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Theses and Dissertations 1. Thesis and Dissertation Collection, all items

1987-03

A Modal Analysis of the Violin Using

MSC/NASTRAN and PATRAN

Knott, George Anthony

Monterey, California: Naval Postgraduate School

http://hdl.handle.net/10945/14837

Downloaded from NPS Archive: Calhoun

 NAVAL POSTGRADUATE SCHOOL
Monterey, California

>-

THESIS
A MODAL ANALYSIS OF THE VIOLIN
USING MSC/NASTRAN AND PATRAN

by

George A. Knott

f1ar ch 1987

Thesis Advisor: Young s . Shin

... Thesis Approved for public r elease; distribution is unlimited
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Naval Postgraduate School 69 Naval Postgraduate School

Monterey, Cali fornia 93943-5000 Monterey, California 93943- 5000

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A MOOAL ANALYSIS OF THE VIOLIN USING MSC/NASTRAN A..'fD PATRA."!

Knott, George . A.

Finite Elements, Violin, Modal Analysis, NASTRAN.

PATRAt'l .

The MSC/NASTRAN finite element computer program and a Cray XMP computer were used
to study the modal characteristics of a violin with the Stradivari shape . The
violin geometry was modeled using an arcs of c ircles scheme with PATRAN, a finite
element graphics pre/postprocessor program . The violin was modeled in- vacu and
with free boundry conditions . Belly, back,sound post, bassbar, neck, bridge,
tail-piece, strings , rib linings , end and corner blocks are the components of the
model. Mode shapes and frequencies were calculated for free top and back plates ,
th e violin box, and the complete violin system , inc l uding the strings . The resu lts
ob tained from the finite element technique were compared to experimental data
, '~ from rea l violins collected by other investigators .

10 O, STRI9ur'ON''''V''''LA8'toTY OF ... aSTRACT

[ll U "Cl"'SSl'IEO!\J N~I M , T(O 0 S... ME ... ~ RPI

00 FORM 147) ,84M AII

Unr::lassified
 ApprO~ d for public release; distribution ~s unlimited

A Modal Analysis of the Viol i n Using MSCINASTRAN and PATRAN

by
':. ...
George Anthony Knott
_LIeutenant Commander, uniied States Navy
B.A., University of California at Berke ley, 1977

Submitted in partial fulfillment of the

requirements for the degree of

MASTER OF SCIENCE IN ENGINEERING ACOUSTICS

from the

NAVAL POSTGRADUATE SCHOOL

March 1987

Author:
o o George A Knott

Approved by·

G. Schacher, Dean of Science and Engineering

 ABSTRACT

The MSC/NASTRAN fInite element computer program end 8 trey XMP

comput er were used to study the modal charoctenstics of Ii .... lo11n with the

Stradl \1arl shope. The \/\01ln geometry WIlS model ed using on orcs of circles

scheme with PATRAN, e finite element graphics pre/postprocessor progrem.

The Ylolin was mo deled i n-yocu end with f ree boundary conditions. Belly,

bock, sound post, bassbor, neck, bridge, toll-piece, strings, r1b lining s, end

lind comer blocks are the components of the model. Mode shopes an d

frequencies were calculated for free top end bock pletes. the vi olin box, end

t he complete yl 011n system, IncludIng the strings. The r esults obt ained

from the f1nite element technIque were compllred to experiment!!! doto from

reel violins collected by other investigetors.

 T ABLE OF CONTENTS

INTRODUCT ION ...... .

II. THE FINITE ELEMENT MODEL OF THE VIOLIN ... 24

III. THE ANALySiS ....... 31

IV. COMPARISON TO EXPERIMENT ...... 43

'I. CONCLUSION AND FUTURE WORKS .... 51

APPENDIX A. TOP PLATE MODES OF ViBRATION .... . 53

APPENDIX B. BACK PLATE MODES OF VIBRATION .. . 57

APPENDIX C. VIOLIN CORPUS MODES OF ViBRATION .... 61

APPENDIX D. COMPLETE VIOLIN MODES OF ViBRATION....... 71

APPENDIX E. NASTRAN PROGRAM LISTINGS... 113

LIST OF REFERENCES.... 120

INITIAL DISTRIBUTION LIST... 122

4
 LIST OFT ABLES

.... MATERIAL PROPERTIES ..............................................................................25

STRI NG DIMENSIONS ANO MATERIAL PROP ERTIES ........................... 30

III NATURAL FREQUENCIES FOR FREE TOP AND BACK PLATES ........... 34

IV NATURAL FREQUENCIES FOR FINITE ELEMENT CORPUS .... .............. 36

V VIOLIN SYSTEM NATURAL FREQUENCIES ............................... ............... 40

VI MODE COMPARISON BETWEEN FINITE ELEMENT CORPUS AND

SUS'295 .. .. ................... ..46

'. VII MODE COMPARISON BETWEE N FINITE ELEMENT MODEL AND

SUS .. 295.... . .. .......................................49
 LIST OF FIGURES

1.0 Top Plote Detell .. 10 ~'.

o.

...
1.1 Beck Pll!1te Detail .. II

1.3 - 1.5 VIolIn Box Detail .. 13-16

1.6 - 1.6 Complete ViolIn Detail .. 16-21

2.0 Material Orientations .. 26

2. 1 Bock ThIcknesses .. 27

2.2 Neck Dete11 ... 26

2.3 Bridge Detail .. 29

\
4.0 Holographic Fringe Pottems of 0 Violin Beck plete. 45

AI-A6 Top Plate Modes of Vibrotlon .... 54-56

61-66 Back Plate Modes of Vibration ....... 56-60

CI-CI6 Violin Corpus Modes of Vibretlon ... .. . 62-70

01-074 Complete Violin Modes 01 Vibration....... 72-112

EI-E4 EXl!lmple NASTRAN Program lIstings ... 114

 ACKNOWLEDGMENT

T his thesis w ould not helVe been possible without the assistance

and encouragement of two pe rsons; Dr. Young Shin and Ml ad!n Chtlrgi n.

Dr. Shin took on lin Inexperienced and naive student of acousti cs

(not even from his own deportment, mechcmicol engineering) two

years ogo. He provided the di rec ti on and focl lHfes needed to complete

the ylo lln project over the long months. Most of all , he was forgi ving

of the numerous errors end ml sjudgements mode by Ills student,

al ways wel coming the prodigal son ho me.

Mladln Chargln wos the powerhouse be hind this thesis. Hi s

knowledge of the MSC/NASTRAN computer progrem Is unpara lleled In

the field tlnd he wos olwIIYs wil ling to shore hi s expertise .

