| The Nature of Sound | p. 1 |
| Acoustics and Music | p. 1 |
| Kinds of acoustics | p. 2 |
| "... But is it music?" | p. 3 |
| Organizing Our Study of Sound | p. 3 |
| The Physical Nature of Sound | p. 5 |
| The value of wave analogies | p. 6 |
| The Speed of Sound | p. 9 |
| Pressure and Sound Amplitude | p. 10 |
| Waves and Vibrations | p. 17 |
| The Time Element in Sound | p. 17 |
| Waveforms | p. 20 |
| The ubiquitous oscilloscope | p. 20 |
| Functional Relations | p. 23 |
| Simple Harmonic Oscillation | p. 27 |
| Mass and weight | p. 28 |
| Work, Energy, and Resonance | p. 31 |
| Sources of Sound | p. 38 |
| Classifying Sound Sources | p. 38 |
| Percussion Instruments | p. 39 |
| String Instruments | p. 42 |
| Wind Instruments | p. 44 |
| Source Size | p. 47 |
| Transposing instruments | p. 49 |
| Sound from the Natural Environment | p. 50 |
| Sound Propagation | p. 54 |
| Reflection and Refraction | p. 54 |
| Diffraction | p. 57 |
| The wave nature of matter | p. 59 |
| Outdoor Music | p. 61 |
| The Doppler Effect | p. 63 |
| Interference and Beats | p. 65 |
| Sound Intensity and Its Measurement | p. 72 |
| Amplitude, Energy, and Intensity | p. 72 |
| Sound Level and the Decibel Scale | p. 74 |
| The sound level meter | p. 74 |
| Sound levels in music | p. 77 |
| The Inverse-Square Law | p. 78 |
| Environmental Noise | p. 79 |
| Combined Sound Levels and Interference | p. 83 |
| Combining amplitudes, intensities, and sound levels | p. 84 |
| The Human Ear and Its Response | p. 89 |
| The Mechanism of the Human Ear | p. 89 |
| Limits of Audibility and Discrimination | p. 94 |
| Hearing loss | p. 95 |
| Characteristics of Steady Single Tones | p. 98 |
| Loudness and Intensity | p. 99 |
| The psychophysical law | p. 101 |
| Pitch and Frequency | p. 102 |
| Pitch and Loudness Together | p. 103 |
| Timbre and Instrument Recognition | p. 107 |
| Elemental Ingredients Of Music | p. 113 |
| Organizing Musical Events in Time | p. 113 |
| Melody and Harmony | p. 118 |
| Scales and Intervals | p. 120 |
| The chromatic scale in equal temperament | p. 121 |
| The Harmonic Series | p. 122 |
| Sound Spectra and Electronic Synthesis | p. 128 |
| Prototype Steady Tones | p. 129 |
| Periodic Waves and Fourier Spectra | p. 131 |
| Modulated Tones | p. 138 |
| Electronic and Computer Music | p. 141 |
| Musical uses of computers | p. 144 |
| Percussion Instruments and Natural Modes | p. 149 |
| Searching for Simplicity | p. 149 |
| Coupled Pendulums | p. 152 |
| Natural Modes and Their Frequencies | p. 156 |
| Tuning Forks and Xylophone Bars | p. 160 |
| Drums, Cymbals, and Bells | p. 164 |
| Tympani | p. 167 |
| Striking Points and Vibration Recipes | p. 170 |
| Damped Vibrations | p. 172 |
| Piano and Guitar Strings | p. 180 |
| Natural Modes of a Thin String | p. 180 |
| Standing and traveling waves | p. 182 |
| Vibration Recipes for Plucked Strings | p. 184 |
| Vibration Recipes for the Piano | p. 187 |
| The piano action | p. 188 |
| Piano Scaling and Tuning | p. 194 |
| Impedance matching | p. 195 |
| The Bowed String | p. 203 |
| Violin Construction | p. 203 |
| Bowing and String Vibrations | p. 207 |
| Resonance | p. 213 |
| Energy flow and resonance | p. 216 |
| Sound Radiation from String Instruments | p. 218 |
| Blown Pipes and Flutes | p. 230 |
| Air Column Vibrations | p. 230 |
| Acoustic standing waves | p. 232 |
| Fluid Jets and Edgetones | p. 235 |
| Examples of flow instability | p. 236 |
| Organ Flue Pipes | p. 241 |
| Organ Registration and Design | p. 247 |
| Fingerholes and Recorders | p. 250 |
| The Transverse Flute | p. 254 |
| Blown Reed Instruments | p. 260 |
| Organ Reed Pipes | p. 260 |
| The Reed Woodwinds | p. 265 |
| The Brass Family | p. 269 |
| A chromatic scale for the trumpet | p. 273 |
| Playable Notes and Harmonic Spectra | p. 274 |
| The tacet horn | p. 283 |
| Radiation | p. 284 |
| The Human Voice | p. 293 |
| The Vocal Apparatus | p. 293 |
| Sound Production | p. 296 |
| The Bernoulli effect | p. 298 |
| Formants | p. 301 |
| Special Characteristics of the Singing Voice | p. 310 |
| Room Acoustics | p. 317 |
| General Criteria for Room Acoustics | p. 317 |
| Traveling and standing waves | p. 322 |
| Reverberation Time | p. 324 |
| Reverberation Calculation | p. 329 |
| Reverberant Sound Levels | p. 334 |
| Sound Reinforcement | p. 336 |
| Spatial Perception | p. 339 |
| Anechoic chambers and reverberation chambers | p. 340 |
| Sound Reproduction | p. 348 |
| Electric and Magnetic Concepts | p. 348 |
| Transducers | p. 349 |
| Microphones | p. 355 |
| Amplifiers | p. 359 |
| Recording | p. 363 |
| Equalization | p. 364 |
| Loudspeakers | p. 368 |
| Multiphonic Sound Reproduction | p. 372 |
| The Ear Revisited | p. 380 |
| Types of Pitch Judgment | p. 380 |
| Pitch Perception Mechanisms | p. 381 |
| Modern Pitch Perception Theory | p. 389 |
| Critical Bands | p. 391 |
| The uncertainty principle | p. 394 |
| Combination Tones | p. 396 |
| Loudness and Masking | p. 398 |
| Timbre | p. 401 |
| Harmonic Intervals and Tuning | p. 407 |
| Interval Perception | p. 407 |
| Intervals and the Harmonic Series | p. 413 |
| Musical Scales | p. 415 |
| The Impossibility of Perfect Tuning | p. 418 |
| Tuning and Temperament | p. 421 |
| Moods, keys, and transposition | p. 428 |
| Structure in Music | p. 435 |
| Melodies and Modes | p. 435 |
| Chords and Harmonic Progressions | p. 438 |
| Consonance and Dissonance | p. 443 |
| Musical Forms and Styles | p. 444 |
| Epilogue: Science and Esthetics | p. 451 |
| Written Music | p. 456 |
| The Metric System | p. 461 |
| Units for Physical Measurements | p. 462 |
| Scientific Notation and Computation | p. 463 |
| Glossary | p. 466 |
| Hints and Answers to Selected Exercises | p. 471 |
| Index | p. 474 |
| The Chromatic Scale; The Harmonic Series Slider | p. 481 |
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