Musical instruments are analyzed as input through a modifying system to output

Evidence

For the purposes of our simple model, the sound source is known as the “input” and the sound modifiers are known as the “system.” The result of the input passing through the system is known as the “output.” — David Howard, Jamie Angus, coustics and Psychoacoustics, 1081

Categorization

• DEFINE: Defines the core input/system/output model framing all of acoustics.
• corroborated: 2 independent passages support this claim — David Howard, Jamie Angus, coustics and Psychoacoustics, 1081
• XREF: connects to: A stringed instrument’s pluck position can be read from harmonic amplitude dips.; Measured instrument spectra reveal both the source and the sound modifiers at once; Room acoustics act as another system modifying the instrument’s output (+7 more)

Broader Connections

• Musical instrument acoustics reduce to a source-modifier model #epitomizes (0.95)
• Room acoustics act as another system modifying the instrument’s output #exemplifies (0.90)
• Instrument design exploits impedance mismatches to create resonance and timbre #exemplifies (0.85) — Eric J. Heller, Why You Hear What You Hear- An…, 83
• All stringed instruments share a source-modifier acoustic model #expands (0.85)
• Brass instrument design transforms odd-only pipe modes into a near-complete harmonic series #exemplifies (0.85) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1250