Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden
FINITE ELEMENT MODEL OF A KANTELE WITH IMPROVED SOUND
RADIATION
Henna Tahvanainen, Henri Penttinen, Vesa Valimaki
Department of Signal Processing and Acoustics
School of Electrical Engineering
Aalto University
henna.tahvanainen@aalto.fi
ABSTRACT
In this paper, a plucked string instrument called the kantele
is modelled with the finite element method. The aim is
to compare two traditional body structures and a modified
body structure in terms of vibrational modes and radiation
efficiency. The two traditional body structures are the closed
box kantele and the top-plate kantele. In the modified struc-
ture, the top plate and the back plate are separated with an
air gap. The modified structure has more vibrational modes
than the traditional body structures, because it incorporates
a freely vibrating top plate coupled with enclosed air. The
simulations show that when the air gap is between 1-3 mm,
the radiation efficiency of the modified kantele is higher
than that of the traditional kanteles. This result supports
previous research that concluded the modified kantele to be
louder than the traditional top-plate kantele.
1. INTRODUCTION
The kantele is a zither-like plucked string instrument. There
are 16 peoples in North East Europe and West Siberia that
play this kind of a zither. Consequently, instruments with
various string arrangements and terminations, as well as
shapes and sizes of the sound box belong to the kantele fam-
ily. The various kanteles are currently being documented in
The Kindred of Kantele- project 1 .
The common parts for all the kanteles include a wooden
sound box, metal or nylon strings, and tuning pins made
of metal or wood. The amount of strings varies from 5 to
40. In addition, there may be a sound hole. The common
acoustical feature for the kanteles is the special fluctuating
timbre caused by the knotting of string around the non-rigid
tuning pins [1, 2]. Initially, the kantele was carved from a
single piece of wood with no back plate. Later, the carved
kantele was turned into a box by adding a soundboard to
the carving. These two structures are henceforth referred
to as the top-plate kantele and the box kantele, respectively.
Nowadays, the kantele is assembled by glueing wooden
1 http://kanteleenkielin.maanite.fi/2013/03/31/
kindred-of-kantele-overview-in-english/
Copyright:
2013
c Henna Tahvanainen, Henri Penttinen, Vesa Valimaki et
al. This is an open-access article distributed under the terms of the
Creative Commons Attribution 3.0 Unported License, which permits unrestricted
use, distribution, and reproduction in any medium, provided the original author
and source are credited.
193
Jyrki Polkki
Soitinrakentajat AMF
Tuikkalantie 2
Leppavirta
jyrki.polkki@estelle.fi
Figure 1. The modified kantele with the air gaps indicated.
plates together. In addition to the two traditional kanteles, a
kantele with a freely-vibrating top plate isolated from the
back plate with an air gap has been developed [3, 4]. It is
called the modified kantele and it is shown in Fig. 1.
The kantele with its complex shape, enclosing and sur-
rounded by air, represents a coupled structure-acoustic prob-
lem. To tackle such problems, wave-based modelling meth-
ods, such as finite element, boundary element, and finite
difference methods, have been used extensively in string in-
strument acoustics [5, 6]. Other numerical methods include
the fictitious domain method applied to the guitar [7].
The finite element method (FEM) is particularly suitable
for complicated shapes, especially when the eigenfrequen-
cies of the solid domain and enclosed air are comparable
in frequency. Of the family of string instruments, FEM has
been applied successfully at least to the guitar [813], violin
[1416], and piano [1720]. The early models considered
mainly the instrument soundboards in the low frequency re-
gion [6], or instrument-shaped air-cavities [16]. In addition,
different stages of construction were simulated [9,15]. More
recently, FEM has been applied to structure-acoustic cou-
pling in string instruments [1012, 14]. Both enclosed and
surrounding air add to the mass of the instrument and thus
lower the eigenfrequencies of the string instrument [10, 14].
The mode shapes, on the other hand, are much less affected.
This paper aims at extending the understanding of the
contribution of the isolated top plate to the increased loud-
ness of the modified kantele by using FEM. The vibrational
modes and sound radiation of three kantele structures are
studied: closed box kantele, top-plate kantele, and modified
kantele. Additionally, the radiation efficiency for each kan-
tele structure is computed. Moreover, the effect of size of
the air gap in the modified kantele is investigated.
This paper is organised as follows. In Sec. 2, the back-
ground of the modified kantele is described. In Sec. 3, the
 Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden

