|dc.description.abstract||At the Edinburgh University Collection of Historical Instruments (EUCHMI)
there are two virginals where the strings are plucked extremely close to 1/4 of their
length over a substantial part of the compass. Principles of Acoustics dictate that in such
cases the fourth partial of the resulting sound is unlikely to be produced with any
appreciable magnitude. Similar situations affecting different partials also occur when the
plucking point is located at other fractional parts of the string length, such as 1/3 or 1/5.
A database of plucking points, based on museum catalogues, was created and analysed,
so that pitch regions are identified where such phenomena are likely to occur for
different categories of instruments.
The main cue used in harpsichord tuning is related to beat phenomena produced
by partials of two simultaneously played notes, whenever there is a small difference
between their frequencies. Partial four being relevant for major thirds and perfect
fourths, these intervals may result less accurate, or less reliably tuned, in instruments like
the above virginals.
Historical sources were surveyed for expressions which describe the cues that
tuners were supposed to use in identifying the ideal of an interval. Although expressions
such as Schwebungen are mostly related with beats, broader meanings are discussed.
Hints of the use of alternative, not beat-related cues, are identified.
A series of practical tuning experiments was performed in which selected
intervals were tuned, the accuracy of the tuning process being assessed from recordings,
which were subjected to spectral analysis. Only cues that could be related to historical
sources were used. The effects of factors such as pitch, pitch region, instrument, interval
type, and particularly the potential absence of relevant partials were investigated,
statistical methods playing a substantial role in the research. A logbook was created, where the experimenter detailed the cues used for each
tuned interval in one of the experiments. The recorded information provided some
insight into a number of strategies a tuner may use for coping with difficulties in cases
of absent or weak partials.
The impact of inharmonicity on the exact size of just intervals was also
examined, both on theoretical grounds and based on data from the experiments.
A number of case studies were included, where a comparison was made between
missing partial notes predicted from plucking points and the degree of absence of those
partials in the actual spectra for some historical instruments.||en_US