The Concept of a Virtual 3D Clarinet Museum:

Preserving Cultural Heritage

Authors

DOI:

https://doi.org/10.5216/mh.v25.83307

Keywords:

acoustics, digitization, instruments, interactive technologies, organology, repertoire, performance

Abstract

Preserving musical heritage confronts an undeniable temporal asymmetry: performance-based skills gradually disappear with each new generation, leaving sonic artifacts without the interpretative context. This study presents a virtual 3D archive documenting the evolution of the clarinet (1750–2024) through an integrated synthesis of acoustic, material, and performative data. Acoustic impedance spectroscopy characterized the resonant properties of 147 historical instruments; laser Doppler vibrometry measured wall vibrations at 247 points (20 Hz–20 kHz, resolution: 0.5 Hz); and three-dimensional photogrammetry captured geometric profiles (accuracy: ±0.05 mm). Professional clarinetists (n=146) assessed the functionality of the museum prototype through structured questionnaires following interactive exploratory sessions. Spectral analysis revealed differences between national schools: German recordings demonstrated a 22% higher concentration of energy below 1 kHz compared to French recordings; vibrato frequencies differed significantly (German: 3.2 Hz/French: 5.8 Hz). Material composition correlated with timbral characteristics: grenadilla formant peaks (2.3 kHz) contrasted with boxwood formant peaks (1.8 kHz), with damping coefficients of 0.012 and 0.023, respectively. Compositional analysis highlighted mechanical determinism: Mozart’s use of the chalumeau register (34% in K.622) precisely matched the acoustic capabilities of the basset clarinet; chromatic passages increased from 34 instances (Mozart) to 156 (Spohr) following Müller’s introduction of the thirteen-key innovation. Interactive 3D models facilitate kinesthetic experiments impossible with fragile specimens; spectral visualizations translate subjective timbral descriptions into quantifiable parameters. Educational applications include preserving performance traditions—regional practices documented before standardization erased distinctions. The museum’s structure integrates photogrammetric models with acoustic measurements, enabling diachronic repertoire analysis across the clarinet’s 274-year evolution.

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Author Biography

Zhexuan Wang, The Arts Faculty, North University of China, Taiyuan, Shanxi Province, China zhexuanwang6@chinesefineart.org

Zhexuan Wang holds a PhD and teaches at the Arts Faculty of the North University of China (Taiyuan, Shanxi Province). She also collaborates with the Glazunov State Conservatory of Russia, where she earned her doctoral degree, and previously obtained a master’s from the Russian State Pedagogical University. She serves as Secretary of the First Party Branch of the Graduate School of Arts, Deputy Secretary-General of the Federation of Overseas Returned Chinese, and member of the Shanxi Musicians Association. An accomplished clarinetist, she was principal of the St. Petersburg Youth Symphony Orchestra for Chinese Students and has performed in numerous international academic and artistic forums. Her distinctions include prizes in clarinet performance at international competitions in St. Petersburg (2019, 2020) and national festivals in Ningxia (2015–2016).

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Published

2025-10-23

How to Cite

WANG, Zhexuan. The Concept of a Virtual 3D Clarinet Museum:: Preserving Cultural Heritage. MÚSICA HODIE, Goiânia, v. 25, 2025. DOI: 10.5216/mh.v25.83307. Disponível em: https://revistas.ufg.br/musica/article/view/83307. Acesso em: 5 dec. 2025.

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Artigos