The flute is one of mankind’s oldest instruments, and in one form or another it’s been known to virtually every culture around the world. The modern flute used in Western classical music is known technically as a “transverse” flute because the player holds it out to one side and blows across a hole in the side of the instrument. Other flutes, such as the recorder, are “end blown”—the player blows directly into an opening in one end of the instrument. Transverse flutes were known in Europe from

Acoustics is the science of sound, but the word also refers to the qualities of a room—the qualities that determine and describe how things sound in that room. Principles of acoustical design based on the nature of sound waves and the properties of materials have been known since ancient Greek and Roman times. Still, there’s always been something mysterious about why one space turns out sounding radiant and another dull, something that seems to have as much to do with art as with science. These

When discussing acoustics it’s important to remember that there’s no absolute standard, and that different kinds of music may be better served by different acoustics. A piece for solo cello, for example, might sound wonderful in the richly reverberant acoustics of a cathedral, while a string quartet or piano in the same space would sound like mush. It’s also worth remembering that while acoustics naturally affect the listener’s experience, they also determine how the music sounds to the

More today, about acoustics. Absolutely everything in the design and construction of a room, or concert hall, contributes to its acoustics… from the shape and size of the room, to the building and finishing materials, to the seating configuration and height of the stage, to the seemingly minor decorative details. For that reason, it’s often impossible to say precisely why the acoustics are better in one room, than in another. Some things are predictable: stone tends to reflect sound, and wood

We’re talking about acoustics this week. Acoustics is the science of sound, but the word has another meaning, as well. When we ask about the acoustics of a concert hall, or of any room, we’re asking about qualities, about how things sound in that room. The list of adjectives that are commonly used to describe room acoustics is a long and interesting one. Sometimes the adjectives are simple ones, like “excellent,” or “terrible.” But acoustics can be dry, warm, reverberant, rich, clear, harsh,

Acoustics is the science of sound. More specifically, it’s the branch of physics that deals with sound waves and their properties—how sound waves are generated, how they behave in various circumstances, how they interact. Applied to music, acoustics is the basis for understanding all sorts of things: the functioning of all musical instruments and of the voice; the nature of notes, or pitches—their relationships, and why they sound the way they do in different combinations; the differences in

George Bernard Shaw began his career as a music critic, and in September of 1890 he wrote these words: “People have pointed out evidences of personal feeling in my [reviews] as if they were accusing me of a misdemeanor, not knowing that a criticism written without personal feeling is not worth reading.

Continuing this week’s series of things I wish I’d written… this is from a 1934 article by the great English music critic Ernest Newman: “We know rather more now about the psychology of artists than we used [to], and so we no longer incline to the naïve belief that if a composer has quarreled with his wife his next symphony will be a Pathétique, or that if his liver happens to be functioning normally he will produce a Hymn to Joy at the next [Choral] Festival.

Words today from the great writer and critic Jacques Barzun. I’ve combined several related passages: “Music is a medium through which certain unnamable experiences of life are exquisitely conveyed through equivalent sensations for the ear…

The words today of Hector Berlioz, writing about Beethoven: “… the thousands of men and women… whom he has so often carried away on the wings of his thought to the highest regions of poetry…