 I. INTRODUCTION

A. PAST AND CURRENT USE OF THE FINITE ELEMENT METHOD IN THE

ANALVSIS OF STRINGED INSTRUMENTS

In recent years there hos been a vost increase;n the opplicolion of the

finite element method to diverse fields of the physical sciences. This

explosion first reached the field of stringed instrument acoustics in 1974,

with Schwob's finite element description of the modal shapes of 1:1 guitar

top plate [Ref. 11. Richtlrdson and Roberts [Ref. 21 continued the won.: on

guHor plates in 1963, and Jenner [Ref. 31 is currently using the finite

element method in his guitar research.

In 1984, Richorson rmd Roberts [Ref. 41 and Rubin Ilnd Farrar [Ref. 51

applied the finite element method to the study of violin plate vibrations.

The first descriptions of the mode shapes ond frequencies of the violin

box using finite elements were obtained in llite 19B4 by Richllrson ond

Roberts [Ref. 61 lind Knott [Ref. 71. This stUdy is simply tI continuetion of

the previous reseorch ond hos os its gool the modol description of the

entire violin system.

B. THE PLATES STUDIED AS ENTITIES

Before attempting to describe the modol chcnlcterlstlcs of the finite

element vi olin CIS 0 complete sys tem the constituent parts must be

studi ed tiS entities; then the phys!cel knowledge of each part c~n aid In the

attempt to explai n the physical chcrocterlstlcs of the system as a wha le.

This study Impl ements the oboya technique. First, the top pl!!te (see

Fi gur e 1.0) and baCk pl!!te (sea Fi gure 1.1) of the violin were modeled w1th

the fi nite element graph ics pre/postprocessor language PATRAN* . The

nI!Iturei frequencies for Belch plate were then obtained using

MSC/NASTRAN*, a flnlte element enalysis program (All l!lnl!llysis WelS

performed on 0 CRAY- XMP* computer). Then the baseline dimensions and

matenal properties of the plates were changed to discover how such

yariat l ons affect the mode shapes and their frequencies. Host of the

effects of the yarlations were Quite Intultlye and eire not reported In this

study. For example, Increasing t he thickness of a plote shifts the natural

frequenci es up. Or, for another exomple, Increosl ng the across-groin

sti ffness raises t he frequency of those modes which haye predominant

*PATRAN Is a trademark of PDA Engineering, Sent a Ana, CA i 92705.

HsC/NASTRAN Is e trademarK of the MeicNeel-schwendler
Corporation, Los Angeles, CA, 90041.
CRAY- XMP Is eI tredemark of Cray Reseerch Inc., Minneapolis, MN.
 ~

"~" !."
0.
"-
,?
q

~
'"
u::

10
 -

11
bending !lctlon !lcross the gr!lln. Rodgers [Ref. 811s currently using the

finite element method In!l sensitivity !In!!lysls of the free violin pl!ltes to

give 0 det!liled description of how the mode sh!lpes !lnd frequencies ore

!lffected when .... arious materiel properties in the pletes ore .... aried.

C. THE VIOLIN BOX

The second stoge of the study puts the belly (the top plote) ond bock

together, joined with the ribs, 0 luthler's term for the side wolls of the

.... lolln. The decision wos mode to include eight other components of the

. . iolln in this second stage: the soundpost; 0 dowel of wood otteched

. . ertlcolly between the belly ond bock, the bossbar; a strip of wood

attached to the underside of the belly, the two endblocks; blocks of wood

attached to the Inside ends of the .... Iolln box for the purpose of structural

rigidity, the four comer blocks; ageln solid blocks of wood 6tt6ched to the

'points', or corners of the . . Iolln for the S6me purpose es the end blocks,

ond the rib linings; wood flrring strips which strengthen the bond between

the ribs end the belly end beck (see Figures 1.2 - 1.5).

2.~

With the 'box' modeled the second stoge analysis could begin. The

flrst.nine noturol frequencies 6nd mode shopes of the box model were
12
14
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iZ

15
 --j
J

IS
colculoted using the MSC/NASTRAN softwore. The mode shepes ond

correspondi ng frequencies were then compared to those obtolned from an

lmpoct hammer modol test conducted by Mershall [Ref. 9) of e real ylo11n

(neck, bridge ond stri ngs ottached). An experlmentol modol t est of 0 Yl oltn

box sons attechments would hov e been desirable bot It was found that

Morshall's results confirmed the results of the finite el ement run In most

respects. The mode shepes experl mentolly obtelned were Quite slmller to

those gener ated by the fini te el ement run for those modes Inyo\yjng the

Ylolln box alone. Of course the neck, bridge and string modes were ebsent.

In oddl tlon the yl olln (lnlt e element model was in YOcU so none of the ai r

modes or thei r Influence on the wood modes wos observed. The modo I

frequencies were ol so yerlfled to be In the seme general order ond close to

those obtoined by Morshal!.

D. THE WHOLE VIOLIN

1. Modeli ng the Remolning Compgnents

The fi nel stage of t he study begen with the modeling of the

remolDi ng components of t he Yl olln. With neck, bridge, strings ond toll

piece models od de d to the deto bose 0 complete Ylolln system wos r ao llzed

(see Figures 1.6 - 1.6).

17
 2. Anolusis of the Whole Violin

With the whole Yiolln modeled the final step in the study was to run

a nonnal mode analysis lind once again compare the results to those

obtained by Marshall's modal test on a real violin. This final analysis

proyed to be the most difficult portion of the study. Allot the preyious

runs had used canned solution sequences included in the MSC/NASTRAN

software. linear static and dynamic analyses of relotiyely simple

problems con usuolly be solYed using these preprogromed sequences of

motrix manipulations. The oddition of the strings ond the requirement

that they be under tension complicoted the system to the extent thot the

rigid tonnat solution sequences were no longer applicable to the structure.

Specificolly, off-oxis defonnations of the strings and lorge relative

displacements between the string elements and those in the rest of the

violin model introduced geometric non-Ilnearities which must be included

in the finite element model.

The NASTRAN finite element onolysis package is written entirely in

OMAP (Qirect .t1atrix .e.bstraction frogramming), a high-leyell1mguoge for

defining matrix operotion algorithms. The geometric non-linearities in

the violin system under tension were incorporated by using the DMAP

language to olter the rigid fonnat solution sequences. A brief discussion

16
Q
"
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'0
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'"z _
'"..: r.:
~
u::""
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!
I

1,1, ""
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of the DMAP language and the detol1s of the alterations are discussed In

the analysis portion of this peper.

