From musician to listener via first principles and careful observation
Peter L. Hoekje · The Journal of the Acoustical Society of America · 1988
Many of the elements comprising the acoustics of musical wind instruments have been known since the time of Lord Rayleigh and Helmholtz. Yet, only in the last few decades have the contributions of acousticians been able to weigh significantly with those of artisans (whose names like Boehrn, Conn, Hotteterre, or Sax have become familiar to us through the instrument-making dynasties founded on their acoustic insights) in the creation of fine instruments. Art Benade was a leader in these recent successes. Part of the legacy he leaves us is a methodology for design (or redesign) of wind instruments. It describes the adjustment of tone holes, bore shapes, and reeds in order to improve mode cooperation and decrease energy loss, verified by a series of simple playing experiments. By his unique insight, theoretical results arising from fundamental physical principles are identified with common attributes of “good” instruments. By similar study, he improved the understanding of the perception of sound in rooms. The life work of Art Benade was the isolation of factors of importance to musicians by sound scientific practice, inspired observation, and careful experimentation.