Predictive Approach in Piano Acoustics (PAPA)

 

Project number:	FWF M 1653 (Lise-Meitner-Programm)
Project leader:	Prof. Dr. Antoine Chaigne
Research facility:	Institute of Music Acoustics (IWK) University of Music and Performing Arts Vienna
Date of approval:	02.12.2013
Project start:	01.10.2014
Project end:	30.09.2016

Abstract

The ambition of the PAPA project is to establish links between physical piano design parameters and tone quality. The considered parameters are related to the geometrical data and material properties of the constitutive parts of the instrument. The project focuses on the vibratory and acoustical phenomena from the blow of the hammer against the strings to the radiated sound. The key mechanism and the interaction with the player, as well as the effects of the room, are left aside in this study. The results are expected to pave the way for a Predictive Approach in Piano Acoustics, where the tone quality of the instruments can be controlled on the basis of a physical model, thus reducing the part of empiricism. During the time of the project, the objective is to study a small number of selected instruments, with clearly representative and distinct tone qualities. Each instrument will be described by a set of parameters related to hammer, strings, bridges and soundboard properties. To achieve this, an original method is proposed, composed of three steps: dedicated experiments will be first conducted on significantly different modern and historical instruments in order to extract the values of the parameters. In a second step, these measured data will serve as input parameters for the simulation of piano tones. The simulations are based on a global model of a grand piano which is currently under development at ENSTA. This software will be used throughout the project, and continuing developments of the model will be made. By means of these simulations, we wish to evaluate the influence of the piano parameters on tone quality, and to predict the musical effects of structural modifications. Finally, comparisons in the form of listening tests will be made between measured and simulated tones in order to check the relevance of the model, and to determine the thresholds of variations of some parameters for which the listeners are sensitive. This project belongs to the field of musical acoustics which is a multidisciplinary domain ranging from the physics to sound perception. The intention to conduct this research in partnership with colleagues from the Institute of Music Acoustics (IWK) is motivated by a strong complementarity between our respective competencies: I will bring my expertise in physical modeling and numerical analysis of instruments, whereas my colleagues at IWK will contribute to the project through their experimental platforms dedicated to musical instruments and through their knowledge in the perception of musical sounds. In addition, IWK has collaborations with museums who agree to participate to the project by letting us conduct experiments on historical instruments. Finally, the environment in a Music University (MDW) is particularly appropriate for rewarding interaction with musicians.

Supported by