Once the solution sequence was altered the normal modes of the

entire system were computed to 1,200 Hz. Thirty-nine mode shapes and

frequencies were obtained end compared to those found by Mershall on a

reel violin. This time, os was expected, the agreement between

experiment end the finite element simulatlon was even better than in the

case of the box alone.

E. SOURCES FOR THE INPUT DATA AND EXPERIMENTAL VERIFICATION

The correct implementotlon of eny numeric method requires that the

Input data be accurate, the methods be sound, and that the results be

experimentally verifiable. As a result this work, like so much research,

leans heavily on the efforts of others. Specifically, Eckwall [Ref. 10] find

Sacconl [Ref III provided the geometry for the violin model. Eckwall's

arcs of circles scheme for describing a Stradaveri vlolln sayed hundreds of

hours in data preparation. Haines (Ref. 12\ and the United States

Department of Agr1culture (Ref. 131 was the source for most of the

material properties. MarShall's recent study (Ref. 9], a modol analysis of a

reol violin, wos an extremely voluable source for experimental

ver1flcatlon flnd w1l1 be referred to often In this pflper. Hutchen's work on

22
pl ate tuning (Refs. 14and 151 provided the experi mental basi s for

compari son of the finite el ement plate mode shapes with the mode shape s

of real violin plates.

23
 I I. THE FINITE F! EMENT MapEl OF THE VIOl IN

Ekwall's work describes ~II Cremonese 1715" ex Joachi m entirely i n arcs

of circl es [Ref. 10]. These arc lines are ideally suited as inputs to the

PATRAN preprocessing graphics software. Once the outl ines and archings of

the viol i n box were described with the arcs, ad jacent arcs were used to

describe surfaces. The components of the box were then attached to the

surfaces, result i ng in a highly accurate numerical representation of the

v10l i n geometry, The finite elements were den ned from the surface

geometry and consi st of triangular and Quadrilateral shell elements for the

belly, back, and tail piece, beam elements for the strings, and solid

el ements for the rest of the components

The material properties used for the analysis runs are listed in Table I

The data listed in Table I can be considered as a good starting point since it

represents "average" values obtained from the wood handbook [Ref. 13J and

from Haines' study [Ref. 121. The belly, soundpost, rib linings, bridge, end

and corner blocks are modeled as Sitka spruce; the back, neCk, and tailpiece

are model ed as Norwegian maple; and the bassbar is modeled as Douglas f ir.

24
 TABLE I
MATER IAL PROPERTIES

NECK, BACK, BELLY, RIBLININGS,

TAILPIECE, RIBS POST, BRIDGE,BLOCKS BASSBAR
(MAPLE) (SPRUCE) (F IR)

E' (Young's Modulus, 17000 13.000 12.400

Pa X 109)

E2 1.564 0.890 0. 621

E3 0.731 0.649 0.62 1

G1 (Sheer Modulus, 1.275 1.015 0.794

Pa X 10 9)

G2 1.173 0.715 0.868

G3 0.18 7 0.4 16 0.967

"'12 (Po Isson's RatIo) 0.3 18 0.375 0.292

' 13 0.392 0.436 0.449

'23 0. 703 0.468 0.390

'3 2 0.329 0.248 0.287

'2 1 0.030 0.034 0.020

'3 1 0.019 0.022 0022

0 (Density , kg/m 3l BOO.OOO 460.000 506.00

2S
 The materIal orIentations for the whole model are defined in Fi gure 2.0
and are Illustrated to avoid confuSion when refering to the material
properties Table.
31T

1/l

R - Radial direction of wood grain.

T - Tangential di rection of wood grain.
L - Longitudinal direction of wood grain.

Figure 2.0. Material orientations

The thickne~s of the belly was defined In accordance w i th Sacconi

[Ref.lll to be 3 mm except at the edges and area around the two ff holes
(these holes can be seen in Figure 1.0), where It was 3.8 mm. In the violin
model the top plate was model ed with a uniform thickness of 3.0 mm. The
back was defined to the thickness of 4.5mm at the center, descending to 3.B
mm on the flrst circl es, to 3.5 mm on the second, to 2.5 mm in the upper
lung and to 2.6 mm in the l ower one Figure 2. 1 shows a countour map of the
back thicknesses

26
 Figure 2. 1 Back th i cknesses

The neck di mensIons were unavallable for the Stradlvarl vIOlin, so the
mOdeling of the neck was accompllshed uSing neck dimenSions from t he
authOr's viol i n. Hexahedral and wedge elements were used for the neck
model. Neck details are Illustrated In Figur e 2.2.
For the ta I l-piece quadrIlateral and tri angular shell elements were used.
The geometry of the tall-plece was obtained from the author's vIolin.
The bridge model was created uSing the classIcal bridge form found In
most vIolins. The model reallzatlon Is, of neccesslty, a SimplificatIon of
the true geometry as can be seen In FIgure 2.3. However. the obvi ous design
objectIves are retaIned. The thickness of the bridge var Ies from 5.0 mm at
the f eet to 0.5 mm at the top
The str Ings were modeled as beam elements. Beam elements were
chosen Instead of rod el ements to al low the Inclusion of bending stiffness
Into the st ring mOde l , which the rod el ement does not consider. The 'G', '0',

27
22
I _
I "'"
=
E

29
and 'A' string's material properties were modeled as gut cores with steel
windIngs. The windings were modeled as a non-structural mass since their
contrIbut ion to bendIng stiffness is assumed to be negl igible. Solid stee l
was used for the 'E' string. Tab le II lists the dimensions and material
properties for the strings. The number of beam elements for each string
was determined from the des ired frequency response of about 8,000 Hz

TABLE II
STRING DIMENSIONS AND MATER IAL PROPERTIES

STRING
'G' '0' 'A' 'E'

CORE MASS(g) 0.110 0.06S 0034 0.130

N.5.M.(g/m) 3.3 14 I.3S2 0.SS7 0.000

TOTAL MASS(g) 1.200 0.7S0 0.260 0. 130

CORE DIAMETER(mm) 0.600 0.460 0.330 0.270

E (Young's Modulus, Pa x 10 9 ) 30.000 30.000 30.000 19S.000

v (POisson's Ratio) 0.400 0.400 0.400 0.280

~ (DenSity. kg/m 3 ) 1200.000 1200.000 1200.000 7700.000

No. OF ELEMENTS 110 82 46 33

30
 III. THE ANALVSI S

A. REAL EIGENVALUE EXTRACTION TECHNIQUES

The motion of the violin con be described by tI set of equolions

representing the balance of forces acting on the system. In the eigenvalue

problem we ore interested in the solution of the undtlmped ond unforced

system of equations:

Mil ... Ku; 0 (3.1)

assuming tl solution:

u = oe iwt (3.2)

where a is a vector of displacement ompliludes, VII is the Mtural frequ ency,

and t is the ti me. Retlmmging:

(3.3)

where,,; w2.

