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Icebreaker
Does anyone know the relation between integrals and the sound holes on the violin?
Icebreaker said:Does anyone know the relation between integrals and the sound holes on the violin?
I have seen papers on vibration analysis of violins in which they discuss the formation of chladni pattern formations at various resonant frequencies. From what I remember, the sound holes seemed to always be enveloped by the nodal lines. They didn't seem to cross them. I am not sure if that is coincidence or not. But by the looks of it, the general envelope of where to put the holes is somewhat driven by the tuning of the top and the "integral" shape came from stylization that was popular in the day. I will have to keep digging on this one. Interesting question.Icebreaker said:Does anyone know the relation between integrals and the sound holes on the violin?
It sounds like a physics term he is using to indicate that there may not be any single actual origin, no one violin or violin maker you could point to and say "Here we have the first, classic violin sound holes."hypatia said:The f-hole shapes were made befor the integral, so the pursuit of this is not realistic?
Fourier jr said it's the greek symbol summa, stretched out:lol Now I wonder if the person who made the integral sign, got it from the violin?
fourier jr said:euler was the first to use a stretched-out latin summa for an integral sign (i think)
zoobyshoe said:Fourier jr said it's the greek symbol summa, stretched out:
"...but, for mine own part, it was greek to me."Jelfish said:I'm pretty sure summa is latin.
Looks like you're more or less right about all this:Jelfish said:I'm pretty sure summa is latin. Summa, which means "sum," was written with a stretched "s" (the integral sign)
[tex]\smallint \text{VMMA}[/tex] (perhaps something like this?)
while the modern day "s" was used as a terminal "s" (that is, used when the "s" sound ended a syllable). The greeks have something similar: sigma [tex]\sigma[/tex] and terminal sigma [tex]\varsigma[/tex].
The sound holes, also known as f-holes, serve two main purposes on a violin. First, they allow the sound to escape from the instrument, creating a more resonant and audible sound. Secondly, they help to balance the vibrations of the strings, resulting in a more even and balanced tone.
The size and placement of the sound holes can have a significant impact on the sound of a violin. Larger sound holes typically produce a louder and more resonant tone, while smaller sound holes can create a softer and more delicate sound. The placement of the sound holes also affects the balance and projection of the sound.
While sound holes play a crucial role in the sound of a violin, they are not the only factor. The shape, size, and material of the violin's body also contribute to the sound. However, without sound holes, the sound of a violin would be significantly muted and less resonant.
Yes, the shape of the sound holes can affect the sound of a violin. F-holes are the most common shape and are known for producing a more focused and powerful sound. However, some violins have other shapes of sound holes, such as circular or heart-shaped, which can produce a slightly different tone.
Besides enhancing the sound of a violin, sound holes also play a role in the aesthetics of the instrument. The f-holes are an iconic feature of the violin and contribute to its recognizable shape. Additionally, the sound holes allow for air circulation inside the violin, which helps keep the instrument from warping or cracking due to changes in temperature and humidity.