This major work covers almost all that has been learned about the
acoustics of stringed instruments from Helmholtz's 19th-century
theoretical elaborations to recent electroacoustic and holographic
measurements. Many of the results presented here were uncovered by
the author himself (and by his associates and students) over a
20-year period of research on the physics of instruments in the
violin family. Lothar Cremer is one of the world's most respected
authorities on architectural acoustics and, not incidentally, an
avid avocational violinist and violist. The book-which was
published in German in 1981-first of all meets the rigorous
technical standards of specialists in musical acoustics. But it
also serves the needs and interests of two broader groups: makers
and players of stringed instruments are expressly addressed, since
the implications of the mathematical formulations are fully
outlined and explained; and acousticians in general will find that
the work represents a textbook illustration of the application of
fundamental principles and up-to-date techniques to a specific
problem. The first-and longest-of the book's three parts
investigates the oscillatory responses of bowed (and plucked)
strings. The natural nonlinearities that derive from considerations
of string torsion and bending stiffness are deftly handled and
concisely modeled. The second part deals with the body of the
instrument. Special attention is given to the bridge, which
transmits the oscillations of the strings to the wooden body and
its air cavity. In this case, linear modeling proves serviceable
for the most part-a simplification that would not be possible with
lute-like instruments such as the guitar. The radiation of sound
from the body into the listener's space, which is treated as an
extension of the instrument itself, is the subject of the book's
final part.
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