Glasbeniki slišijo bolje?

Na splošno o avdiu in drugih temah
softspeaker
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Glasbeniki slišijo bolje?

Postby softspeaker » 05 Jan 2012, 12:22

To govorim celi čas, glasbeniki res bolje razlikujejo višino tona, se pravi imajo v tem oziru boljši posluh, kot večina "običajnih" smrtnikov, vendar pa, kar se tiče presojanja kvalitete zvočne reprodukcije niso avtomatsko v nikakršni prednosti.

Zelo zanimiv eksperiment:

http://en.wikipedia.org/wiki/Player_pre ... ld_violins

Player preferences among new and old violins

In 2010, Claudia Fritz, a researcher from the Pierre and Marie Curie University in Paris, and violinmaker Joseph Curtin organized a double-blind study which was published in the Proceedings of the National Academy of Sciences in which 21 professional violinists tried to identify which violins were old (including 2 Stradivarius and a Guarneri), and which were new, and which they preferred.

Experiment

Fritz and Curtin performed the experiment at the Eighth International Violin Competition of Indianapolis, selecting participants for the experiment from the competitors and judges. The experiment was held in a dim room, with the participants wearing welding goggles so they could not identify the instruments. Additionally, perfume was placed on the chin rest of the violin's to avoid identification via smell.

Three tests were performed :
Head to head challenge - 10 pairs (one old, one new) of violins were each played for one minute per instrument, but the subjects were not told that the pairs contained one old and one new violin. Then, each subject judged both instruments on tonal color range, projection, playability and response.
Pick One challenge - All six instruments were available to be played however desired for 20 minutes, with the subject instructed to "pick one to take home".
Concert challenge - Zack DePuy, the concertmaster of the violin competition, played the instruments on stage in front of the 1500 participants of the violin competition.


Results
the most-preferred violin was new;
the least-preferred was by Stradivari;
there was scant correlation between an instrument's age and monetary value and its perceived quality;
most players seemed unable to tell whether their most-preferred instrument was new or old.

13 of the 21 violinists preferred the new violins. Only eight subjects chose an old violin to take home. The violinists could not reliably identify which instruments were old, and which were new.

The study revealed that there was not a statistical correlation between the age of an instrument, and if it was preferred in the head to head competition.

John Soloninka who was one of the violinists who played in the study said "It was fascinating. I too, expected to be able to tell the difference, but could not" and that "If, after this, you cling to picayune critiques and dismiss the study, then I think you are in denial. If 21 of us could not tell in controlled circumstances and 1500 people could not tell any differences in a hall, and this is consistent with past studies…then it is time to put the myths out to pasture."

berni
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Re: Glasbeniki slišijo bolje?

Postby berni » 06 Jan 2012, 22:50

evo, pa še sami preizkusite. jaz sem zadel stradivarija :)

http://nacl.de/audiomap/double-blind-vi ... divari.mp3

softspeaker
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Posts: 2115
Joined: 11 Mar 2009, 09:45
Location: Brezno (Abyss)

Re: Glasbeniki slišijo bolje?

Postby softspeaker » 01 Apr 2012, 13:02

Most people would say the sound has made the Stradivarius the gem that it is. Undeniably, the very essence of the violin is its sound, but this ethereal commodity is too difficult to grasp. Dealers can tell you it never enters into the arcane formula that determines the market value of fine old instruments. Musicians, audiences and critics often profess their preference for a certain tone quality—a late period Amati, a mid-period Strad, or a late 'del Gesu'—but anecdotes abound on how easily they can be misled. I have personally witnessed several amusing cases, one of them involving a concert of a famous string quartet whose players had just a year before switched from the customary mix of antique instruments to a matched set of four Strads. Alerted to this rare occasion by the press and the program notes, many aficionados entered a state of nirvana induced by what they believed to be the most homogeneous fabric of string voices. The intermission was buzzing with variations of oohs and aahs, and the newspaper critic also found it to be a once in a lifetime experience. In reality, there was no matched set in play; two of the four Strads had been left at home for maintenance and replaced with other instruments.

http://www.nagyvaryviolins.com/mystique ... arius.html


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