Linear and Nonlinear Waves
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Research on the History of Modern Acoustics François Ribac, Viktoria Tkaczyk
Research on the history of modern acoustics François Ribac, Viktoria Tkaczyk To cite this version: François Ribac, Viktoria Tkaczyk. Research on the history of modern acoustics. Revue d’Anthropologie des Connaissances, Société d’Anthropologie des Connaissances, 2019, Musical knowl- edge, science studies, and resonances, 13 (3), pp.707-720. 10.3917/rac.044.0707. hal-02423917 HAL Id: hal-02423917 https://hal.archives-ouvertes.fr/hal-02423917 Submitted on 26 Dec 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. RESEARCH ON THE HISTORY OF MODERN ACOUSTICS Interview with Viktoria Tkaczyk, director of the Epistemes of Modern Acoustics research group at the Max Planck Institute for the History of Science, Berlin François Ribac S.A.C. | « Revue d'anthropologie des connaissances » 2019/3 Vol. 13, No 3 | pages 707 - 720 This document is the English version of: -------------------------------------------------------------------------------------------------------------------- François Ribac, « Recherche en histoire de l’acoustique moderne », Revue d'anthropologie -
A History of Electroacoustics: Hollywood 1956 – 1963 by Peter T
A History of Electroacoustics: Hollywood 1956 – 1963 By Peter T. Humphrey A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor James Q. Davies, Chair Professor Nicholas de Monchaux Professor Mary Ann Smart Professor Nicholas Mathew Spring 2021 Abstract A History of Electroacoustics: Hollywood 1956 – 1963 by Peter T. Humphrey Doctor of Philosophy in Music and the Designated Emphasis in New Media University of California, Berkeley Professor James Q. Davies, Chair This dissertation argues that a cinematic approach to music recording developed during the 1950s, modeling the recording process of movie producers in post-production studios. This approach to recorded sound constructed an imaginary listener consisting of a blank perceptual space, whose sonic-auditory experience could be controlled through electroacoustic devices. This history provides an audiovisual genealogy for electroacoustic sound that challenges histories of recording that have privileged Thomas Edison’s 1877 phonograph and the recording industry it generated. It is elucidated through a consideration of the use of electroacoustic technologies for music that centered in Hollywood and drew upon sound recording practices from the movie industry. This consideration is undertaken through research in three technologies that underwent significant development in the 1950s: the recording studio, the mixing board, and the synthesizer. The 1956 Capitol Records Studio in Hollywood was the first purpose-built recording studio to be modelled on sound stages from the neighboring film lots. The mixing board was the paradigmatic tool of the recording studio, a central interface from which to direct and shape sound. -
A History of Rhythm, Metronomes, and the Mechanization of Musicality
THE METRONOMIC PERFORMANCE PRACTICE: A HISTORY OF RHYTHM, METRONOMES, AND THE MECHANIZATION OF MUSICALITY by ALEXANDER EVAN BONUS A DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________Alexander Evan Bonus candidate for the ______________________Doctor of Philosophy degree *. Dr. Mary Davis (signed)_______________________________________________ (chair of the committee) Dr. Daniel Goldmark ________________________________________________ Dr. Peter Bennett ________________________________________________ Dr. Martha Woodmansee ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________2/25/2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2010 by Alexander Evan Bonus All rights reserved CONTENTS LIST OF FIGURES . ii LIST OF TABLES . v Preface . vi ABSTRACT . xviii Chapter I. THE HUMANITY OF MUSICAL TIME, THE INSUFFICIENCIES OF RHYTHMICAL NOTATION, AND THE FAILURE OF CLOCKWORK METRONOMES, CIRCA 1600-1900 . 1 II. MAELZEL’S MACHINES: A RECEPTION HISTORY OF MAELZEL, HIS MECHANICAL CULTURE, AND THE METRONOME . .112 III. THE SCIENTIFIC METRONOME . 180 IV. METRONOMIC RHYTHM, THE CHRONOGRAPHIC -
Access to Communications Technology
