ABSTRACT
The purpose of this study was to see if there was any difference in the perception of oboe timbre if the instrument was wood or plastic. Two groups of subjects from the Hartt School of Music volunteered to listen to a recording of six assorted oboes, in pairs, and then describe its tone color and decide whether it was a wood or plastic instrument. Printouts from a wide-band analyzer were also obtained to examine the actual harmonic content of various tones from all instruments. The hypothesis was supported: bore material has no effect on the perception of oboe timbre if the instrument is in good condition. There will be some differences seen when comparing actual waveforms but it is most obvious between professional and poorer quality instruments rather than wood and plastic oboes. Differences in "feel" and performance may be compensated for with reed scrape and embouchure, but oboes of synthetic materials are now being recommended for schools and professionals.
It is known that disagreement exists regarding the ideal material to be used in the manufacture of woodwinds. For many years, the "best" instrument models have been made of grenadilla wood with various plastics being used for lower-priced "student" models. Along with consideration for appearance, weight, density, cost, stability, and durability, is the fact that musicians often assert that certain body materials ha\c inherent acoustical characteristics that impart it preferred tone quality. However, many acousticians contend that this assertion hits no basis in fact, and wall material has no appreciable effect upon perceived quality or timbre (Currie).
Evidence supporting both sides of the argument hits been presented in it paper by Currie (1 (79), who studied the effect of bore material on clarinet tone quality. The consensus of scientific opinion is that the substance of the resonating tube has no effect on the tone quality, provided it is dense enough (Bate), and it appears that material front which an instrument is made can be selected for other qualities such as dimensional stability, case of fabrication, etc. (Bacus).
Players continue to outface scientists however, by contending that wall material will greatly affect perceived timbre. Much of what is heard is part of an entire aesthetic experience, and certain materials are 1) psychologically associated with quality (Currie). Little of a precise nature is actually known about the acknowledged capacity of musicians to discriminate among the quality of musical Instruments (Vattano, Cross, Morgan 1976). Leipp and Moles (1959) state that evaluation and appreciation of musical instruments is based on the relationship between the subjective aspects of sound as perceived by the ear and the objective elements of sound phenomena produced by the instrument.
While many experiments have examined certain objective characteristics, and their subjective perception of wind instruments, string instruments, and pipe organ, none have been found pertaining specifically to oboes. The results of these investigations were seen as relevant to the present project, for the basic acoustical principles underlying wave form (perceived as tone quality) are identical. It has been stated by Fox,1 Lucarelli,2 and Riggins3 that while oboes made of a synthetic material will show differences in acoustical, scientific testing, there should be no difference in perceived timbre from a wood instrument.
The present study sought to investigate the effect of bore material on the perception of oboe tone quality and answer the following questions: Will there be a consistent difference in tone qualities between plastic and wood instruments? Will this be noticeable to the ear of the average audience? oboists? Is there a future for good quality instruments made of synthetic materials?
Subjects...
Two groups of randomly chosen students at the Hartt School
of Music of the University of Hartford, Ct., agreed to listen
to the tape. Group One were oboists and consisted of three undergraduates
and two graduate students (one male and four female). Group Two
were nonoboists and consisted of two undergraduates and seven
graduates (three male, six female). Included were performers on
keyboard, strings, vote(, and winds.
Apparatus and Procedure...
Selections were played by a doctoral candidate in applied music. Three 15-20 second selections consisted of two long tones, A 440 Hz and 1) 236 Hz, a slow scale covering the range of the instrument, and an orchestral excerpt. Each was separated by five seconds. The same reed was used on all instruments.
For each trial, the control instrument played the selections, and then the same passage on the same or one of the other instruments. Pairing wits random and a total of ten pairs was recorded.
Each passage was played as similarly as possible on each of the six instruments.
Loree model FK12 with plastic top joint
Loree model FD84 with plastic top joint
Loree model EY22 wood (control)
Fox model B19 plastic
Signet model M23370 wood
Laubin no model number, wood
Recording was done in an anechoic chamber with the following equipment:
Recording:
Yamaha K850 Cassette Deck
Two Akg D200E microphones
XHE cassette tapes
Monitor:
Bruel & Kjoer 1/2 in. microphone 4134
Analyzer:
Bruel & Kjoer Real Time Analyzer 2131
Storage:
Bruel & Kjoer Digital Cassette Recorder 7400
Printer.*
Bruel & Kjoer Graphic Level Recorder 2305
Signal Monitor.,
Quest Type 2 Sound Level Meter
Korg Chromatic Tuner
The volunteers listened to the tape only once, and were given
a questionnaire to answer. They were told that the purpose of
the study was to investigate how well they could distinguish between
the tone qualities of wood and plastic oboes. The instructions
on the questionnaire stated that for each trial they would hear
a passage played on a wood Loree oboe, and then on the same or
another instrument. There was a signal before each pair. They
were then to indicate whether the second instrument was wood,
plastic, or indistinguishable.
The subjects were to then choose a term from a second list that they would use to best describe the tone color of the instrument. They were cautioned to make their judgments on the basis of the quality of the instrument, not on preference for various selections, minor differences in the performance, or the technical quality of the recordings.
Wave forms of four notes were compared using printouts from a wide-band analyzer. This had a third octave filter of 23 %. (The exact frequency may be plus or minus 11.5% of the center frequency.) Notes compared were D-236 Hz, A-440 Hz, D- 586 Hz and A-880 Hz.