finite element method is briefly reviewed. Section 4 de-

Excitation point
scribes the FE-model of the kantele and the results of the Connecting
simulations are presented in Sec. 5. Section 6 concludes the blocks
paper.
2. BACKGROUND OF THE MODIFIED KANTELE
Originally, the kantele was used as a rune-accompaniment
in small farm houses. Nowadays, it is played in various
ensembles in large spaces. Consequently, it is beneficial
to develop an acoustically louder version. A kantele with
improved sound radiation was presented at SMAC 2003 by
Polkki et al [3]. The idea for this modified kantele came
from old museum copies with no back plate. Interestingly,
these seemed to sound louder in a soft-padded case rather Figure 2. The top plate and the back plate of the kantele
than on lap where they are usually played. Based on these for the FE-model. The top-plate kantele considers the top
observations, in 1999 Polkki began experimenting with plate only, the box kantele is obtained by attaching the
different lightweight wooden structures, which would do plates together, so that the side edges are fixed. In the
the same. The first prototypes with 11, 15, and 19 strings modified kantele, the plates are attached together with the
were made. Adjusting the air gap between the plates was a three connecting blocks allowing an air gap between the
delicate process in order to obtain a favourable timbre. In plates.
addition, the larger kanteles benefited from a small sound
hole in the gap. Based on the prototypes, it was clear that
the displacement at nodal points of the respective domain
changes in the top plate were needed if the strong attack
(subscript s for structure, f for fluid). Hsf is the coupling
and the long decay of the characteristic kantele sound were
matrix between the two domains. At the structure-acoustic
to be preserved. Consequently, the top plate was made three
boundary, two conditions for the coupling apply. Firstly, the
times thicker and strengthened around the tuning pins.
particle velocity perpendicular to the boundary should be
The collaboration between Polkki and Penttinen lead to
continuous. Secondly, the air exerts a load on the structure,
verified design rules for the kantele with improved sound
which is equal to the inverse of the air pressure. Finally,
loudness [4]. The rules are 1) increasing string tension, 2)
when modelling the sound radiation of an instrument in the
increasing radiating surface area, and 3) isolating the top
free field, the calculations are often limited over a finite vol-
plate from the back plate with an air gap. In addition, it was
ume. In order to avoid artificial reflections, the boundaries
confirmed by listening tests that this modified design was
are modelled as so called radiating boundaries, or using
on average 3 dB louder than the top-plate kantele. In the
a technique called Perfectly Matched Layer (PML). The
meanwhile, the modified design has been fine-tuned and
numerically more accurate boundary condition, PML, is
sold commercially for 12 years. The commercial version,
an additional medium surrounding the computational do-
Kirjokansi, is shown in Fig. 1. The top plate and the back
main that matches the domain and absorbs all the incoming
plate are attached together with three screws. The kantele
radiation in all angles with no reflections [23].
has 11+4 strings spanning the fundamental frequency range
of 73-588 Hz. The four lowest strings are used as drones. 4. SIMULATIONS
Finally, the isolating air gap has lately been applied to the
40-string kantele, and based on informal listening tests after In this paper, three kantele structures were considered: the
fine-tuning, it now sounds warm and rich in bass. top-plate kantele, the box kantele, and the modified kantele
with air gaps of several sizes (1 mm, 3 mm, 5 mm, 7 mm).
Both eigenfrequency and forced vibration analysis were
3. FINITE ELEMENT METHOD
conducted using an existing finite element software (Com-
In FEM, the continuous domain is discretised into a finite sol Multiphysics) in order to study the vibrational modes
set of solid elements, which each are approximated with and the radiation of the kantele, respectively. The modelling
simple shape functions such as polynomials [21]. The con- steps taken are described in the following.
tinuous field, such as the pressure, is then evaluated at the
vertices of each element called nodes. At least six elements 1. Importing/drawing the geometry
per bending wavelength are required in order to ensure In these simulations, strings, tuning pins, and bars
sufficient accuracy of the simulation [22]. For structure- parallel to the top plate were omitted. The back plate
acoustic vibrations, the equations of motion translate into was modelled flat. The three plastic screws were
the following matrix substituted with wood blocks. The top plate and the
back plate of the modelled kantele can be seen in