The solution is nontrivial only if:

deHK -}\I1) ~ 0 (3.4)

A polynomial exponsion of (3.4), where the values 00 which satisfy the

equation ore coiled the ei genvolues.

31
Each of the roots sat i sfies (3.4) so we have:

(3.5)

where 8i is the vector of displacement amplitudes, the eigenvector,

associated with the eigenvalue"i ' An eigenvalue is obtained by solving

(3.4) and then the eigenvector is determ ined by solving (3.5) with that value

for A .

In MSC/NASTRAN one of the available methods for extract i ng eigenvalues

is the Givens method {Ref. 16\. For the GIvens method the standard form of

the eigenvalue problem is used:

(J -AI)W ° 0 (3.6)

Where J is real and symmetric (as is the stiffness matrix K). Equation (3.6)

Is formed by decomposing the mass matrix, M, into Choleskl factors C such

that:

M ° CC T (3.7)

Substituting (3.7) into (3.3) gives:

(-ACCT >K)aoO (3.8)

So: (3.9)

32
Substituting and rearranging gives:

J. CIKCT 13.10)

and the standard form, equation (3.6) i s realized

MSCINASTRAN uses the Givens method to reduce the J matrix in (36)

to tri diagonal form and t hen uses the Q-R method [Ref. 17J to obtain a

di agonal matri x whose el ement s are the eigenvalues. The eigenvalues are

then determ ined by the tridiagonal form of the eigenvalue problem.

The comput er runs used the above technique for ei genvalue and

eigenvector extraction. Further explanation of the ei genvalue problem as it

app lies t o MSC/NASTRAN can be found in the MSC/NASTRAN Pri mer [Ref. 151.

B. TOP AND BACK PLATE ANALYSIS

The eigenvalue extraction techniques covered in section A were used for

the top and back plates. Append i x E, Figure EI, shows a simpl if ied examp le

of the data deck used. The initial runs on the top plate w ere without the

bassbar and then with. Then the back plate was run. The analysis runs used

free boundary conditions but rigid body modes are not included in the t ables

Table III l ists the natural frequencies, Figures Al - A6 ill ustrate the mode

shapes for the top plate with bassbar and Figures B I - 86, the back plate

33
 TABLE III
NATURAL FREQUENCIES FOR FREE TOP AND BACK PLATES

Mode Top (Hz) Top/w/Bar (Hz) Back

67.0 88.0 97.0

115.0 161.0 170.4

200.0 255.3 268.2

202.3 272.7 268.3

274.0 330.4 353.0

422.0 413.7

436.0 453.7

494.1 558.0

617.4 632.4

34
C. THE VIOLIN BOX

The violin box used the same executive routine directives as the free

plates for Its ei genvalue analysis runs. Of course the bu lk data deck, wh ich

speci fies the mode l geometry and material properties, was much larger i n

that it included both plates and the additional components making up the

v io li n box model. Table IV l ists the nine extracted natural frequenCies and

thei r descriptions. Figures C 1 - C, 8 illustrate the corresponding mode

shapes. Note that since the displacement amplitudes are mass normalized

for each eigenvalue and are therefore meani ngless for comparison of

am pl itudes among distinct modes, absolute displacements are not shown on

any of the contour diagrams in this paper

D. THE WHOLE VIOLIN

As mentioned in the introduction the transition from the violin box model

to the mode l of the violin with all of its components was a difficult one.

The greatest difficulty was in the fact that the finite element "st ri ngs" had

to be streched a large amount relative to other strains in the violin. Large

errors in strain energy were experienced when the complete violin system

under string loadi ng was programmed for a statics analYSis. The rigid

formats available in the NA5TRAN softwar e had to be modified, and the

35
 TABLE IV
NATURAL FREQUENCIES FOR F.E. CORPUS

Mode Freq.(Hz) Description op .. i n phase, OP .. out of phase)

462.9 Vertical translat i on of C bouts. Top and

back IP. Left and right sides OP.

478.9 Vertical bending of corpus. Top plate

transverse, back plate l ongitud'inal.

573.9 Vertical bending of corpus. Top plate

longitudinal, back pl ate transverse.

4 682.5 Top and back plates OP. Essentially a

lengthw i se dipole. Back pl ate upper
hump extends through the center area
and resembl es a ring mode.

736.2 Dipole act ion in lower bout of t op plat e.

Breathing in back plate, strongest in
lower bout.

749.6 Dipoles in lower bouts of both plates

Strong torsional action of the corpus.

810.9 Similar to mode 4, a lengthwise dipole,

except that top and back are IP.

899. 1 Double di poles i n top and back plates.

Top and back OP.

968.5 Top exhibits three Mpol es" i n lower bout.

Back plate shows ill - defined dipoles in
upper and lower bouts.

36
DMAP language used to tailor the solution sequence to the prOblem. The

following is a step by step explanation of the process

Assemble the stiffness matrix for the vi oli n box w1th the neck
i nc luded, but without the bridge/tail piece/strings system. A
static analysis, SOL 6 1, was run with an alteration in line 355 of
the preprogrammed so lut ion sequence (see Fig. E2 for the data deck
listing). The ALTER statement simply provides the capabi lity
to extract the st iffness matrix for the follow-on r uns (named
KGGW in Fig. E2)
Perform static condensation of the above stiffness matrix
"eli minating" all degrees of freedom except at thOse 14 locations
wher e: the strings attach to the neck (4), where the bridge feet attach
to the top plate (8), and where the two gut cords from the tail pi ece
attach to the body (2). MSClNASTRAN's substructuring capability
was utilized for the condensat i on. The SESET cards in the data deck
(see Fig. E2) define the SUbstructure, in this case all of the nodes in
the violin box/neck that are to be omitted from the KGGW matrix. In
other words, the stiff ness of the entire box/neck structure is def ined
for each unit stiffness of each of one of the 14 paints, effectively
"eliminating" all degrees of freedom except at those 14polnts.
3. Run an iter ative, non-linear static solution sequence for the
bridge/tail piece/strings system (see Fig. E3) using the 84 X 84
KGGW matrix (14 nodes times 6 degrees of freedom per node) matrix
obtained in step 2 as the boundary conditions. The stiffness matrix
KGGW is essentially the stiffness of the neck and body that the string