A Access to Communications Technology ABSTRACT digital divide: the Pew Research Center reported in 2019 that 42 percent of African American adults and Early proponents of digital communications tech- 43 percent of Hispanic adults did not have a desk- nology believed that it would be a powerful tool for top or laptop computer at home, compared to only disseminating knowledge and advancing civilization. 18 percent of Caucasian adults. Individuals without While there is little dispute that the Internet has home computers must instead use smartphones or changed society radically in a relatively short period public facilities such as libraries (which restrict how of time, there are many still unable to take advantage long a patron can remain online), which severely lim- of the benefits it confers because of a lack of access. its their ability to fill out job applications and com- Whether the lack is due to economic, geographic, or plete homework effectively. demographic factors, this “digital divide” has serious There is also a marked divide between digital societal repercussions, particularly as most aspects access in highly developed nations and that which of life in the twenty-first century, including banking, is available in other parts of the world. Globally, the health care, and education, are increasingly con- International Telecommunication Union (ITU), a ducted online. specialized agency within the United Nations that deals with information and communication tech- DIGITAL DIVIDE nologies (ICTs), estimates that as many as 3 billion people living in developing countries may still be In its simplest terms, the digital divide refers to the gap unconnected by 2023. -
Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier
Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier Peter John Blamey Doctor of Philosophy University of Western Sydney 2008 Acknowledgements I would like to thank my principal supervisor Dr Chris Fleming for his generosity, guidance, good humour and invaluable assistance in researching and writing this thesis (and also for his willingness to participate in productive digressions on just about any subject). I would also like to thank the other members of my supervisory panel - Dr Caleb Kelly and Professor Julian Knowles - for all of their encouragement and advice. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .......................................................... (Signature) Table of Contents Abstract..................................................................................................................iii Introduction: Simple sounds, simple shapes, complex notions.............................1 Signs of sines....................................................................................................................4 Acoustics, aesthetics, and transduction........................................................................6 The acoustic and the auditory......................................................................................10 -
Lab 5A: Mersenne's Laws & Melde's Experiment
CSUEB Physics 1780 Lab 5a: Mersenne & Melde Page 1 Lab 5a: Mersenne’s Laws & Melde's experiment Introduction Vincenzo Galilei (1520 –1591), the father of Galileo Galilei, was an Italian lutenist, composer, and music theorist. It is reported that he showed that the pitch of a vibrating string was proportional to the square root of its tension. In other words, in order to increase the pitch by an octave (factor of 2 in frequency) it would require the tension to be quadrupled. Marin Mersenne (1588-1648, see picture), often called the “father of acoustics” , around 1630 published a book summarizing the properties of sound, based on the earlier work of Vincenzo and Galileo. He established that: • Frequency is inversely proportional to length of string • Frequency is inversely proportional to the diameter of the string • Frequency is proportional to the root of the tension • Frequency is inversely proportional to the root of the mass (density) of the string. So in summary, if you want a low note, use a fat (massive) long string under low tension. For a high pitch, use a thin short string under high tension. We can summarize all of his results with a single equation showing that the frequency “f” is proportional to: 1 F f ∝ , (1) L µ where “L” is the length of the violin string, “F” is the tension (in Newtons of force) and µ (“mu”) is the mass density of the string (in units of mass per unit length, e.g. kg per meter). In this experiment the string is assumed to be vibrating in its “fundamental” mode, like this, (figure 1). -
Springer Handbook of Acoustics
Springer Handbook of Acoustics Springer Handbooks provide a concise compilation of approved key information on methods of research, general principles, and functional relationships in physi- cal sciences and engineering. The world’s leading experts in the fields of physics and engineering will be assigned by one or several renowned editors to write the chapters com- prising each volume. The content is selected by these experts from Springer sources (books, journals, online content) and other systematic and approved recent publications of physical and technical information. The volumes are designed to be useful as readable desk reference books to give a fast and comprehen- sive overview and easy retrieval of essential reliable key information, including tables, graphs, and bibli- ographies. References to extensive sources