Abstract
Stringed instruments such as the cello have been evaluated extensively from structural and acoustical perspectives, but the riser on which a cello sits has until recently been overlooked. This riser becomes acoustically coupled and can play a productive or counterproductive role in its acoustic projection. The cellist’s performance is understood to be enriched and enhanced by this piece of furniture, and this second installment in a two-part study further investigates the mechanical interaction between the musician, instrument, and supporting surface. This was accomplished by measuring the energy transmitted through five points of interface including the performer’s heel, toe, front and rear legs of the chair, and endpin of the instrument. Results of the relative amplitude and frequency response of the structurally transmitted sound at these points, using five different performers, two performance techniques, and the full range of the instrument, will be presented.
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