Ms 0 ds
  
Ds 0 ds
  
Ks H sf

ds
  
Fb Fig. 2. In addition, the kantele was surrounded by air
+ + = (r = 0.7 m).
H Tsf Mf pf 0 Df pf 0 Kf pf Fq
(1) 2. Defining material properties
where M , D, K, and F , are the global matrices of mass, The kantele was assumed to be made out of one or-
damping, stiffness, force, and p and d are the pressure and thotropic material, spruce. The material properties

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 Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden

Parameter Symbol Value Unit SPL at 0.7 m above the kantele

Ex 122 [108 Pa] 110
Elastic moduli Ey 15.6
Ez 7.20 100
Gxy 15.1 [108 Pa]
Shear moduli Gyz 1.22 90

Magnitude [dB]
Gxz 14.6
xy 0.42 [1] 80
Poisson ratios yz 0.53
xz 0.46
70
Density s 440 [kgm3 ]
Isotropic loss factor 0.01 [1]
Driving force amplitude A 1.5 [N] 60
box
Air density 0 1.2 [kgm3 ] 50 modified
Speed of sound in air c0 343 [ms1 ] top plate
100 150 200 250 300 350 400 450 500 550
Frequency [Hz]

Table 1. Parameter values inserted in the FE-model, the

material values are obtained from [24].
obtained from Kretschmann [24] and other parame-
ters are listed in Tab. 1.
3. Defining boundary conditions
The air was surrounded by a PML (r = 0.8 m). The
two structure-acoustic boundary conditions accord-
ing to Sec. 2 were applied.
4. Meshing
The chosen element size was limited by computa-
tional capacity. Tetrahedral elements were used, with
the size range of 1.5-10 cm. Such meshing resulted
to 60 000-200 000 elements depending on the kantele
structure. Thus, the simulated frequency range was
limited to 570 Hz, which covers the tuning range of
the kantele strings.
These four steps are enough to perform an eigenfrequency
analysis. In order to study radiation, the following addi-
tional steps for the forced oscillation analysis are required:
5. Damping coefficient
The internal damping of the wood material was con-
sidered isotropic and frequency-independent for sim-
plicity.
6. Type and location of the force
The kantele was driven sinusoidally by approximat-
ing the area and the location of the fifth tuning pin
indicated in Fig. 2.
7. Frequency steps at which the analysis is performed
The frequency step was 5 Hz due to limited computa-
tional time.
5. RESULTS
5.1 Comparison of the kantele structures
The modelled frequency responses of the three kantele struc-
tures at 0.7 m above the top plate are shown in Fig. 3. Based
on the figure, the structures differ at least in overall sound
pressure level, mode density, and mode frequencies. The
box kantele has a lower sound pressure level than the top-
plate and the modified kantele, except at regions around
295 Hz and 555 Hz. The modal density between 70-570
Hz is 8, 9 and 11 for the box, top-plate, and modified kan-
tele, respectively. It is desirable to have many modes in the
tuning range of strings for better sound quality and sound
pressure level [25]. This is one of the factors that explain
Figure 3. The sound pressure level at 0.7 m above the
kantele for three different kantele structures: box kantele
(dash-dotted red line), modified kantele (solid black line)
and top-plate kantele (dashed blue line).
the increased loudness of the modified kantele compared to
the traditional top-plate kantele.
The mode density for the modified kantele is higher than
for the two traditional kanteles because the modified kantele
has a freely vibrating top plate and the air enclosed by the
two plates which can couple to the plate vibrations. An
example of this case is illustrated in Fig. 4. Figure 4a shows
the first two normal mode shapes of the top-plate kantele
(at 150 Hz and 195 Hz), Fig. 4b the first significant normal
mode of the box kantele (at 295 Hz), and Fig. 4c the first
three normal modes of the modified kantele (at 125 Hz,
185 Hz, and 230 Hz). The color legend indicates the total
displacement in millimeters. The values above and below
the legend are the maximum and minimum values for the
displacement. It can be seen that shapes of the first two top
plate modes correspond to the shapes of the first two normal
modes of the modified kantele. The frequencies of these
modes have lowered; from 150 Hz to 125 Hz, and from 195
Hz to 185 Hz. In addition, the vibration amplitudes (total
displacement) are smaller for the modified kantele than for
the top-plate kantele. In particular, the ponsi vibrates less.
The back plate has a solid ponsi (see Fig. 1), which is fixed
to the top plate.
Similarly, the shape of the first significant normal mode
of the box kantele corresponds to the shape of the third
normal mode of the modified kantele. The mode frequency
has changed from 295 Hz to 230 Hz. The only difference
between these two shapes is that in the modified kantele
the free edge also has a vibration maximum. In addition,
the Helmholtz resonance (found to be at 230 Hz) and the
back plate participate in the vibration. For this mode, the
vibration amplitude is higher for the modified kantele than
for the box kantele.
Figure 5 shows the corresponding sound pressure levels
for the mode shapes in Fig. 4; the first two normal modes
of the top-plate kantele are shown in Fig. 5a, the first sig-
nificant normal mode of the box kantele in Fig. 5b, and the
first three normal modes of the modified kantele in Fig. 5c.
The colour legend indicates the sound pressure level in dB
units. The values above and below the legend are the max-
imum and minimum values for the sound pressure level,
respectively. It can be seen that the radiation of the modi-