are provided. HandbookSpringer of Acoustics Thomas D. Rossing (Ed.) With CD-ROM, 962 Figures and 91 Tables 123 Editor: Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics Stanford, CA 94305, USA Editorial Board: Manfred R. Schroeder, University of Göttingen, Germany William M. Hartmann, Michigan State University, USA Neville H. Fletcher, Australian National University, Australia Floyd Dunn, University of Illinois, USA D. Murray Campbell, The University of Edinburgh, UK Library of Congress Control Number: 2006927050 ISBN: 978-0-387-30446-5 e-ISBN: 0-387-30425-0 Printed on acid free paper c 2007, Springer Science+Business Media, LLC New York 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 New York, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. -
Ernst Florens Friedrich Chladni (30
Ullmann . Ernst Flarens Friedrich Chladni 1 Ernst Florens Friedrich Chladni (30. 11 . 1756-3.4.1827) Biographien hervorragender Naturwissenschaftler, Techniker und Mediziner Band 65 Ernst Florens Friedrich Chladni Dr. Dieter Ullmann, Berlin Mit 10 Abbildungen LEIPZIC BSB B. G. T eubner Verlagsgesellschaft . 1983 Herausgegeben von D. Goetz (Potsdam), E. Wächtler (Freiberg), H. Wußing (Leipzig) Verantwortlicher Herausgeber: D. Goetz Umschlagsfoto: Ernst Florens Friedrich Chladni. Nach einer Lithographie von Ludwig von Montmorillon. (Original im Besitz der Deutschen Staatsbibliothek Berlin, DDR.) Abbildung im Frontispiz: Ernst Florens Friedrich C~ladni. Titelvignette aus "Allgemeine musikalische Zeitung (Leipzig)", Band 10 (1808), nach einem Kupferstich von Friedrich Wilhelm Bollinger. (Foto: Deutsche Staatsbibliothek Berlin, DDR.) ISBN 978·3-322·00608·0 ISBN 978·3-322-93038·5 (eBook) DOI 10.1007/978·3-322·93038-5 ® BSB B. G. Tcubner Verlagsgesellschaft. Leip7ig. 1983 1. Auflage VLN '294-375/45183 . LSV 1108 Lektor: Hell. Müller Gesamtherstellung : EIbe-Druckerei Wlttenberg IV-28-1·542 BesteIl-Nr. 666 143 7 DDR 4.80 M Inhalt Vorwort 7 Kindheit, Jugend und Studienjahre 9 Arbeitsjahre in Wittenberg 14 Erste Reisejahre, die Meteoritenschrift von 1794 und das Hauptwerk "Die Akustik" 28 Die großen Reisen und das Lebemende 46 Nachwukungcn 63 Chronologie 69 Literatur 71 Personenregister 74 5 Für Stefan, Veronika und Christoph Vorwort Dieses scheint die Hauptaufgabe der Biographie zu sein, den Menschen in seinen Zeitverhältni"en darzustellen. Goethe Der Name des Wittenberger Physikers Ernst Florens Friedrich Chladni ist eng verbunden mit den von ihm entdeckten Klang figuren. Mit dieser Methode der Sichtbarmachung des Schwin gungsverhaltens elastischer Körper ist aber seine Bedeutung für die Wissenschaft keineswegs erschöpft. -
Musical Mathematics on the Art and Science of Acoustic Instruments
Musical Mathematics on the art and science of acoustic instruments Cris Forster MUSICAL MATHEMATICS ON THE ART AND SCIENCE OF ACOUSTIC INSTRUMENTS MUSICAL MATHEMATICS ON THE ART AND SCIENCE OF ACOUSTIC INSTRUMENTS Text and Illustrations by Cris Forster Copyright © 2010 by Cristiano M.L. Forster All Rights Reserved. No part of this book may be reproduced in any form without written permission from the publisher. Library of Congress Cataloging-in-Publication Data available. ISBN: 978-0-8118-7407-6 Manufactured in the United States. All royalties from the sale of this book go directly to the Chrysalis Foundation, a public 501(c)3 nonprofit arts and education foundation. https://chrysalis-foundation.org Photo Credits: Will Gullette, Plates 1–12, 14–16. Norman Seeff, Plate 13. 10 9 8 7 6 5 4 3 2 1 Chronicle Books LLC 680 Second Street San Francisco, California 94107 www.chroniclebooks.com In Memory of Page Smith my enduring teacher And to Douglas Monsour our constant friend I would like to thank the following individuals and foundations for their generous contributions in support of the writing, designing, and typesetting of this work: Peter Boyer and Terry Gamble-Boyer The family of Jackson Vanfleet Brown Thomas Driscoll and Nancy Quinn Marie-Louise Forster David Holloway Jack Jensen and Cathleen O’Brien James and Deborah Knapp Ariano Lembi, Aidan and Yuko Fruth-Lembi Douglas and Jeanne Monsour Tim O’Shea and Peggy Arent Fay and Edith Strange Charles and Helene Wright Ayrshire Foundation Chrysalis Foundation The jewel that we find, we stoop and take’t, Because we see it; but what we do not see We tread upon, and never think of it. -
Music and the Transhuman Ear: Ultrasonics, Material Bodies, and the Limits of Sensation
