Acoustics of Musical Instruments

Part I - Basic Equations and Oscillators.- 1. Continuous models.- 2. Single-degree-of-freedom oscillator.- Part II- Waves and modes.- 3. Modes.- 4. Waves.- 5. Dissipation and damping.- 6. Coupled systems.- 7. Wind Instruments: variable cross section and toneholes.- Part III - Nonlinearities and self-oscillations.- 8. Nonlinearities.- 9. Reed instruments.- 10. Flute-like instruments.- 11. Bowed string instruments.- Part IV - Radiation and sound-structure interaction.- 12. Elementary sources and multipoles.- 13. Radiation of vibrating structures.- 14. Radiation of complex systems.- Glossary.- Index.

"This book is a great repository of state of the art knowledge. It is a handbook for looking-up concepts, derivations and mathematical methodologies currently developed and employed in the field of musical acoustics. ... This book is a handbook and a great reference for researchers and PhD level graduate students ... . This book will definitely become a classic like the one by Fletcher and Rossing ... ." (Wilfried Kausel, Euracoustics.org, April, 2017)

"Antoine Chaigne and Jean Kergomard have applied mathematical rigor with comprehensive scope, and the result is remarkable. ... The text and math are lucid throughout and should be easily understood by readers with a basic grasp of mechanics. The authors are justified in recommending the book to 'students at master's and doctorate levels [and] researchers, engineers and other physicists with a strong interest in music'-each of those groups will find the information they need in Acoustics of Musical Instruments." (Barry Greenhut, Physics Today, April, 2017)"Each author has extensive research experience, a publication record of note, familiarity with the literature, and interaction with French and international colleagues. ... Acoustics of Musical Instruments provides a quantitative analysis of many instruments found in the classical repertoire. The text will be of use to players, including students and instructors, and those concerned with the physical production of sound from these instruments, including makers of real and simulated instruments." (William Strong, Journal of the Audio Engineering Society, Vol. 65 (1-2), January, 2017)