37
 ends and bridge feet would experience. Problems of large relative
strains are avoided since the box/neck system is present only as a
boundary condition (strains are not calculated for the box/neck). The
first iteration uses the rigid format for a static anaiysis in which the
strings are SUbjected to differing amounts of thermal stress. In
essence, the strings were ·cooled down·' to shrink them and bring
them to the required tensions. The desired tensions were those
that would place the natural frequencies of the strings as close as
possible to the tones found on a real violin, that is, G, D, A, and E. The
following subcases (or iterations) of the run successively add the
geometric non-linear terms and compute the stiffness matrix
for each added term until an equilibrium of forces exists·
0.11 )
where F is the vector of element forces, P is the vector of applied
thermal loads, and Q is the vector of forces of constraint. The
string/bridge system stiffness matrix is now modified for the stress
of the thermal loads on the strings and is saved for the next step.
4. The final run puts the violin system back together (see Fig. E4). The
string/bridge system, now in equilibrium, is added to the box/neck
system. Then the rigid format solution sequence computes the
normal modes of the entire violin model

Table V lists the natural frequencies obtained and a description of each

mode. Figures D I - 074 illustrate the mode shapes with contour diagrams

and wire mesh deformed plots. Listings of the executive and case control

decks for the analysis runs are included in Appendix E.

38
 TABLE V
VIOLIN SYSTEM NATURAL FREQUENCIES

Mode
number Frequency (Hz) Description <OP =out of phose, IP =in phose}

191 Fingerboard bending and tailpiece

deflection.

201 Fingerboard bending and tailpiece

deflection.
3/4 21 21213 Gl
S/6 312/313 01
363 Maximum moti on in C bouts. Top and bock
OP. Left and right sides DP.
B/9 421/423 G2

10 439 First bending of corpus. Top plate

lrtlns.,.erse, bock plate longitudinaL
11 4SB Some!lS mode 7 except top and back IP.
12/1 3 486/487 AI
14 494 First fingerboorO torsion.

39
 TABLE V (CONT)
Hode
number Frequency (Hz) Description

IS 536 First bending of corpus. Top plate

longitudinal, back: plate tronsverse.
Strong relative displacement on top plate
in the thick:est area of the bassbar
inhibits the longitudinal bending
somewhat.
16 568 Fingerboard torsion.
17 618 A combination of G3,D2, and E1.
18/19 629/632 02
20 640 63
21/22 648/652 EI
23 656 Another combination string mode.
24 683 Relatively strong breathing action in
upper bouts of both plates. First
mode where bridge moves vertically
rother than rock:ing back: and forth. Top
and bock plates ore OP.

40
 TABLE V (CONT)

Mode

number Fr equency (Hz) Description

25 693 Tailpiece 'twisting'

26 72 7 Dipole in lower bout of top plote.
Relatively smoll breathing Bction of OP in
lower bout of belck plate.

27 77 1 First torsionol mode of corpus supported

by 6 strong dipole in lower bout of belck

pI lite. The top plote lower bout shows 1:1

relotively low omplltude dipole.

2B 812 Strong IP bretlthi ng of lower bouts i n t op
and bock pilltes. Essentiollya leng thwise
dipole.

29 856 G4
30 885 Double dipoles. Top and bock plotes OP.

31 902 G4, 03, and A2 combined string mo des.

32 9 08 Top plllte exhibits three 'poles' in l ow er

bout. Back plotes shows dipol es in upper
and lower bouts.

41
 T ABLE V (CO~)

Mode
number Frequency (Hz) Description

33 961 03
34 971 Similar to mode 32 in that it is of
opposite phose except in the lower bout of
the top plate.

35 1000 A2
36 10B3 Three poles in lower bouts of both plates
Top Imd bock OP .
37 1092 Second bending mode of fingerboard/neck.
Three poles in upper ond lower bouts of
both plates. Top and back IP.
38 1121 Similar to mode 37 except no fingerbOtlrd
action.
39 1155 Bock plate; three poles in lower bout, two
in C bout, and two in upper bout. Top
plate; similar except C bout orea
tronslotes verticolly.

42
 IV. COMPARISON TO EXPERIMENT

A GENERAL COMMENTS

The finite el ement method is a numerical techn ique that cannot stand

al one; this Is especi ally so when applied to a complex structure such as the

violin. Ideally, as each sUbsystem is simulated us i ng finite el ements, a

para ll el verif icat ion of the mode l is accomplished using experimental

methods. For the viol i n, an exhaustive verification would involve'

1 Top and back plate.

2. Bassbar
3. Top plate with bassbar.
4. Viol in box without sound post.
5. Violin box with sound post.
6. Neck.
7. Violin box with neck.
8. Bridge.
9. Tall pi ece.
10. Strings w ith rigid mounts
11. Whole vl olln.

In the Ideal case the material proper ties and preCise geometry of each

component used for experi mental verification wou ld be known and would

constitute the data base for the f inite el ement mode1ing process.

In the present stUdy steps 1,3,5, and 11 were the only ones which were

compared to experimental results The exper imental data was obtained

43
from Marshall [Ref. 91 and Hutchens [Refs. 14 and 151. There exists no

geometry or material property data for Marshall's violin SUS "'295 or

Hutchen's violin plates so the examination of the results in the present

stUdy must be done with the realization that natural frequencies and mode

shapes were not expected to match exactly. A basic assumption to be tested

in this study is that there exists a fundamental commontlllty of mode shapes

among all but the most poorly constructed violins. This assumption has

been shown to hold in the case of free violin plates, at least among the

lower modes of vibration [Ref. 141. That is, even plates with differing

geometries and material properties show a clear similarity in the on:lering

and shape of their vibration patterns. That till violins sound like a violin

(some sound better than others!), is the intuitive and rather obvious basis

for the mode shape similarity assumption.

B. TOP AND BACK PLATES

The free top and back plate mode shapes of the finite element analysis

were found to compare well with experiments done using Chladn; potterns

and holographic interferometry. Figure 4.0 is an example of holographic

pictures of 0 back plate [Ref. 15] (see Figures Bl - B5 for the corresponding

mode shapes obtained using the finite element method).

44
 116 167 222 130 349

FIgure 4.0. Holographic fringe patterns of a vIolIn bacl< plate (freq - Hz)

C. THE VIOLIN BOX

ExperImental dat a on a vio11n box was not available but the author

thought H wise to attempt a comparIson of the fInIte element box to that of

a complete vIolIn modal test. Then the transition to the complete fInite

element model would possIbly be less confusIng. Table VI compares the

f Inite el ement box to the vIolin modal t es t results conducted by Marshall

[Ref.91 SUS"295 refers to the particular violIn used by Marshall. Bear in

mind that the finite element model does not Include the neCk, brIdge, tall

piece or strings, so t he mode density of the computer model1s much less

than that of the real violin

45
 TABLE VI
MODE COMPARISON BETWEEN F.E CORPUS AND SUS '295

MODE' EBEQJ!ill COMPARISON OF MODE SHAPES

F.E.lSUS'29S F.E.lSUS'29S

1/10 462.9/410.5 Similar

2/12 478.9/466.1 Similar.

