- 學位論文
史特拉底瓦里與義大利歷史小提琴的分析比較：從材料化學與結構設計到發聲性質
Comparison of Stradivari and old Italian violins: from material chemistry and construction design to voice quality
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摘要
小提琴演變的五百年歷史中，在結構設計與聲音特性上，有兩個眾所皆知的里程碑。第一個里程碑是安德雷亞‧阿瑪蒂(Andrea Amati, 1505-1577)十六世紀初期在義大利克里蒙納小鎮(Cremona)所發明的現代小提琴。爾後有許多制琴師嘗試改變阿瑪蒂的結構設計，但都在聲音特性上調整失敗，因此小提琴的結構設計並未有太大的演變。第二個里程碑是安東尼奧‧史特拉底瓦里(Antonio Stradivari, 1644-1737)在十八世紀初期的成就，史特拉底瓦里師承阿瑪蒂家族，微調其結構設計並改進聲音特性。過去兩個世紀中，許多著名的獨奏家獨鍾於演奏史特拉底瓦里的小提琴，而相較其餘製琴師，史特拉底瓦里小提琴的構型也最常被模仿。然而，從阿瑪蒂至史特拉底瓦里的演進之路上，其幾何結構的演變雖然容易量測，其聲學性質的變化卻仍未被定義。 我們錄製了由阿瑪蒂至史特拉底瓦里時代間的十五把義大利歷史小提琴，以及男女聲的半音階。並利用線性預測編碼方法進行泛音特徵的比對。本實驗的義大利小提琴中，兩把最早的典型(1570 Andrea Amati與1560 Gasparo da Salo)都在5000赫茲以下呈現出四個類似人聲的共振峰(F1-F4)，其F1與F2對應到國際音標元音圖(IPA vowel diagram)的中央區域，F3與F4則對應於男性的歌唱。因此，小提琴的發明者們，極可能是藉由模仿男性歌唱的聲音而達到了第一個里程碑。 從F1至F4，相較共振峰類似男中音/男低音的其餘歷史小提琴，史特拉底瓦里都呈現了更高的頻率，更類似於男高音/女低音。在國際音標元音圖中，升高的F1與F2會產生更開放與更前端的元音，使得元音聽起來更明亮更渾厚，這些獨特的元音與性別特徵符合幾世紀來人們對其不同尋常的經驗感受。傳統上，人們將阿瑪蒂至史特拉底瓦里間的聲音轉變歸因於後者較小的木板曲度，但近來的證據顯示，木材的化學處理也可能造成其特性的轉變。
並列摘要
During the evolution of violin models over the past 500 years, there were two widely recognized design/acoustic landmarks. The first landmark was the invention of the modern violin in the early 16th century by Andrea Amati (1505-1577) in Cremona, Italy. The shape and form of the violin have evolved very little since, as numerous later attempts to alter Amati’s basic design have failed to maintain the favorable acoustic qualities. The second landmark was achieved by Antonio Stradivari (1644-1737) in the early 18th century, who learned his craft from the Amati family but made slight modifications to improve the acoustics. For the past two centuries, more famous soloists have preferred to play Stradivari violins than all other makers combined. Stradivari’s violin models are also copied more frequently than any other violin maker. While the geometricevolution from Amati to Stradivari models are easily measurable, the underlying acoustic properties that help define these two landmark designs remain unknown. In this study, we recorded the chromatic scales of 15 old Italian violins, ranging from Amati to Stradivari, as well as male and female singing voices. The linear predictive coding algorithm was applied to compare their formant features. The early examples of Italian violins (1570 Andrea Amati and 1560 Gasparo da Salo) both showed four voice-like formants (F1-F4) below 5000 Hz. The F1 and F2 values in these early violins mapped to the central region on the international phonetic alphabet (IPA) vowel diagram, while their F3 and F4 values corresponded to those of male singing. Therefore, the first landmark design devised by the early inventors of the violin appeared to mimic the male singing voice. Compared to other old Italian violins of which formants weresimilar to basses/baritones, in F1 through F4, Stradivari violins exhibited higher formant frequencieswhich weresimilar to tenors/altos. In the IPA vowel diagram, elevated F1 and F2 led to the lower vowel height and the more frontvowel, shifting toward the brighter and bigger symbolism. The unique vowel and gender qualities associated with Stradivari violins appeared to correlate well with long-held opinions about their distinctive brilliance. The tonal improvement going from Amati to Stradivari violins has been historically attributed to lower plate arching in the latter, but recent evidence also suggested that chemical treatment of wood may have altered its material properties.
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