Abstract
The reconstruction of an early viola da gamba is considered, using virtual prototyping by means of the finite element method. Based on iconographic sources, previous research has postulated an instrument design lacking a soundpost and a bass bar. This led to the hypothesis of a top plate with variable thickness. In order to investigate the acoustic efficiency of such a design, a finite element model of the instrument is formulated. The structural accuracy of the model is qualitatively verified by comparing calculated modal shapes with those of a reconstructed instrument, visualized with the aid of Chladni patterns and electronic speckle pattern interferometry. Furthermore, simulating the interaction between the vibrating surfaces of the instrument and the surrounding air shows that the posited asymmetric design can radiate sound more efficiently than a design involving a symmetric top plate. However, the asymmetry introduced by the gradually thickening top plate is weaker than that usually enforced by the presence of a soundpost and a bass bar. Therefore, low frequency structural modes of the instrument are less easily excited by a force acting parallel to the top plate.
Highlights
The first textbook on the viola da gamba appeared in 1542 in Venice by Silvestro Ganassi, followed by a second volume one year later.1 In addition to the practical playing instructions, the pictures included in both bands are of great interest, since Ganassi describes himself as someone who is very interested in pictorial representations and, values a correct and elaborate realization of the graphics.In search of a construction framework for an early viola da gamba, the detailed—though unusual—outline of Ganassi seems to correspond with early string instrument representations.2 The outline alone, does not give concise indication of the design of the individual parts of the instrument, especially the top plate, which has a major effect on the sound characteristics
Following research on written and iconographic sources, an evidence-based reconstruction of a viol after Ganassi has been postulated in Ref. 5, where an asymmetric top plate is used to compensate for the lack of a soundpost and a bass bar
The asymmetry of the instrument body is only ensured via the variable thickness of its top plate
Summary
The first textbook on the viola da gamba appeared in 1542 in Venice by Silvestro Ganassi, followed by a second volume one year later. In addition to the practical playing instructions, the pictures included in both bands are of great interest, since Ganassi describes himself as someone who is very interested in pictorial representations and, values a correct and elaborate realization of the graphics. In search of a construction framework for an early viola da gamba, the detailed—though unusual—outline of Ganassi seems to correspond with early string instrument representations.. The outline alone, does not give concise indication of the design of the individual parts of the instrument, especially the top plate, which has a major effect on the sound characteristics. This uncertainty involves the existence or not of a bass bar and a soundpost, since these were not always present in renaissance viols.. Following research on written and iconographic sources, an evidence-based reconstruction of a viol after Ganassi has been postulated in Ref. 5, where an asymmetric top plate is used to compensate for the lack of a soundpost and a bass bar
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