ADDITIONAL READING
Many scientists have, over the years, studied the occurrence of wolf notes in string instruments. The numbered references cited in the wolf note page are given below.
1. C. V. Raman, Phil. Mag. 32, 391-395 (1916)
The work of C.V. Raman an Indian researcher at the turn of the century is often credited with pioneering work on the wolf note.
2. John C. Schelleng, "The Violin as a Circuit", JASA vol 36, no 3, 326-338, March 1963
Schelleng published a paper in 1962 in which he describes a musical instrument (cello) in terms of an electrical circuit. The concept of the string splitting into two frequencies when approaching the frequency of the main body resonance is introduced. Taking the variables of body stiffness, mass of the body and impedance (resistance) of the string, he formulated parameters in which it would be possible to predict the likelihood of whether or not a given instrument would produce a wolf note.
3. Ian M. Firth and J. Michael Buchanan, "The Wolf in the Cello", JASA, vol 53, 457-463, 1973
Ian Firth, a physicist at the University of St. Andrews, Scotland, through experiments in 1971 confirmed many of Schellengs proposals and introduced other findings of his own. He determined that as the string vibration approaches the frequency of the main body resonance, the change in frequency is not linear, but tries to stay away from the frequency of the MBR. He observed that it is possible to have a wolf note over a limited frequency range as opposed to a single frequency.
4. Arthur H. Benade, "Fundamentals of Musical Acoustics", Dover, New York: 1990
In this book, Benade explores the wolf note phenomenon in more readable layman's terms. His analysis of the wolf note documents the history of wolf note research, and provides an analysis of the wolf note through his own study and experimentation. This is an excellent book which also explores the acoustics of the major musical instrument families as well as the voice.
The work of C.V. Raman an Indian researcher at the turn of the century is often credited with pioneering work on the wolf note.
2. John C. Schelleng, "The Violin as a Circuit", JASA vol 36, no 3, 326-338, March 1963
Schelleng published a paper in 1962 in which he describes a musical instrument (cello) in terms of an electrical circuit. The concept of the string splitting into two frequencies when approaching the frequency of the main body resonance is introduced. Taking the variables of body stiffness, mass of the body and impedance (resistance) of the string, he formulated parameters in which it would be possible to predict the likelihood of whether or not a given instrument would produce a wolf note.
3. Ian M. Firth and J. Michael Buchanan, "The Wolf in the Cello", JASA, vol 53, 457-463, 1973
Ian Firth, a physicist at the University of St. Andrews, Scotland, through experiments in 1971 confirmed many of Schellengs proposals and introduced other findings of his own. He determined that as the string vibration approaches the frequency of the main body resonance, the change in frequency is not linear, but tries to stay away from the frequency of the MBR. He observed that it is possible to have a wolf note over a limited frequency range as opposed to a single frequency.
4. Arthur H. Benade, "Fundamentals of Musical Acoustics", Dover, New York: 1990
In this book, Benade explores the wolf note phenomenon in more readable layman's terms. His analysis of the wolf note documents the history of wolf note research, and provides an analysis of the wolf note through his own study and experimentation. This is an excellent book which also explores the acoustics of the major musical instrument families as well as the voice.
