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*Bold numbers are better than significant on the 5% level; those in italic font are significant on the 22% level, or better. The data are based on sound recordings of 30 violins by A. Stradivari and G. Guarneri de/ Geszi [5]. Table 5. Correlation and slopes for the regression lines between timbre parameters and total sound pressure levels (SPL).

Table 5 *Bold numbers are better than significant on the 5% level; those in italic font are significant on the 22% level, or better. The data are based on sound recordings of 30 violins by A. Stradivari and G. Guarneri de/ Geszi [5]. Table 5. Correlation and slopes for the regression lines between timbre parameters and total sound pressure levels (SPL).

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Figure 1. Long-time-average spectrum of the Le Violon du Diablé made by Giuseppe Guarneri del Gest in 1734 The quantity L (defined in the text) and frequency regions A to F are used for calculation of the Diinnwald param eters. Common words are used to describe the influence of particular spectral bands on the timbre of violin sound
Figure 1. Long-time-average spectrum of the Le Violon du Diablé made by Giuseppe Guarneri del Gest in 1734 The quantity L (defined in the text) and frequency regions A to F are used for calculation of the Diinnwald param eters. Common words are used to describe the influence of particular spectral bands on the timbre of violin sound
Table 1. The Diinnwald parameters used in this study [2].
Table 1. The Diinnwald parameters used in this study [2].
Figure 2. Calculated levels of each Diinnwald frequency band for the average long-time-average spectra produced by 15 violins by A. Stradivari and 15 violins by G. Guarneri del Ges. Error bars show one standard deviation variation.
Figure 2. Calculated levels of each Diinnwald frequency band for the average long-time-average spectra produced by 15 violins by A. Stradivari and 15 violins by G. Guarneri del Ges. Error bars show one standard deviation variation.
Figure 3. Diinnwald timbre parameter ACD-B versus L for 30 violins by A. Stradivari and G. Guarneri del Gesi list- ed in Table 2. The correlation coefficient R is 0.79 and the slope of the regression line is 0.42. This is an example of a significant correlation (s-level < 1%).
Figure 3. Diinnwald timbre parameter ACD-B versus L for 30 violins by A. Stradivari and G. Guarneri del Gesi list- ed in Table 2. The correlation coefficient R is 0.79 and the slope of the regression line is 0.42. This is an example of a significant correlation (s-level < 1%).
Figure 4. Sound pressure level (SPL) versus the sum of the Diinnwald timbre parameters (L + ACD-B + DE-F) for 3¢ violins by A. Stradivari and G. Guarneri del Gest listed in Table 2. The correlation coefficient R is 0.23 and the slope of the regression line is -0.09 dB/dB. This is an example of an interesting, but not-so-significant, correlation (s-level = 22%).
Figure 4. Sound pressure level (SPL) versus the sum of the Diinnwald timbre parameters (L + ACD-B + DE-F) for 3¢ violins by A. Stradivari and G. Guarneri del Gest listed in Table 2. The correlation coefficient R is 0.23 and the slope of the regression line is -0.09 dB/dB. This is an example of an interesting, but not-so-significant, correlation (s-level = 22%).
*Bold numbers are better than significant on the 5% level; those in italic font are significant on the 22% level, or better. The data are based on sound recordings of 30 violins by A. Stradivari and G. Guarneri de/ Ges [5]. Table 6. Correlation coefficients and slopes between timbre parameters and production year.*
*Bold numbers are better than significant on the 5% level; those in italic font are significant on the 22% level, or better. The data are based on sound recordings of 30 violins by A. Stradivari and G. Guarneri de/ Ges [5]. Table 6. Correlation coefficients and slopes between timbre parameters and production year.*
Table 7. Dimensional information sought by the author for particular violins by Stradivari and Guarneri del Gesit
Table 7. Dimensional information sought by the author for particular violins by Stradivari and Guarneri del Gesit
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AcousticsArtSpectral MethodsMusical acousticsViolin acoustics
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