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 Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden

a) Top-plate kantele c) Modified kantele a) Top-plate kantele c) Modified kantele

Total displacement (mm) Total displacement (mm) Sound Pressure Level (dB) Sound Pressure Level (dB)

150 Hz 125 Hz

150 Hz 125 Hz

195 Hz 185 Hz

b) Box kantele
Total displacement (mm) 195 Hz 185 Hz

295 Hz 230 Hz b) Box kantele

Sound Pressure Level (dB)

Figure 4. An example of how the modified kantele includes

normal modes of both the top-plate kantele and the box kan-
tele in terms of total displacement: a) the first two normal
modes of the top-plate kantele, in b) the first normal mode
of the box kantele, and c) the first three normal modes of
the modified kantele. The mode shapes that are on the same
row correspond to one another.
fied kantele at these three modes is more omnidirectional
than for the traditional kanteles. The top-plate kantele has a
higher maximum sound pressure level, but at some direc-
tions on the sides, the sound pressure level is small. This is
a demonstration of the acoustic short-circuit. Namely, the
air displaced by the top plate is in opposite phase on the
top and at the back on the plate. These anti-phasic regions
partially cancel each other, and thus reduce sound radiation.
295 Hz 230 Hz
Figure 5. An example of how the modified kantele includes
normal modes of both the top-plate kantele and the box
kantele in terms of sound pressure levels: a) the first two
normal modes of the top-plate kantele, in b) the first normal
mode of the box kantele, and c) the first three normal modes
of the modified kantele. The mode shapes that are on the
same row correspond to one another. The kantele soundhole
is facing the reader.
SPL at 0.7 m above the kantele
110
100

90
Magnitude [dB]

5.2 Effect of the air gap size

80
The size of the air gap in the modified kantele can be
changed. It is of interest to study how the size affects 70

the vibrational and radiation properties of the kantele. In-

60
deed, already a small air gap between the top and back 1 mm
3 mm
plate changes the frequency response. Figure 6 shows the 50
7 mm
modelled frequency responses for the kantele with different 100 150 200 250 300 350 400 450 500 550
Frequency [Hz]
air gaps: 1 mm, 3 mm, and 7 mm.
Based on Fig. 6, two different frequency ranges for the
Figure 6. The frequency responses at 0.7 metres above the
changes can be distinguished. First of all, below 300 Hz the
kantele with different air gaps: 1 mm (dashed blue line), 3
mode density does not change, but the mode frequencies
mm (solid red line), and 7 mm (dash-dotted black line).
increase when the size of the air gap increases. The mode
shapes do not change, but their vibration amplitudes do. As the size of the air gap increases, the free edge of the
Secondly, above 300 Hz, the mode density decreases when top plate is able to vibrate more freely. What is more, the
the size of the air gaps increases. In addition, the modes vibration maxima move closer to the edges and the back
shapes do not appear in the same order in frequency. plate is less coupled with the top plate. An example of a

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 Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden

Back plate Sound pressure level (dB) Pressure (Pa)

Top plate

Airgap 3 mm
Airgap 3 mm
Total displacement (mm)

