Waves 1 (Doppler)
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Rotational and Translational Waves in a Bowed String Eric Bavu, Manfred Yew, Pierre-Yves Pla•Ais, John Smith and Joe Wolfe
Proceedings of the International Symposium on Musical Acoustics, March 31st to April 3rd 2004 (ISMA2004), Nara, Japan Rotational and translational waves in a bowed string Eric Bavu, Manfred Yew, Pierre-Yves Pla•ais, John Smith and Joe Wolfe School of Physics, University of New South Wales, Sydney Australia [email protected] relative motion of the bow and string, and therefore the Abstract times of commencement of stick and slip phases, We measure and compare the rotational and transverse depends on both the transverse and torsional velocity velocity of a bowed string. When bowed by an (Fig 2). Consequently, torsional waves can introduce experienced player, the torsional motion is phase-locked aperiodicity or jitter to the motion of the string. Human to the transverse waves, producing highly periodic hearing is very sensitive to jitter [9]. Small amounts of motion. The spectrum of the torsional motion includes jitter contribute to a sound's being identified as 'natural' the fundamental and harmonics of the transverse wave, rather than 'mechanical'. Large amounts of jitter, on the with strong formants at the natural frequencies of the other hand, sound unmusical. Here we measure and torsional standing waves in the whole string. Volunteers compare translational and torsional velocities of a with no experience on bowed string instruments, bowed bass string and examine the periodicity of the however, often produced non-periodic motion. We standing waves. present sound files of both the transverse and torsional velocity signals of well-bowed strings. The torsional y string signal has not only the pitch of the transverse signal, but kink it sounds recognisably like a bowed string, probably because of its rich harmonic structure and the transients and amplitude envelope produced by bowing. -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Standing Waves and Sound
Standing Waves and Sound Waves are vibrations (jiggles) that move through a material Frequency: how often a piece of material in the wave moves back and forth. Waves can be longitudinal (back-and- forth motion) or transverse (up-and- down motion). When a wave is caught in between walls, it will bounce back and forth to create a standing wave, but only if its frequency is just right! Sound is a longitudinal wave that moves through air and other materials. In a sound wave the molecules jiggle back and forth, getting closer together and further apart. Work with a partner! Take turns being the “wall” (hold end steady) and the slinky mover. Making Waves with a Slinky 1. Each of you should hold one end of the slinky. Stand far enough apart that the slinky is stretched. 2. Try making a transverse wave pulse by having one partner move a slinky end up and down while the other holds their end fixed. What happens to the wave pulse when it reaches the fixed end of the slinky? Does it return upside down or the same way up? Try moving the end up and down faster: Does the wave pulse get narrower or wider? Does the wave pulse reach the other partner noticeably faster? 3. Without moving further apart, pull the slinky tighter, so it is more stretched (scrunch up some of the slinky in your hand). Make a transverse wave pulse again. Does the wave pulse reach the end faster or slower if the slinky is more stretched? 4. Try making a longitudinal wave pulse by folding some of the slinky into your hand and then letting go. -
Fretted Instruments, Frets Are Metal Strips Inserted Into the Fingerboard
Fret A fret is a raised element on the neck of a stringed instrument. Frets usually extend across the full width of the neck. On most modern western fretted instruments, frets are metal strips inserted into the fingerboard. On some historical instruments and non-European instruments, frets are made of pieces of string tied around the neck. Frets divide the neck into fixed segments at intervals related to a musical framework. On instruments such as guitars, each fret represents one semitone in the standard western system, in which one octave is divided into twelve semitones. Fret is often used as a verb, meaning simply "to press down the string behind a fret". Fretting often refers to the frets and/or their system of placement. The neck of a guitar showing the nut (in the background, coloured white) Contents and first four metal frets Explanation Variations Semi-fretted instruments Fret intonation Fret wear Fret buzz Fret Repair See also References External links Explanation Pressing the string against the fret reduces the vibrating length of the string to that between the bridge and the next fret between the fretting finger and the bridge. This is damped if the string were stopped with the soft fingertip on a fretless fingerboard. Frets make it much easier for a player to achieve an acceptable standard of intonation, since the frets determine the positions for the correct notes. Furthermore, a fretted fingerboard makes it easier to play chords accurately. A disadvantage of frets is that they restrict pitches to the temperament defined by the fret positions. -
Mersenne and Mixed Mathematics