Music and the Transhuman Ear: Ultrasonics, Material Bodies, and the Limits of Sensation “We favor morphological freedom – the right to modify and enhance one’s body, cognition and emotions.” (Transhumanist declaration, 2012)1 “I am apt to think, if we knew what it was to be an angel for one hour, we should return to this world, though it were to sit on the brightest throne in it, with vastly more loathing and reluctance than we would now descend into a loathsome dungeon or sepulchre.” (George Berkeley, 1732)2 PART I The materialist turn When Voyager probes 1 and 2 left the earth’s orbit in 1977, the committee tasked with assembling cultural artifacts followed scientist Lewis Thomas’ advice to include recordings of J. S. Bach among the many musical samples. This, it seems, was the best way to open a conversation with an unknown non-human interlocutor, wherein exchanges may be spaced hundreds of years apart. Many styles and genres were committed to the golden discs, but Thomas worried that by broadcasting Bach, the human race might be guilty of bragging to aliens: “we would be bragging, of course,” he admitted in 1972, “but it is surely excusable to put the best possible face on at the beginning of such an acquaintance.”3 His statement makes telling assumptions. To take one example, the three-voice C-major fugue Glenn Gould recorded (WTC, Book II) matches humans’ ability at auditory streaming, which, as David Huron has shown, tends to max out at around three streams, after which “confusions [over contrapuntal lines] become commonplace.”4 It would seem that part of the effect of Bach’s 1 Various, “Transhumanist Declaration,” The Transhumanist Reader, ed. -
V5i1 Final:ECHOES Fall 04 Final 2/27/09 4:53 PM Page 1
v5i1 covers p3:Layout 1 2/27/09 4:56 PM Page 2 VOLUME 5, ISSUE 1 JANUARY 2009 Acoustics Today BN 0281 11 Phonurgia Nova A publication of De Motu Soni the Acoustical Society et Pluris of America Acoustics in the Seventeenth Century v5i1 final:ECHOES fall 04 final 2/27/09 4:53 PM Page 1 Masthead <#> v5i1 final:ECHOES fall 04 final 2/27/09 4:53 PM Page 2 ACOUSTICAL SOCIETY OF AMERICA SCIENCE WRITING AWARDS CALL FOR ENTRIES SUBMISSION DEADLINE IS 16 MARCH 2009 To encourage popular writing about acoustical science and engineering, the Acoustical Society of America ͑ASA͒ sponsors two annual awards for outstanding science writing. One award is for an article on acoustics written by a journalist and the other is for an article on acoustics written by an acoustics professional. Each award includes a $1000 prize and an award certificate, which will be presented at the ASA meeting to be held in San Antonio, Texas, in October 2009. The basic criteria for entries are accessibility by the general public, relevance to acoustics, accuracy, and the quality of the entry. Entries may be from a variety of media, including video, major Internet sites, books, newspapers, magazines, audio tapes, audio broadcasts, etc. Entries should have been published, issued, or broadcast between January 1 and December 31, 2008. Submissions of entries need not be made by the author. Multiple entries by a single author are accepted. To enter, please send 12 copies of each entry ͑legible photocopies accepted if originals are not available͒ making sure that it includes author name, publication name, and publication date, publisher’s address, and author’s complete contact information ͑including email address͒.If the entry is a website, please submit 12 copies of the entry page with the URL. -
Genres of Music Theory 1650–1750
orphBk6TowardsTonality_AmForm 09-12-2008 12:03 Pagina 9 GENRES OF MUSIC THEORY, 1650–1750 Thomas Christensen To help make sense of any complex intellectual or historical discip- line, scholars have usually found it necessary to divide the subject up into various classifications and parts that are related in some kind of rationalized network or hierarchy. Put more metaphoric- ally, we create maps of disciplines by which to survey and under- stand the varied terrains we wish to navigate in our studies. Without some kind of order imposed upon either unwieldy empiricism or intellectual abstraction, our work as scholars and historians would be well-nigh impossible. Disciplinary categories and divisions are indispensable as cognitive heuristics. Of course, divisions (or maps) of disciplines do not remain sta- ble over time. This is particularly so in the case of music theory, whose domain and sub-categories have varied widely since the first extant theoretical writings from antiquity. What constitutes music theory over this 2000-year period — its primary subject matters and its attendant internal configurations — has changed dramatic- ally. A difficulty for many students today, then, is to recognize and understand unfamiliar historical topographies. We can become so complacent as to what a subject such as music theory “looks like” from our own experiences and practice that it becomes quite jar- ring to observe radically differing conceptualizations. Topics that we might presume belong inherently to music theory may not be found in older writings, while conversely, other topics that we would not associate at all with the discipline of theory are in fact featured prominently.