PHYSICAL ACOUSTICS: PRINCIPLES AND METHODS: PROPERTIES OF GASES, LIQUIDS, AND SOLUTIONS

By ISABELLA SANCHEZ

CONTENTS SOUND, MUSIC, AND SCIENCE THE SOURCE TRANSMISSION RECEIVER VIBRATIONS 1 MASS AND SPRING DE?NITIONS HOW IT WORKS MATHEMATICAL REPRESENTATION AUDIBLE FREQUENCIES VIBRATIONS 2 DAMPING NATURAL MODES OF VIBRATION MULTIMODE SYSTEMS THE TUNING FORK THE SPECTRUM RESONANCE A WET EXAMPLE BREAKING GLASSWARE SYMPATHETIC STRINGS INSTRUMENTATION TRANSDUCERS THE OSCILLOSCOPE ANALOG ’SCOPE AND CRT DISPLAY DIGITAL ’SCOPES AND LIQUID CRYSTAL DISPLAYS BEYOND THE BASIC OSCILLOSCOPE THE SPECTRUM ANALYZER THE FREQUENCY COUNTER THE FUNCTION GENERATOR VIRTUAL INSTRUMENTATION SOUND WAVES POLARIZATION THE SPEED OF SOUND SUPERSONIC THINGS SOUND VS LIGHT SOUND WAVES IN SPACE AND TIME SOUND WAVES IN MORE THAN ONE DIMENSION OF SPACE WAVE PROPERTIES WAVE ADDITION INTERFERENCE BEATS AUDIO ANALOGIES GENERALIZATION RE?ECTION REFRACTION DIFFRACTION SEGREGATION STANDING WAVES STANDING WAVES IN GENERAL STANDING WAVES ON A STRING THE GUITAR PLAYER’S EQUATION THE STRETCHED STRING: SOME OBSERVATIONS STANDING WAVES IN PIPES PIPE WITH BOTH ENDS OPEN PIPE WITH ONE END OPEN AND ONE END CLOSED PLAYING A PIPE THINKING CRITICALLY OPEN-END CORRECTIONS FOURIER ANALYSIS AND SYNTHESIS THE SINE WAVE COMPLEX WAVES PERIODICITY THE SAWTOOTH THE SOUNDS HARMONIC AND INHARMONIC SPECTRA, PERIODIC AND APERIODIC TONES CONTINUOUS SPECTRA SOUND INTENSITY PRESSURE, POWER, AND INTENSITY THE INVERSE SQUARE LAW DECIBELS ABSOLUTE VS RELATIVE DB THE AUDITORY SYSTEM AUDITORY ANATOMY THE OUTER EAR THE MIDDLE EAR THE INNER EAR THE SEMICIRCULAR CANALS AUDITORY FUNCTION OUTER EAR FUNCTION MIDDLE EAR FUNCTION INNER EAR FUNCTION BEYOND THE COCHLEA HEARING IMPAIRMENTS LOUDNESS PERCEPTION LOUDNESS LEVEL LOUDNESS PSYCHOPHYSICS NEURAL FIRING RATE EXCITATION PATTERNS COMPLEX SOUNDS CRITICAL BAND PITCH PITCH OF SINE TONES: PLACE THEORY PITCH: TIMING THEORY PITCH OF A COMPLEX TONE THE TEMPLATE THEORY PITCH AS AN INTERPRETATIVE PERCEPT ABSOLUTE PITCH LOCALIZATION OF SOUND HORIZONTAL PLANE INTERAURAL LEVEL DIFFERENCES INTERAURAL TIME DIFFERENCES LOCALIZATION IN THE VERTICAL MEDIAN PLANE THE PRECEDENCE EFFECT PERCEIVED AUDITORY SPACE SOUND ENVIRONMENTS RE?ECTIONS FROM A SURFACE TRANSMISSION LOSS ROOM ACOUSTICS EARLY RE?ECTIONS IN A ROOM FOCUSED SOUND REVERBERATION GAINING CONTROL OF ACOUSTICAL SPACES AUDIO TRANSDUCERS BASIC DE?NITIONS THE CURRENT AND MAGNETISM PRINCIPLE APPLICATION OF THE CURRENT–MAGNETISM PRINCIPLE THE ANALOG CONCEPT THE GENERATOR PRINCIPLE THE MOTOR PRINCIPLE ELECTROSTATIC DEVICES ELECTRO-OPTICAL TRANSDUCERS DISTORTION AND NOISE NOISE DISTORTION DISTORTION NOT LINEAR DISTORTION NONLINEAR DISTORTION DYNAMIC RANGE AUDIO SYSTEMS SOUND RECORDING PUBLIC ADDRESS SYSTEM PREAMPLI?ER POWER AMPLI?ER MIXER TONE CONTROLS AND EQUALIZERS DYNAMIC RANGE COMPRESSOR INTEGRATED AMPLI?ERS MORE INTEGRATION MULTICHANNEL AUDIO LOUDSPEAKERS LOUDSPEAKERS: WHAT WE WANT THE TWO-WAY SPEAKER ENCLOSURES MORE ABOUT LOUDSPEAKER DIFFUSION POWERED SPEAKERS SUBWOOFERS DIGITAL AUDIO DIGITAL VS ANALOG DIGITAL NOISE SAMPLING CONTEMPORARY DIGITAL AUDIO BROADCASTING CONTINUOUS WAVE AMPLITUDE MODULATION FREQUENCY MODULATION BANDWIDTH CARRIER FREQUENCIES SPEECH VOCAL ANATOMY VOICED SOUNDS SPEECH SOUNDS SPECTROGRAMS BRASS MUSICAL INSTRUMENTS SUSTAINED-TONE INSTRUMENTS EVOLUTION OF THE RESONANCES OF A TRUMPET TONE PRODUCTION: FEEDBACK AND NONLINEARITIES WOODWIND INSTRUMENTS SINGLE-REED INSTRUMENTS DOUBLE REEDS REEDS IN GENERAL EDGE TONE INSTRUMENTS BOATSWAIN’S PIPE THE FLUTE STRING INSTRUMENTS PERCUSSIVE STRINGS THE GUITAR THE ELECTRIC GUITAR THE PIANO BOWED STRINGS TONE GENERATION IN THE BOWED STRINGS THE VIOLIN BODY PERCUSSION INSTRUMENTS BARS, RODS, AND TUBES USEFUL BARS USEFUL TUBES MEMBRANES CHLADNI PATTERNS TIMPANI PLATES: CYMBALS, GONGS, AND BELLS NONLINEAR MODE COUPLING BELLS ELECTRONIC MUSIC ANALOG SYNTHESIZERS DIGITAL SYNTHESIZERS MUSICAL INSTRUMENT DEVICE INTERFACE