory, University of Texas, Austin, TX 78713 USA). coupling mechanisms (bridge, bass-bar, and sound-post). The
D. Sanu, FAMU/FSU School of Engineering (Currently at DELL
Computer Corporation, Round Rock, TX 78682 USA.) theory of plate mechanics presents us with variables which can
A. S. Moussa, Dept. of Computer Science, FSU.
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INTERNET – PROCESSING – SYSTEMS – INTERDISCIPLINARIES
be altered to optimize the 4-octave response of the For vibration harmonics, for each characteristic vibrational
instruments. However, we rigorously preserve the dimensions, pattern, there is a corresponding characteristic vibrational
geometry, and player’s mechanics within the class of frequency, for the plate mechanics operator Vˆ with the
instrument as an absolute design principle. characteristic equation
Vˆψ rc = kν rc ψ rc (2)
and k represents the mechanical characterizing parameters
listed under (1). This implies that each frequency of a vibrating
plate ‘seeks’ a corresponding vibration pattern. Consequently,
by re-structuring the plate for appropriate frequency range and
boundary conditions, the efficiency of coupling would be
improved.
For wood-soundboard instruments, the plate is not isotropic,
but has a definite grain direction (here chosen as the
longitudinal (y) axis, and a transverse axis (x); with vibrational
Fig. 1. Systems analysis model for musical bowed-string instruments amplitude in the out-of-plane (z) axis.
The non-isotropic character of a vibrating circular wood
plate can be written in two forms as an approximation, taking
III. MECHANICS OF VIBRATING PLATES
into account the different values of the Young’s modulus, and
For the adaptation to the model physics approach (cf. for two different boundary conditions:
Section IV) used in the present research, we summarize the
elementary principles of physical mechanics which will be Bound-edge boundary conditions.
applied. Leaving string physics aside, first we examine the 

πt Yy


vibration frequency dependence of a simple circular plate

under different boundary condition for suggestive concepts to ν rc = Brc 

(3)
2 3 ρ (1 − P ) 2 D(2y )


understanding of the fully complex violin-family sound-board

mechanics.
The mathematical theory of plate harmonics is fully Free-plate boundary condition.
developed [11] – [13]. For an isotropic plate (bound at edge) 

the vibration frequency ν rc is given by

πt Yx 

ν rc = Brc 

(4)
2 3 ρ (1 − P )
1
2 D


πt Y ( y)
ν rc = ( Brc ) (1)
2D 2
3 ρ (1 − P 2 ) In the violin and viola, the small area of the entire
The parameters determined by choice of material are: soundboard suggests that the bound-edge boundary conditions
ρ (density). may be used as an approximation.
Y (Young’s modulus, stress/strain). In the cello and double-bass, the great extent spanned by the
soundboard requires a quite different consideration. The bass-
P (Poisson’s ratio, sideways bend to compression). register driving extends the vibration zone to the very edges of
The parameters determined by the craftsman are:
the soundboard, thus the bound-edge boundary expression is
t (plate thickness). used. However, the treble-foot of the bridge drives an area
D (plate diameter). which lies between the extended f-holes: Thus a free-plate
The parameters determined by plate mechanics solutions: boundary condition with its extreme frequency dependence on
Brc : Bessel Functions (vibrational nodal spatial inverse square diameter is more appropriate (see Section IV).
functions). The mechanical impedance Z offers an important control
factor in sound production by coupled acoustical vibrators.
The nodal patterns for Brc correspond to the row-column
The mechanical impedance is defined by the expression
matrix indices for the infinite series of functions. A systematic
array [10], [14] of the circular-plate vibration patterns (where
f 0 e jωt


f* 

r = 0, 1, 2, 3, … planar nodes; and c = 0, 1, 2, 3, … circular Z= =



(5)


v v


nodes) represent the nodal properties for which the Bessel

ω ω
function can be numerically evaluated. These define the *
normal (orthogonal, independent) vibrational modes. One must where f is the oscillatory force and v is the velocity of
note especially that the higher the frequency, the more the response, at the point of driving.
intricate the vibration patterns, and the more easily suppressed The frequency dependence of Z is of paramount significance
by over-sturdy bracing bars and soundboard thickness. in the string-soundboard instrument, because of the wide
frequency range of many octaves involved.
INTERNATIONAL IPSI-2003 CONFERENCE IN MONTENEGRO OCTOBER 4 – 11, 2003 3
INTERNET – PROCESSING – SYSTEMS – INTERDISCIPLINARIES
The pertinent expressions for the frequency dependence [15] V. RECORDING AND HARMONIC ANALYSIS PROCEDURE
of Z are: A non-coherent anechoic chamber of novel design was built
and calibrated and used in all recordings (design of the
1. Electrical analog
chamber to be described elsewhere). The recording acoustic-
1
Z = jLω + (6) electronic train is summarized in the following diagram (Fig.
jCω 2). A carefully standardized recording protocol was employed.