Results:
The physical differences which existed among
the oboes are illustrated by the actual waveforms of two selected
tones of 880 Hz and 293 Hz. It is known that any difference in
timbre may be found above the tenth partial and there are slight,
if any differences between instruments below this harmonic. The
biggest differences lie in the quality of the instrument. Oboes
of the same manufacturer, regardless of bore material have corresponding
wave forms, while the poorer quality instruments show the most
deviation.
The results demonstrate that neither oboists nor non-oboists are capable of aurally discriminating between plastic and wood instruments. While each instrument received votes in each category, there was no consistent pattern between them. There appears to be no interaction between sex, musical training, or age and the result of the tally. Oboists were able to describe the tone color more easily and with greater consistency than non-oboists.
Discussion:
"An oboe can be made out
of most anything as long as tender loving care is put into its
manufacture." (Riggins). I believe that the results of this
study will support this statement and lay to rest the idea that
grenadilla wood is the "only" material suitable for
quality oboe bores. It has been found that it is difficult, if
not impossible, to distinguish between tone qualities of wood
and plastic oboes of good quality and condition, even it' scientific
results may show otherwise.
Much more acoustical testing must be done before it can be unequivocally stated that bore material affects timbre. "It should be emphasized that detailed calculations of the positions and widths of the normal modes are required before definite theoretical statements can be made on the sensitivity of a given type of woodwind to its wall material.- (Benade). The equipment available for our use did not provide the narrow-band information needed to see any major differences in the upper harmonics of the instruments.
Strict acoustical principles suggest that timbre is, affected by it combination of embouchure reed and the size and shape of the performer's air cavities. One of the major problems in it study using woodwinds, especially oboes, is the interaction of a specific reed with performer and instrument. Oboe reed scrapes compensate for the physical differences between players, as well as the aural concept of tone dcsired. More than on any other I instrument, what constitutes "good" tone on oboe varies throughout the country. It can't be predicted what the comments on this study would have been if another reed had been used, or another , more reliable performer. Admittedly, a larger sample from a wider area would have been desired. Another problem is the description of timbre. It is interesting to note that while even the oboists could not distinguish between the instruments consistently, they were more consistent in choosing terms to describe tone quality, than non-oboists. This could be a factor of having the same teacher, or simply familiarity with the terms. Live performance may alter aural perception but not necessarily concept. All of these are ideas to take into consideration for further study.
There are many preconceived ideas or stigmas attached to the use of plastic instruments. More than once the comment arose, "Wood produces a more sensuous sound, plastic is harsher." I believe there is a strong reactive interaction. If an accomplished oboist is asked whether there are differences in tone quality among instruments of wood and plastic, he or she may answer in the affirmative. Yet, if asked to audibly distinguish tones of such instruments, he or she may be unable to do so. Both quality and type of material employed, seem to be part of an aesthetic experience. Lucarelli states, "It's all psychological. What you play on is a matter of comfort and habit. Whatever produces the desired results is the best instrument for you."
Part of the prejudice against plastic instruments arises from the use of poorly made, cheaper ones in school situations. Wood instruments, when purchased because it was thought the timbre was better, are usually not maintained as well as a delicate oboe should be. Reeds for both are made thinner and more freeblowing to compensate, giving rise to that "reedy" sound. Modern manufacturing methods no longer demand an either/or situation concerning oboes. I would highly recommend the use of a professional model, bored synthetic instrument to students, schools, and even professional performers. They are not as prone to cracking, not as difficult to maintain, and will produce better timbral results while establishing better playing techniques than a poorer quality wood instrument for the same cost.
ENDNOTES
1.
Fox, Allen. Personal communication. March 1,1983.
2. Lucarelli,
Humbert. Personal communication.
March/April, 1983.
3. Riggins,
Lowry. Personal communication. April
15, 1983.
REFERENCES
Anastasio, Angelo. "Oral/Pharangeal Shapes and Oboe Tone
Color." Woodwind, Brass, Percussion January 1983, 29-33.
Backus, John, "Effect of Wall Material on the Steady-State Tone Quality of Woodwind Instruments. " The journal of the Acoustical Society of America. October 1964, 36, 1886.
Bate, Phillip. "The Oboe; An Outline of Its History, Development, and Construction." 3rd ed. New York: W.W. Norton & Co., 1975.
Benade, A.H. "On Woodwind Instrument Bores." The journal of the Acoustical Society of America. February 1959, 31(2) 137-4.
Currie, Bruce W. "The Effect of Bore Material on Clarinet Tone Quality", Iowa Journal of Research in Music Education 1979, 4, 27-42.
Leipp, Emile, & Moles, Abraham A. "Use of the Sonograph in the Determination of the Quality of String Instruments." Ann. Telecommun 1959, 14 (5-6) 135-42.
Parker, Sam E. "Analyses of the Tones of Wood and Metal Clarinets. " The journal of the Acoustical Society of America. May 1947, 19, 417.
Vattano, Frank J., Cross, Henry A., & Morgan, John R. "Perception of Qualitative Differences in Violins." Psychology of Music 1976, 4(2), 3-8.
The subjects were asked to determine the bore material of ten different instruments (actual instruments on left.) Upon hearing, their responses are listed on the right.
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