3116 573.9/574.1 Similar.

4/19 682.5/656. I That the two modes are related is

suggested by the presence of similar
motions in the back plates. The top
plates would not be expected to
have the same motion since the one
has the bridge as a major factor in
the mode (it translates vertically)
and the other has no bridge at aiL

5/22 736.2/690.8 No difference except breathing

action is weaker in back plate
of the finite element model

6124 749.617603 Similar.

7128 810.9/882.0 Similar.

8129 899.1/930. I Similar except that in the

finite element model the lower
bouts are OP.

913\ 968.5/1087.0 Similar.

46
D. THE WHOLE VIOLIN

Tabl e VII detai ls the comparison between the f i nite element model,

complete w ith strings, etc. , and SUS"'295 used by Marsha ll for his modal

test. The complete violin model compared reasonably well w i th the real

vio li n in mode shapes, frequencies and relative order of the modes as can

been seen by studying Tab le VII. The source of the discrepanc i es could be

due t o a number of factors, the most obvious being that the degree to which

the material properties and geometries of the fi ni te element violin and the

real vi olin match i s unknown. Any firm conclusions about the or igins of the

discrepancy between the finite element model and the real viol i n would

require the actual dimensions and material properties of violin SUS.#295

The following are other causes of disagreement between mode shapes and

frequencies between the finite element model and SUS .#295:

In the f inite element model the strings were not tuned to the exact

f requenci es used on a real violin. For the G string the model was off

by +-16 Hz; the 0 string, +18 Hz; the A string, + 46Hz; and the E

stri ng, - 7 Hz. The differences i n tun Ing could have caused some of

the discrepancies i n mode shapes and ordering of the modes. Fixing

the tuni ng problem will merely require an adjustment of t he thermal

47
 loads applied to the string model but, unfortunately, this was not

possible prior to publication.

The air modes of t he real violin can be expected to couple to vary i ng

degrees with the structural modes of the violin. The model does not

contai n " air~ elements. The air modes are absent from the fin i te

element model and any effect they may have had on the structural

modes is a matter for future research.

A real violin i s glued together in most places. In the finite element

model there is no attempt to model the glue jOints.

- Pressure from the plates and strings hold the soundpost and bri dge to

the real vi olin body. In the finite element model most of these forces

exist (not the stress mounting of the soundpost in the violin box), but

the components are "attached" to the plates and the bridge. In other

words, there is no provision for slipping in the case of the strings or

decoupling from the plates in the case of the soundpost.

 TABLE VII
COMPARISON BETWEEN FINITE ELEMENT MODEL AND SUS "29S

Mo de
number Frequency (Hz) Comparison

1,2/ 1,7 19 1,20 1 In the FE. model, the vertical

11 19,303 deflection of the tailpiece found in
mode \ of SUS·295 and the first
vertical bending of the neck fingerboard

found in mode 7 of SUS·295, are both

combined i n mode 1. Modes 1 and 2 in
the FE model are dual modes
7,11/10 363,458/410 FE mode 7 is coup l ed with a sideways
deflection of the tailpiece. FE mode
11 matches SUS·29S mode lOin phase

10/ 12 439/466 Similar.

1S/1 6 536/574 Similar
16/11 568/435 Similar.
17113 618/47 1 Similar.
24/19 6B3/656 An interesting point here is that in the
F.E. model the sound post is not stress
mounted to the box. The difference in
mode shapes between the F.E. model and
SUS"295 seems to originate from this
difference between the model and
reality.
49
 TABLE VII (CONT)

26/22 727/691 Similar

27/24 7711760 Similar.
2B128 812/882 Similar.
30129 885/930 Similar except that in the FE
model the lower bouts are OP
32131 908/1187 Slmllar
Jot For higher mode numbers the F,E. model and SUS-*"295 do not compare
well. For example, all higher modes in the FE model have a larger number
of poles.

50
 V. CONCLUS ION AND FUTURE WORK

Since thi s paper is little more than a catalogue of a finite element

viol in's mode shapes more Questions are raised than answered, The

purpose of the study was to provide this preliminary catalogue and to

lend support to the idea that the mode shapes of a violin, comp lete

wi th the string system, can be described using the finite element

method. It should be kept in mind that the method's real utility lies

not in mere reproduct i on and description of physical reality but in

sensit ivity analyses and design optimization. However, before

research can progress to violin design optimization still more will be

reQuired in the effort to accurately describe the vi olin. Further work

will first concentrate on gaining a more complete data base of real

violins and components, w ith known geometries and materi al

properties. A coincident finite element analysis can then be expected

to agree with experimental modal tests of the real violins and

components. Different violins can be tested and modeled and the

mode shapes compared, perhaps leading to an understanding of what

differentiates a "good" sounding viojjn from a "poor" one.

S!
 The incorporation of air elements into the model is a long- term but

necessary goal f or further research, The extent of the air mode's coupl ing

effects wi t h the structural modes cou ld be easily determined through the

study of simple fl ni te element models. RadIation and stri ng ex i tation

studIes using finite element models are also promisIng areas for further

wor k.

After developing the f inite element model of the violin the authOr found

the model to be near ly as full of mystery as a real vIolin! A more me thod i -

cal, step-by-step analys i s should clear up many of the grey areas. The

finite element method is an extremely powerful descriptor of physical

reality and this author believes that much of the violin "puzzle" will be

solved as research cont inues.

52
 IDP P! ATE MODES OE YIBRAT ION

The contour f igures are drawn to show mot ion as it

would appear if viewed from above the plate, with plus
signs representi ng mot ion up, or towar ds the viewer, and
minus signs representi ng downward mot ion.

The darker contour l ines represent lines of near zero

mot ion.

53
 ~I
~I!
/~==:::;;;~~===;i:I1 {~ I j

~I~

------~------~
35
Ii
56
 BACK PI ATE MOP f~ OF VIBRAT ION

The contour figures are drawn to show motion as i t

would appear if viewed f rom above t he pla t e, with plus
si gns r epresent ing mo t ion up, or towards the viewer, and
minus signs represent ing downward motion.

The darker contour lines represent l ines of near zero

motion.