Mersenne and Mixed Mathematics Antoni Malet Daniele Cozzoli Pompeu Fabra University One of the most fascinating intellectual ªgures of the seventeenth century, Marin Mersenne (1588–1648) is well known for his relationships with many outstanding contemporary scholars as well as for his friendship with Descartes. Moreover, his own contributions to natural philosophy have an interest of their own. Mersenne worked on the main scientiªc questions debated in his time, such as the law of free fall, the principles of Galileo’s mechanics, the law of refraction, the propagation of light, the vacuum problem, the hydrostatic paradox, and the Copernican hypothesis. In his Traité de l’Harmonie Universelle (1627), Mersenne listed and de- scribed the mathematical disciplines: Geometry looks at continuous quantity, pure and deprived from matter and from everything which falls upon the senses; arithmetic contemplates discrete quantities, i.e. numbers; music concerns har- monic numbers, i.e. those numbers which are useful to the sound; cosmography contemplates the continuous quantity of the whole world; optics looks at it jointly with light rays; chronology talks about successive continuous quantity, i.e. past time; and mechanics concerns that quantity which is useful to machines, to the making of instruments and to anything that belongs to our works. Some also adds judiciary astrology. However, proofs of this discipline are The papers collected here were presented at the Workshop, “Mersenne and Mixed Mathe- matics,” we organized at the Universitat Pompeu Fabra (Barcelona), 26 May 2006. We are grateful to the Spanish Ministry of Education and the Catalan Department of Universities for their ªnancial support through projects Hum2005-05107/FISO and 2005SGR-00929. -
University of California Santa Cruz the Vietnamese Đàn
UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music -
Experiment 12
Experiment 12 Velocity and Propagation of Waves 12.1 Objective To use the phenomenon of resonance to determine the velocity of the propagation of waves in taut strings and wires. 12.2 Discussion Any medium under tension or stress has the following property: disturbances, motions of the matter of which the medium consists, are propagated through the medium. When the disturbances are periodic, they are called waves, and when the disturbances are simple harmonic, the waves are sinusoidal and are characterized by a common wavelength and frequency. The velocity of propagation of a disturbance, whether or not it is periodic, depends generally upon the tension or stress in the medium and on the density of the medium. The greater the stress: the greater the velocity; and the greater the density: the smaller the velocity. In the case of a taut string or wire, the velocity v depends upon the tension T in the string or wire and the mass per unit length µ of the string or wire. Theory predicts that the relation should be T v2 = (12.1) µ Most disturbances travel so rapidly that a direct determination of their velocity is not possible. However, when the disturbance is simple harmonic, the sinusoidal character of the waves provides a simple method by which the velocity of the waves can be indirectly determined. This determination involves the frequency f and wavelength λ of the wave. Here f is the frequency of the simple harmonic motion of the medium and λ is from any point of the wave to the next point of the same phase. -
Feeltone Flyer 2017
Bass Tongue Drums Monchair 40 monochord strings in either monochord tuning New improved design and a new developed tuning ( bass and overtone) or Tanpura (alternating set of 4 technique which improves the sound volume and strings ) which are easy to play by everyone intuitively Natural Acoustic Musical Instrument for: intensifies the vibration. These Giant Bass Tongue Drums without any prior musical experience. Therapy, Music making, Music Therapy , were created especially for music therapists. Soundhealing, Wellness, Meditaions…. Approaching the chair with a gentle and supportive made in Germany Great drumming experience for small and big people attitude can bring joy and healing to your client and alone or together. yourself. The elegant appearance and design is the perfect The feeltone Line fit and addition for a variety of locations, such as: modern • Monochord Table The vibration can be felt very comfortably throughout the offices, clinics, therapeutic facilities, private practices, 60 strings, rich vibration and overtones, body. All tongue drums have an additional pair of feet on wellness center and in your very own home. for hand on treatments. the side enabling them to be flipped over 90 degrees Here is what one of our therapist working with the • Soundwave allowing a person to lay on the drum while you are monchair is saying: combines the power of monochords with a "....monchair both doubles as an office space saver and a playing. Feel the vibration and the rhythm in your body. bass tongue drum, in Ash or Padouk therapeutic vibrational treatment chair for my patients. monchair- Singing Chair 40 Because of its space saving feature I am able to also use • This therapeutic musical furniture has been used in many monochord or tempura strings hospitals, clinics, kindergartens, senior homes and homes the overtone rich Monochord instruments while the client is Bass Tongue drums in a seated position. -
Chapter 5 Waves I: Generalities, Superposition & Standing Waves
Chapter 5 Waves I: Generalities, Superposition & Standing Waves 5.1 The Important Stuff 5.1.1 Wave Motion Wave motion occurs when the mass elements of a medium such as a taut string or the surface of a liquid make relatively small oscillatory motions but collectively give a pattern which travels for long distances. This kind of motion also includes the phenomenon of sound, where the molecules in the air around us make small oscillations but collectively give a disturbance which can travel the length of a college classroom, all the way to the students dozing in the back. We can even view the up–and–down motion of inebriated spectators of sports events as wave motion, since their small individual motions give rise to a disturbance which travels around a stadium. The mathematics of wave motion also has application to electromagnetic waves (including visible light), though the physical origin of those traveling disturbances is quite different from the mechanical waves we study in this chapter; so we will hold off on studying electromagnetic waves until we study electricity and magnetism in the second semester of our physics course. Obviously, wave motion is of great importance in physics and engineering. 5.1.2 Types of Waves In some types of wave motion the motion of the elements of the medium is (for the most part) perpendicular to the motion of the traveling disturbance. This is true for waves on a string and for the people–wave which travels around a stadium. Such a wave is called a transverse wave. This type of wave is the easiest to visualize. -
