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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