Full results will be analyzed and published in suitable

1
Z = j Lω − (7)


Cω

2. Mechanical analog
K
Z M = jmω + (8)
jω
In terms of the craftsman’s control, the linear dependence on
mass is the critical factor in determining the characteristic
feature, that the mechanical impedance rises continuously with
increasing frequency of vibration. Limiting the mass at the
point of driving becomes a critical factor for sensitive
response.
Fig. 2. Schematic of the audio-electronic train and the acoustical
analysis system for real-time harmonic audio-spectral resolution of
string-instrument sound
IV. APPLICATION TO REAL INSTRUMENTS acoustical journals. For quantitative evaluation of musical
Here we present a brief summary of the approach to each timbre a real-time harmonic analysis was deemed essential, for
class of string instrument. The traditionally evolved violin each individual bowed string note. Correlation then could be
family: violin, viola, and cello, –are structured like vari-scaled made with structural design.
violins. The double-bass (bass viol) is derived from the viol 1. The anechoic chamber.
family, as can be judged by its sloping shoulders and flat back, 2. Audio source.
but mechanically it is structured like a giant violin. In the 3. Microphone: Brüel & Kjær-4189 prepolarized free-field
present research each instrument is treated individually, except ½” microphone.
that the violin and viola are treated as a close pair. We 4. Digital audio tape (DAT) recorder: Sony-75ES.
summarize the mechanical changes introduced. 5. DAT tape.
Violin and Viola: Arch-cut bass-bar. Sound-post preserved. 6. Built-in sound card: Montego II from Turtle Beach Inc.
Cello: Bass-bar replaced by X-bar and H-bar suspension 7. Session-8: a sound recording and processing system from
system. Sound-post replaced by treble plate in one of three Digidesign Inc.
variations. 8. Computer system Dell Dimension XPS T500 computer
Bass-Viol: Heavier H-bar-style suspension. Sound-post with Pentium III 500 mhz microprocessor, 128 mb of
preserved. ram, and a 20 gb hard disk, running Windows 98.
Classical Guitar: ab initio construction of new models. 9. Spectrum analysis software: Spectrapro Version 3.32.16
Ultimate asymmetric design with soundboard structured to from Sound Technology.
adapt the 4-octave range to the D vs. 1 ν dependant 10. Visual output: computer monitor.
11. Printer.
(bound plate) replaces the 5 to 7 bass-bars (symmetrically
12. Hard copy of spectrum analysis.
arrayed) of the classic Torres design.
Classical Harp: Traditional instrument has an essentially ACKNOWLEDGMENT
trapezoidal soundboard with no coupling bars, but with
soundboard of greatly increasing thickness from treble to bass Our search depends on the superb insight and sensitive
(contradicting everything known from the theory of plate judgment of the virtuoso musicians. We are indebted to the
vibration), –here replaced by uniformly-thin soundboard, with late master guitarist Andres Segovia for two decades of
herring-bone like pattern of shaped coupling bars from treble guidance on classical guitar design, to Victor Stern (Univ. of
to bass. Miami and Miami Symphony) the Primrose concert violist for
All of the above will be described fully in the complete initiatives and cooperation on viola design acoustics, to René
paper. Morrell and Jacques Francais of the Stradivari Shop in New
York for their generous assistance in the viola project, and
most recently, Judith Glyde, (Univ. of Colorado), world class
cellist, for her initiating our interest in cello design carried out
INTERNATIONAL IPSI-2003 CONFERENCE IN MONTENEGRO OCTOBER 4 – 11, 2003 4
INTERNET – PROCESSING – SYSTEMS – INTERDISCIPLINARIES
currently. Faculty members in our School of Music, especially famous molecular spectroscopist and later Nobel Laureate. He later had a rich
association with James Franck, Nobel Laureate in physics, and Albert Szent-
Lubomir Georgiev, our virtuoso concert cellist in residence, Gyorgyi, Nobel Laureate in biochemistry. 1950 was spent in the University of
have added inspiration and confidence to our cello project. Manchester G.B., where he became acquainted with many English chemical
George Hofer, bassist with the Florida State Symphony and physicists, especially H. C. Longuet-Higgins. Kasha was appointed Professor