57
58
59
 VIOliN CORpqS MODES OF VIBRATI ON

The contour figures are drawn to show motion as it

would appear if viewed from above the plate, with plus
signs representing motion up, or towards the view er, and
minus signs representing downward motion. The back
plate is seen as if the top plate was transparent.

The darker contour lines represent lines of near zero

motIon.

61
 ~
\
,
-"

L-________________________ ~ ~

~------------------------, ~

a.
.3,
-
'"o
-0
:E

G2
- ---::-----:-;- ~

--------.:..-- ""So

a.
.3,
N

63
~--------------~
~
~---~-~ I

"-
.3,

'"-g"
1:
oi
u
.~
, '"
u::

66
 ' - - -_ _-----.J 0:

'"
. . . r
. -:
_ : -, - - - , - - - - -_ _ _ 11 ~

," .' ~

~ I G
ea,
u::

67
~_ _ _ _ _-----.J '"

.-~-~---:;;'"
~. . .

(9
70
 CCX1PI fIE VIOli N MODES Of VIBRATION

Most of the figures in this appendix are in groups of four

figures per mode. The f irst plot is of the deformed mesh
as it would appear to the viewer looking at the top, or
belly of the vi olin. The second plot is a contour diagram
of the top plate viewed from above the i nstrument. The
thi rd plot is of the deformed mesh as i t would appear to
the viewer look:ing towards t he back of the instrument,
from below the vi olin. The fourth plot i s a contour
di agram of the back plate viewed from above the
instrument as if the top plate was transparent

For the contour figures plus signs represent motion up,

or towar ds the viewer, and minus signs represent
downward motion.

The neCk, bridge and strings are not shown in the contour
figures for purposes of clarity.

The darker contour Hnes represent l i nes of near zero

motion.

The strings are not shown in the deformed mesh plots for
purposes of clarity.

For the string mode deformed plots, the rest of the finite
element mode l is not shown.

71
I
1t'/201Hz

Fit;jureD1. Modes 112

Figure 02. Mode, 3/'1

72
Jl2lJlJHZ

Figu-eD3,~5/6
Fi9tJre 07, Mode 7 - beck
75
FigtX"e os. Modes 8/9

76
"'"'

FiQUl'"eOl0 Mode I O-top

71
 FiQ~DII. Mode 10

"', ..
Figure 012 Mode IO-back
IS
"""
FiQUre 0 I 'l. Node I I - top

IS
- -- -- -""r=
- =" - - - - - - - - - - - --"'[-

Figure015. Mode 11

FfQure Dlb. Mode 11 - b/IC1c.

- <IJ
486/ 487Hl

Figure 017. Modes 12/13

81
Fi91.n' 016. Mode 14
Figure 019. Mode 15

Fil,lure 020. Mode 15 - top

OJ
FiQUI"\!I 021. Mode IS

Fic;1ure021 Mode IS-b«k

S4
 F;,;ure 023. Mode 10

Fh:;ureD24. Modes HI/19

8S
 FiQ\Jre 025. Moae 20

Fiqtre 026. Mode 21/22

86
68JHZ

Fig<l/"e 027. Mode 2'1

6BJ Itz ----:;-;f';:'~;o.D22~'c Mode 2'1 _ top

 683 Hl Fi 9ure 029. Mode 24

'::.... Fi9ure030. Mode 24 ~ bock

8S
Figu--e031. Mode 25
727Hz

Fi9ure D32 Mode 26

Figure D33. Mode 26 -top

sa
Fl-C}Ufe 035. Mode 26 · bllck
Sl
711 m.
FiQIJI"& D30. Mode 27

FiQIJI"e 037. Mod& 27 - top

92
 Fi~ure D38. Mode 27

771 HZ Figtn" 03Cj. Mode 27 ~ b~ck

93
 Figure D'10. Mode 2~

I .. ,.
Fi~D'11. Mode2S-top

94
1112Hz

Figure D42. Mode 26

1112Hl:

Figure D43. Hode 28 - bock

S5
F\q.re 044. ~de 29

96
eeSHl

Figure 0<15. Mode 30

Figure 0<16. Mode 30 - top

q
Fiqure 047. Mode 30

Figure D48. Mode 30 - beCK

9S
"" ..
FiQure 049_ Mode 32

Figure 050. node 32 - top

99
 I

Figure DS!. Mode 32

FiCjure 052 Mooe 32 - b1Ick

lilJ
FiQ~ 053. t·t~e 33

101
 971Hz

971Hz

Fi9t1re 055. Mode 3"1 - top

182
 Fil;lure 056. Mode 3<\

971 Hz

Fi(}lXe 057. Mode 3'1 - back

103
FIgure 058_ Mode 35

104
Fi9ure 000. Mode 3fl - top

105
 F.iQure 061. Mode 36

I08JIiz

FiQure 002 MOde 36 - bllck

].a;
 FiQure 063. Hode 37

FiQure D6~, Mode 37 -lop

107
 I 1092 Hz Fi9ure OflS. Mode 37

0\:~~G~
\r. + -J((~~~ !

.~~

1092HZ Fi9ure066. Mode 37- bock

108
 Fi9ure 001. Mode 35

Fi9U1'e D68. Mode 38 - top

lOS
 ~.,=
L9::
. C£) _ _ _-....

\ r~~_
"21HZ FigureD70, Mode3&-back

110
 -
\155HZ

FiQureD71 . Mode 39

-
. 1155 til

Fi~D72.Mode39-top

ill
11SSIil

Figure D73. Mode 3~

Figure D74. Mode 3~ - bock

112
 NASTRAN PROGRAM LISTINGS

The following progrom listings ore of the NASTRAN case

control, executive routine, ond portio! bulk: dato decks
for the violin model.

113
 For the top and back plates a rigid format solution sequence was used.

Figure E1 is a partial listing of the executive, case control, and bulk data

decks. Comments are shown in light face type.

SOL 3 Rigid format for normal modes analysis.

CEND DeSignates the end of the executive deck.
METHOD - 1 Set ID directive. Refers to EIGR, 1 below.
SET 1 - ALL All grid points (nodes) are in set one.
BEG1N BULK
E1GR, 1, MG1V, 0.0, 200.0,22",1.-8,>E1
+El.MASS Set ID 1 real eigenvalue extraction using
the modified Givens method. Roots from
o to 200 Hz with eigenvectors mass
normalized. 22 roots estimated.
GRID, 1,,0.,0.,0. Node number and x, y, z coordinates.
"
GRID, 1000,,20.,30., 15.
CTR1A3, 1,1,6,13,7 Element type.

