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interactions between a number of solid and gas components are thought to contribute to the overall sound (the example of tympani was given). While the effect of alien environments on terrestrial instruments might be thought of as a perturba- tion, in broader view it provides the musician with a new palette of sound, and the possibility of new instruments, with which to be creative.
Acknowledgments
The authors are grateful to a number of people from the University of Southampton for their helpful and patient responses to questions (Chris Morfey on fluid loading; Stefan Bleek and Sarah Worsfold on speech production; Ian Peters on woodwind acoustics) and to musicians Richard Polfreman and David Owen Norris for reading through the manuscript and offering helpful comments. Given the inter- disciplinary and interplanetary extrapolation required for this study, the authors take full responsibility for any errors arising from misunderstanding the excellent advice they received from these various people. The authors are grateful to Sharon Mellings for testing the playability of a bass clarinet mouthpiece on smaller instruments of that family. It should be noted that some believe that “Bach’s Toccata and Fugue in D Minor” was composed by another individual—we are grateful to the composer.
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24 Acoustics Today, July 2009