Abstract
AbstractWe investigated the material properties of Cremonese soundboards using a wide range of spectroscopic, microscopic, and chemical techniques. We found similar types of spruce in Cremonese soundboards as in modern instruments, but Cremonese spruces exhibit unnatural elemental compositions and oxidation patterns that suggest artificial manipulation. Combining analytical data and historical information, we may deduce the minerals being added and their potential functions—borax and metal sulfates for fungal suppression, table salt for moisture control, alum for molecular crosslinking, and potash or quicklime for alkaline treatment. The overall purpose may have been wood preservation or acoustic tuning. Hemicellulose fragmentation and altered cellulose nanostructures are observed in heavily treated Stradivari specimens, which show diminished second‐harmonic generation signals. Guarneri's practice of crosslinking wood fibers via aluminum coordination may also affect mechanical and acoustic properties. Our data suggest that old masters undertook materials engineering experiments to produce soundboards with unique properties.
Highlights
IntroductionSpecially selected woods (i.e. tonewoods) act as transducers of mechanical energy from vibrating strings into acoustic energy.[1] Violin-family instruments, including violas and cellos, are made of two types of tonewoods—Norway spruce (Picea abies, for soundboards) and maple (Acer species, for ribs and back plates).[2] Curiously, leading violinists today still prefer antique instruments made by two old masters from Cremona, Italy—Antonio Stradivari (1644–1737, Latinized as Stradivarius) and Giuseppe Guarneri “del Ges” (1698–1744).[2b,3] Stradivari made violas and cellos that are highly prized
In string instruments, specially selected woods act as transducers of mechanical energy from vibrating strings into acoustic energy.[1]
Our objective measurements have shown that Stradivari violins imitate the vocal tract resonance frequencies of female singers, which may contribute to their perceived brilliance.[8b,9] Many speculated that Cremonese masters had developed closely guarded techniques that became lost after 1750.[2b,5,10] Investigations into Stradivari violins have mostly focused on the geometry[2b,5,11] and varnish compositions,[12]
Summary
Specially selected woods (i.e. tonewoods) act as transducers of mechanical energy from vibrating strings into acoustic energy.[1] Violin-family instruments, including violas and cellos, are made of two types of tonewoods—Norway spruce (Picea abies, for soundboards) and maple (Acer species, for ribs and back plates).[2] Curiously, leading violinists today still prefer antique instruments made by two old masters from Cremona, Italy—Antonio Stradivari (1644–1737, Latinized as Stradivarius) and Giuseppe Guarneri “del Ges” (1698–1744).[2b,3] Stradivari made violas and cellos that are highly prized. Despite tremendous advances in sciences and arts since the industrial revolution, violin making represents a singular case that has undergone a functional decline.[4]. After two centuries of investigations, there is still little consensus on what makes Cremonese violins so unique.[2b,3,5] Subjective listening tests comparing Stradivari violins to modern instruments have shown mixed results. Our objective measurements have shown that Stradivari violins imitate the vocal tract resonance frequencies of female singers, which may contribute to their perceived brilliance.[8b,9] Many speculated that Cremonese masters had developed closely guarded techniques that became lost after 1750.[2b,5,10] Investigations into Stradivari violins have mostly focused on the geometry[2b,5,11] and varnish compositions,[12]
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