285 Hz

Airgap 5 mm
285 Hz
Airgap 5 mm

290 Hz

Airgap 7 mm
290 Hz
Airgap 7 mm

290 Hz

Figure 8. The sound pressure level and pressure of the sixth

290 Hz
Figure 7. Vibration amplitudes of the sixth normal mode
of the modified kantele with an air gap of 3 mm, 5 mm, and
7 mm. In the left-hand column the kantele is seen from the
top and in the right-hand column from the bottom.
mode that undergoes such a change is the sixth normal mode
of the modified kantele, occurring at 285 Hz. It experiences
a drop of 15 dB in sound pressure level when the size of
the air gaps increases for 1 mm to 7 mm. In addition, its
frequency shifts from 285 Hz to 290 Hz. This mode shape
is shown in Fig. 7 for different sizes of air gaps: 3 mm, 5
mm, and 7 mm. The case with the 1-mm air gap is almost
identical to the 3-mm air gap. In the left column, the kantele
is seen from above and in the right column from the bottom.
The corresponding sound pressure level and pressure fields
are shown in Fig. 8.
With the increasing air gap size, several phenomena occur.
Firstly, the coupling of the top and the back plate decreases.
In Fig. 8, the back plate vibrates with the shape (2,0) and
its vibration amplitude decreases with the increase of the
air gap. Furthermore, the widths of the vibration maxima
decrease. At the free edge, the vibration maximum moves
towards the corner that is the least fixed. In addition, the
radiation patterns become more directive since the widths
of vibration maxima decrease. Finally, different air modes
couple with the body. At 285 Hz, the air vibrates with the
mode shape (2,0) for 3-mm and 5-mm air gaps, and with
the mode shape (1,0) for the 7-mm air gap.
normal modes on the modified kantele with an air gap of 3
mm, 5 mm, and 7 mm. The sound pressure level is shown
on the left-hand column and the pressure on the right-hand
column.
5.3 Radiation efficiency
The modified kantele has a higher mode density than the
traditional kanteles. The simulations show that the vibra-
tion maxima and sound pressure level decrease when the
size of the air gap increases, at least for some modes. For
the entire frequency range, the average radiation efficiency
describes how effective the different structures actually are
in transmitting input energy to radiation [26]. The aver-
aged radiation efficiencies obtained via simulations for the
modified kantele with different air gaps and the traditional
kantele structures are shown in Tab. 2. The radiation effi-
ciency is at its maximum with the 3-mm air gap. Beyond
that, the radiation efficiency becomes comparable to that of
the box kantele. The top-plate kantele has the lowest radia-
tion efficiency of all the structures studied. It also exhibits
more directional radiation patterns.
Air gap box 1 mm 3 mm 5 mm 7 mm top-plate
0.0159 0.0242 0.0281 0.0128 0.0083 0.0008
Table 2. Radiation efficiency of the kantele with different
air gaps, and the traditional box and top-plate kanteles.
6. CONCLUSIONS
In this paper, the body of a string instrument called the
kantele has been simulated with the finite element method.
Both the eigenfrequency analysis and forced vibration anal-

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 Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden
ysis with sinusoidal excitation were used to simulate the
kantele with the frequency range of 0-570 Hz. Three kan-
tele structures were included; two traditional structures, the
top-plate kantele and the box kantele, were compared with
a modified kantele which has an air gap separating the top
and the back plate. In the modified kantele, the top plate
acts as a free-edge vibrator. In addition, together the top
and the back plate create an enclosed air mass that has its
own vibrational modes.
The simulations confirm that combining both the freely
vibrating top plate and the enclosed air leads to an increased
density of normal modes and eigenmodes in the modified
kantele in comparison to the traditional kanteles. A high
mode density of the body in the tuning range of the strings
is beneficial for the sound quality and sound pressure level
of the instrument, as the string vibrations couple better
with the body. This is one of the reasons for the improved
loudness of the modified kantele.
In addition, the radiation efficiency of the modified kantele
is improved compared to the traditional kanteles, provided
that the air gap is smaller than 5 mm. Of the sizes modelled,
an air gap of 3 mm had the highest radiation efficiency.
Furthermore, the enclosed air allows air modes, in particular
the Helmholtz resonance, to couple with the plate modes.
Thus, the radiation patterns of the modified kantele are
more omni-directional than those of the traditional kanteles.
This phenomenon also contributes to the increased radiation
efficiency of the modified kantele.
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