A full range speaker?

@ggc
I mean this sincerely, thanks for posting those links. I’ll have a good read with and try to keep an open mind.

What would you set as the lower limit of music reproduction for a speaker to be called full range?

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If you look at the link above
giving the fq range of all classical instruments, 
You will see 
60hz -2k hz 
is the  low/high of 90% of the orchestra.
Now I just hada  experience of a  96db wide band driver.
I found ita  bit thin and female vocals not accurate.
I found the davidlouis 91db far superior in sonics  vs a  10x's more expensive wide  bander,


Seems each wide bad offers something different, just like xover type speakers , each is completely different from the others.

The little DavidLouis 4 incher delivers all the body in this 60hz-2k hz that i need ina  midrange. 
But to answer your Q. 40hz is the very bottom, 
20hz-40hz is nothing but a  fantasy, These fq;'s are so rare in classical makes this area nothing but a  empty bag.
Same for any fq's over say 12k,, nothing but a fantasy.
The only fq's that really amtter in any speaker,  horn, wide band, low db sens etc, plannras, ribbons, etc etc , A-Z speakers, any speaker that was ever made....
The only fq's that count is the 60hz -say 3khz tops, really 2k. 
But i'll  extend graciously to 3k.
This is where classical music  is performed.

We should all drop the fq range specs of speakers as a  distraction,
The only thing that really counts, Is how does the speaker voice the 60hz -3k hz. 
thats it. 
This is why I feel my Frankenstein really voices these fq's as a  grade A/B speaker. 
The weak link in the Frankenstein is the  davidLouis in the 200hz-1khz range, , only here hasa  slight edge on the fq's. 
Bottom is sweet, top is sweet, Its in the middle fq's where there is a slight *edge*, Which is why I give my Frankenstein's a  A/B grading. , 
Beats Vandersteens, Class C speakers. Thats for sure. 
Beats Wilsons as well. Class B/C speakers. 

millercarbon. Like you, I do think that inaudible upper frequencies matter; however, I have a hypothetical question: Is it possible that we do not necessarily know that our brains perceive this, and could these frequencies be used for directional location, i.e. placement of instruments.

That's a part of it for sure. My understanding is the ear has four times as many hair cells devoted to sensing frequencies above what we consider audible, as detect audible frequencies.  

This seeming paradox is resolved by the fact the so-called audible frequencies are all tested using sine waves. Something that really does not exist in nature. ggc is right, we evolved to find our way around a natural environment. It would make more sense to look there than at unnatural sine waves.  

In nature- which includes musical instruments- there are lots of things (like ggc's rain forests) that produce ultrasonic sounds. But unlike the test sine wave that exists unnaturally on its own, these are all mixed in with and riding on top of lower frequency fundamentals. When a leopard growls the powerful menacing part of the growl is down low. But the part that tells us how far and in which direction is for certain a lot higher in frequency.  

High frequencies attenuate with distance a lot faster than low frequencies. The frequency itself is enough to point us in the right direction. The balance of frequencies however can be used to tell us how far. It is to me just plain nuts to think we evolved over a billion years by staying alive, and yet somehow managed to do so never knowing how far away we are from being eaten. This is nuts. Absolutely nuts. 

For sure this stuff happens unconsciously. Has to. If we had to sit around thinking and analyzing we would be eaten alive. There is no time. There isn't even time for some of this to be processed in the cerebral cortex. Studies show that when shown an image of a snake the visual response time is faster than it would take neurons to go from the eye to the visual cortex. The response is, in other words, reflexive. There is no reason to think the same does not happen with sounds. Do predators hunt only in daylight?  

Mr the Carbon what the frequency for crab chorus on slick Rick song Indian girl story? This one my test for speaker coherency chorus near end for adult audienceS.

Many claim to be, but how many can handle a full orchestra’s range?

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Since a  member here graciously posted a  link  revealing the fq range of a orchestra. 
FACTS of the matter is
60hz-2khz is the solid core of a  symphony instrumentation. 
How low, how high a  speaker does extend/does not extend is not at all to be considered in speaker choice consideration.
Its how well does a  speaker vouice this critical band width.
Wide Bnad high sensitivity is not beefy enough for voicing this band with a  significant force factor, = SLAM. 
The  cone material is too thin, there is not enough power to voice a  full orchestra.
Horns would be best bet, 
But there are 2 serious issues with horns
1) Big/heavy
2) Expensive
3) Ugly= Not wife friendly
This rules horns out.
back to xover designs. as the ultimate speaker for voicing orchestra.
The only cone material that works for me, is Seas Magnesium. I have not heard their newest Graphene cone, which may be a  improvement,  I have no idea, they are expensive.

Midwoofers voice the 40hz-1500/2khz.
Here is where a  orchestra's main  heart and soul is  voiced.

Tweeters only add a  shimmering

I have added a   4 inch wide band DavidLouis and this adds more body and fullness to the 80hz-12khz area, 
My Kasun  3.5 double magnet 91db paper cone tweeter adds sparkle, glitz to the 9khz-14khz

My next step is to find another DavidLouis that tops his 4 incher. 
I am happy with the 4, but I think we may get something more out his 6.5ers. 
His cone material on the 4 is not thin like the german labs, , it voices the muisc much different. The DL has soul, has warmth and  body.
Although the cone is like 3 inches, believe it or not, has some bass kick and  highs  roll off nicely at around 12k. 
My Frankenstein is full range  but w/o all the distortion issues you will find in speakers such as Vandersteen, 
Wilson
Focal
Kharma
Klipsch
ProAc
Sonus Faber
Tannoy
KEF
Revel
Harbeth
and countless others that suffer The Distortion Issue/Coloration in the critical bandwidth.
I have no such major issues in the criticals.
Only the DL 4 has some stress and mushiness at peak passages in orchestra.
I need to work getting a  new wide band 6.5 to make my Frankenstein the  best   possible speaker.
Sure horns will beat it, but the cost involved with horns, its not just practical.