CTR1A3, 1900, 1,258,259,260

PSHELL, 1,1,0.3,1" 1 Property card.
MAT8, 1,13.+ 10.8:+9,.375,3.+9,9.+9,.7+9,.46 Material
property card.
ENDDATA

Figure E1. Normal modes analysis example data deck

It should be emphasized that Figure E1 is a partial listing of the

executive and case control decks. Refer to the Finite Element Primer

[Ref.IS] for the deta1led information needed to assemble the data deck.

114
Figure E2. Equ Ivalent Stiffness Matrix Data Deck

115
FIgure E2(Cont.) EquIvalent Stlfness Matrix Data Deck

115
Fl gure E3 String Ana l ys is Data Deck

il7
;,;:;1. ,::::::'.1.':1frc'i,::!Il77
S J) STR I Ne l.CN; 'U~'.C: :\) aISI'( .... ::mI J
l'UIl'J~JI. 101 .:C:;71.l.-:;:;0 .; . , -::!;;G::; .. 0. ,0 .0. ,0. ,+TDI3
.TIlI:J •• •. ...•. "·j~ r ·1
~TIl J': ,::! B':"I . T ill~lJ ::;r, (, 1
r' :"h',t'~ .lOJ ."::'''-,:.! .~:''::C'J'). , - 2 :.!-t'l . . 0 ,0. ,0. ,0
.. '\'1.;11':1, ••••• , ' . ..·;',ll "4

r~ 1~:;'I'l ~~~~:. :.!'I:'

l::~:~::::~~~::<~
Tr:~l! ' IW . I (j 1 1
I. SI'• - 4·;:':J.
. ~ ·H7:J
, a. ::;ml,0) ,0 . ,0 .• 0 ."TEI;;:
~TI\ I .j ., . .• . . , . +T l i l \'
~Tll l " . :.!'J<:":. 'J'JIJlIJ, u '~1 4
:
! .~.\~~'~~: ~ ~ ~ .:~~ ~ ~ ; '~i~~;;~' .- 4J:'0. ,0 ,0 .. 0 .. 0.
;'fllI U 6 . :rUI " .TIHLU .;,!u:"::J

.. E ST IlI M: l.Crl ~'O:lCJ: D BISI'I:.!.:mH)

rlc ~JI>Hll. I UI .:'W:.!·f.- I:;l :.! .• -l;J l :.! . ,U. ,0 ,0. ,0 . ,"TO!7
.. Til l':' . •. . ,. , . . +Tll l !!
+T::I;'.:;(';':::; :II IJ,U .;)" .• 7
I t:~ll'j ' j ;, J OJ .:,N:;::. ~ I :..:;:;(,. ,-1:"::;6 . ,0 ,0 .• 0. ,0. ,+TIlI07
~ T JH"7 , • ... , . •. ~'!' r; 1 "u
'!:T ::I '; ,;. :Jv;;'?'f!U;:.o ,:.JUt,."

FIgure E3((onU Str 1ng AnalysIs Data Deck

118
 SOL 6:1
Tlill: 1::::0.
CEND
TITLE. =
S;;;~T: TLE " O:ltEiHJ:,:~::r:: 17 I :;
LO\IlEL = RESTA.lIT \"ITII ~Til l r~G Dl"F21tCl\j IAL STIFFiiESS
EC:IO " HOli!:
SC.o\LL = ALL
5PC = I
DYHili:i) " I
m::TilOD = I
HEGll~ nULl:
PAH.At! , tl".}J'l~T I 0,1 . +~e
srCl.1 ,0,9 '/'101 ,TlmlJ,09 1~O
51'0 I J\"T • 'J '!Ou 1 , llHW ,9~ 1 ;:;0
A,5I::TI,O,9Y(iO I, TIIIIU ,9 '-) 150
05ET I .U.99"OI,TUilU . 9<J 1 50
DYNnED . 1 , 1200.
E1G II,I ,GI\' ,0. ,I~OO."" I ,-O,+EI
+£] . tl.\X
•

Figure E4. Restart With Differential Stiffness

.-

119
 H. l. Schwab , MFinite Element Ana lysis of a Guitar Soundboard," Catgut
Acoust. Soc. Newslett. 24 & 25, (1974).

B. E. Richardson and G. W. Roberts, MThe Adjustment of Mode

Frequenc i es in Guitars: A Study by Means of Holographic
Interferometry and Finite Element Ana lysis", Proceedings of the SMAC
1983 Conference. ( 1983)

3. G. Jenner, personal correspondence, (July 1985).

B. E. Richardson and G. W. Roberts, "Predi ctions of the Behaivior of

Violin Plates by the Finite Element Method", Proceedings of t he
Institute of Acoustics. (/985). (IN PRESS).

5. ~Computer Analysis of the Vibrations of a

C. Rubin and D. F. Farrar,
Violin Back", Depart ment of Mechanical and Materials Engineering,
Vander built University, Nashville, Tennessee, 37235. (1984).

6. 8. E. Richardson and G. W. Roberts, Lecture given at the Acoustical

Society of America meeting in Austin, Texas. (1985).

G. A Knott, Lecture given at the Acoustical Society of America

meeting in Austin, Texas. (1985).

O. Rodgers, personal cor respondence, (July 1985).

9. K. D. Marshall, "Modal AnalYSis of a Vi olin", J. Acoust. Soc. Am. 77,

pp 695-709 (I 9a5).

l O A Ekwall, "A Study of the Stradivari-Sacconi Viol in Arching for

Getting a Computeri zable Arching of the Same Type ", catgut Acoust
Soc. News\ett. 35, pp. 33-36 (1981).

I \. S. F. Sacconi , "Die Gehe i mnisse Stradivaris", Verlag Das

Musici nstrument, Frankfurt/M. (1976).

120
12 D. W. Ha i nes, "On Musical Instrument Wood", Catgut Acoust. Soc
Newslett. 31, pp. 23- 32 ( 1979).

13. "Wood Products Handbook", U.S. Forest Products Lab, Madison,

Wisconsin, p. 79 ( 1955)

14 C. M. Hutchens, "The Acoustics of Violin Plates", Sci. Am. 245,

pp. 171-186 (October 1981).

15. H. G. Schaeffer, "MSCINASTRAN Primer", Schaeffer Analysis, Inc., Mont

Vernon, New Hampshire (1984).

16 C. M. Hutchens, K. A. Stetson and P. A. Taylor, ~Clarification of Free

plate tap tones by Hologram Interferometry", Catgut Acoust. Soc
Newsl ett 16,ppI5-23(1971).

17. J. H. Wilkinson, "The Al gebraic Eigenvalue Problem", Oxford Press,

london ( 1965).

121
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