builder of bass-viols gave valuable advise in that early phase of Physical Chemistry in the Florida State University in 1951, and is still fully
active in research. He holds the position of University Professor (of the three
of our research. in FSU), and is active in four research groups: Department of Chemistry
Having the abilities of world-class craftsman has been the (research in chemical physics); Institute of Molecular Biophysics (which he
foundation of our long term research project, first, the late founded and served as director 1960-1980; research in health biophysics);
Center of Music Research (research in acoustical physics); and Institute of
Richard Schneider in inspired work on guitar for many years, Geophysical Fluid Dynamics (research in geophysics of the atmosphere).
and currently Gregory Wylie (bow maker, and luthier) of New Kasha is a member of the National Academy of Sciences USA, the Ukrainian
York in his superb work on the cello project. We also would National Academy of Sciences, and the Brazilian Academy of Sciences.
Kasha is mainly known for laying out the main principles of the molecular
like to thank Kea Herron for her skillful graphic arts work. physics of large molecules, and their multi-dimensional vibrational-mode
interactions in the complex excitation states of such molecules. Working with
40 Ph.D. and over 40 post-Ph.D. students these researches have defined the
REFERENCES field and have had major influences in researches around the world in
photophysics, photochemistry, and molecular biophysics.
[1] E. Leipp, The Violin. Toronto, Canada: University of Toronto Press,
1969.
[2] L. Cremer, The Physics of the Violin. Cambridge, MA, USA: MIT
Press, 1984.
[3] N. H. Fletcher and T. D. Rossing, The Physics of Musical Instruments.,
New York/Berlin: Springer-Verlag, 1997.
[4] C. M. Hutchins and V. Benade (eds.), Research Papers in Violin
Acoustics, Vol. I and Vol. II, Woodbury, NY, USA: Acoustical Society
of America, AIP, 1997.
[5] D. Boyden, The History of Violin Playing from its Origins to 1761,
London, UK, Oxford University Press, 1965.
[6] C. Sachs, The History of Musical Instruments, New York, USA, Norton
& Company Inc., 1940.
[7] N. Bessaraboff, Ancient European Musical Instruments, New York,
USA, October House, Inc., 1941.
[8] S. Marcuse, A Survey of Musical Instruments, New York, Harper and
Row, 1975.
[9] M. Kasha, “Physics and the Perfect Sound”, Britannica Yearbook of
Science and the Future, Chicago, USA, Encyclopedia Britannica Inc.,
1974, pp. 128 – 143.
[10] M. Kasha and N. Kasha, “Applied Mechanics and the Modern String
Instrument Classical Guitar”, Journal of Guitar Acoustics, No. 6,
September 1982, pp. 127 – 130.
[11] P. M. Morse, Vibration and Sound, New York, USA, McGraw-Hill,
1948.
[12] N. W. McLachlan, Theory of Vibrations, The Dover Series in
Mathematics and Physics, New York, USA, Dover Publications, 1951.
[13] G. W. Van Santen, Introduction to a Study of Mechanical Vibration,
Philips’ Technical Library, Trans. From Dutch by G. Ducloux,
Amsterdam, N. V. Wed. J. Ahrend and Zn, 1953.
[14] M. D. Waller, Chladni Figures: A Study in Symmetry, London, UK, Bell
and Sons Ltd., 1961.
[15] Y. Rocard, General Dynamics of Vibrations, New York, USA,
Frederick Ungar, 1960.

Michael Kasha was born in 1920 in Elizabeth, New Jersey of Ukrainian

immigrant parents. Kasha's education was accelerated via public schools to
1938, especially by a technical high school, in which a considerable fraction
of the faculty had Ph.D. degrees in the specialty taught. Kasha was awarded a
scholarship in the Cooper Union School of Engineering in New York. His
interest in chemistry directed him to the University of Michigan where he
received a B.S. Chem. degree in February 1943. In the University of
California, he completed his Ph.D. Physical Chemistry degree in February
1945, with the great fortune of working with G. N. Lewis, one of America's
most famous scientists. Kasha was assigned to the Manhattan District
Plutonium Project, where he was involved in research on plutonium physical
chemistry. This was done simultaneously with his doctoral research in the
period January 1944 to 1946. Kasha then went in 1949 to the Physics
Department of the University of Chicago to work with R. S. Mulliken, the