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INTRODUCTION TO THE SOUND QUALITY OF BAROQUE AND MODERN VIOLIN
Klimeš, Jakub ; OTČENÁŠEK, Zdeněk (advisor) ; PINKAS, Martin (referee)
The thesis deals with the constructional differences between the baroque and modern violin and interconnects these differences with objective knowledge in acoustics and their influence on sound quality.
Contains: an organological summary of the development of the violin till the 17th century, description of the basic acoustic principles of creating sound on violin, an organological summary of constructional changes since the Baroque until present time and its partial connection with musical acoustics. The last part of the thesis is a description of the research itself. In this chapter the harmonic spectrums of the concrete tones of baroque and modern violin and their directions of radiation are compared. Deduced conclusions are connected with a subjective description of sound quality.
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Reverbation in authentic acoustics Spaces and its Substitution synthetic Reverberation
Stratílek, Jakub ; SYROVÝ, Václav (advisor) ; OTČENÁŠEK, Zdeněk (referee)
Subject of this written work is as natural acoustic reverberation phenomenon in enclosed spaces used for music production and its replacement. The first chapter defines the reverberation as a physical phenomenon and defines the basic concepts. The second chapter is about reverberation authentic space, its characteristics and specific characteristics. The next chapter describes the properties of artificial reverberation, its parameters and potential problems. This chapter also shows you how to adapt artificial reverberation. The fourth chapter is devoted to a comparison of authentic and artificial reverberation. Here one can find a correlation between their parameters, the differences in the same excitation signal, compared the algorithmic and convolution with the aftermath of an authentic finish. Chapter Five then goes on to state requirements for artificial reverberation in auralization and also some basic aesthetic categories. The last chapter of this work describes a practical experiment that verifies the validity of the hypothesis replace natural reverberation. Subject experiment is auralization audio samples of an anechoic room and recording studio. The aim of the experiment is to simulate a concert hall reverberation.
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