Class Summer Vacation, 2021-22 Subject
HOLIDAY HOMEWORK: Class 10 IG Summer Vacation, 2021-22 Subject : English Literature Time to be Spent One hour for fifteen days (Hours per day for ___ Days) : Work Read the text of Shakespeare’s Othello. Specification : Materials Hard copy or soft copy of the text of the drama Othello Required : Read the original text and the paraphrase. Make a presentation in about 15 slides . Some online resources are shared below: https://www.youtube.com/watch?v=2aRr6-XXAD8 Instructions / https://www.youtube.com/watch?v=95Vfcb7VvCA Guidelines : https://www.youtube.com/watch?v=Bp6LqSgukOU https://www.youtube.com/watch?v=lN4Kpj1PFKM https://www.youtube.com/watch?v=5z19M1A8MtY Any other Information: 1. List of the characters. 2. Theme of the drama 3. Act wise summary Date of Submission: 30th June 2021 ( you have to present your research in classroom) Head of the Department HOLIDAY HOMEWORK: Class 10 IG Summer Vacation, 2021-22 Subject : BUSINESS STUDIES (0450) Time to be Spent 6 Hours (1 ½ Hours per day for 4 Days) : Past papers for both components. Work Specification : Materials BUSINESS STUDIES (0450) TEXT BOOK Required : Students are expected to take printout of papers using the link: https://drive.google.com/file/d/1RJO1dBuq2eceLwKZ3ptolKL5JZP76rKW/view?usp=sharing Student should strictly avoid copying the answers from the books/ marking Instructions / scheme for their own benefit and well- being. Guidelines: Students are expected to take a print of all the papers given, get them spiral-bind and solve them in the space provided in the question paper itself and avoid taking extra sheet. Any other Information: Answers must fulfill all the criteria of assessment objectives. -
Setu Kannel (Zither) Roland Suits Estonian National Museum Citole
Reconstructing and making replicas of musical instruments from the conservator ´s/ instrument maker’s viewpoint Roland Suits Estonian National Museum Beginning from the second half of the 20th century people all soundbox, neck, fingerboard, bridge and nut have been made over the world started to take an interest in playing traditional from maple, the cover is sprucewood and the tuning pins are and folk music on the so-called authentic instruments. This made from pear-tree. created the necessity for making duplicates or reconstructions of instruments. Therefore it is only natural that people turn also Moldpill (Psalmodicone) to museums where this kind of instruments can be found. Moldpill, which is of Swedish origin and spread in Western Unfortunately, very few musical instruments have been pre- and Northern Estonia in the 19th century, has usually only one served in the world dating from the Middle Ages and earlier string (monochord) and is played with a bow. The instrument Renaissance period in Europe; yet, abundant iconographic ma- was used at learning and accompanying songs at schools and terial can be found about them – paintings, sculptures, mini- prayer houses and it was also used for the same purpose at atures, stained glass, and so on. Written records are also avail- home. At the beginning of the 19th century the moldpill was able. Photo No. 2 Photo No. 3 adjusted from the ancient monochord for schools. As concerns folk instruments, in Estonia they started to be col- to a violin and was given to Queen Elizabeth I as a present by lected at about the beginning of the 20th century, yet, many of Earl Leicester. -
Marin Mersenne: Minim Monk and Messenger; Monotheism, Mathematics, and Music
Marin Mersenne: Minim Monk and Messenger; Monotheism, Mathematics, and Music Karl-Dieter Crisman (Gordon College) Karl-Dieter Crisman is Professor of Mathematics at Gordon Col- lege, but first heard of Mersenne in both math and music courses as an undergraduate at Northwestern University. His main scholarly work focuses on open software resources for mathematics, and the mathematics of voting. He is certain Mersenne would see as many connections between those topics and faith as he did with the math of music and physics. Abstract Marin Mersenne is one of many names in the history of mathematics known more by a couple of key connections than for their overall life and accomplishments. Anyone familiar with number theory has heard of ‘Mersenne primes’, which even occasionally appear in broader media when a new (and enormous) one is discovered. Instructors delving into the history of calculus a bit may know of him as the interlocutor who drew Fermat, Descartes, and others out to discuss their methods of tangents (and more). In most treatments, these bare facts are all one would learn about him. But who was Mersenne, what did he actually do, and why? This paper gives a brief introduction to some important points about his overall body of work, using characteristic examples from his first major work to demonstrate them. We’ll especially look into why a monk from an order devoted to being the least of all delved so deeply into (among other things) exploratory math- ematics, practical acoustics, and defeating freethinkers, and why that might be of importance today. 1 Introduction The seventeenth century was a time of ferment in the sciences in Western Europe.