Fundamentals of musical acoustics:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Dover Publ.
1990
|
| Ausgabe: | 2., rev. ed. |
| Schriftenreihe: | Dover books on music, music history
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | This Dover edition, first published in 1990, is an unabridged, extensively corrected republication of the edition originally published by Oxford University Press in 1976. |
| Beschreibung: | XII, 596 S. graph. Darst. |
| ISBN: | 048626484X |
Internformat
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| 100 | 1 | |a Benade, Arthur H. |d 1925-1987 |e Verfasser |0 (DE-588)143022636 |4 aut | |
| 245 | 1 | 0 | |a Fundamentals of musical acoustics |c Arthur H. Benade |
| 250 | |a 2., rev. ed. | ||
| 264 | 1 | |a New York |b Dover Publ. |c 1990 | |
| 300 | |a XII, 596 S. |b graph. Darst. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 0 | |a Dover books on music, music history | |
| 500 | |a This Dover edition, first published in 1990, is an unabridged, extensively corrected republication of the edition originally published by Oxford University Press in 1976. | ||
| 650 | 0 | 7 | |a Musikalische Akustik |0 (DE-588)4123807-2 |2 gnd |9 rswk-swf |
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Datensatz im Suchindex
| _version_ | 1804140959906136064 |
|---|---|
| adam_text | Contents
1.
Preliminaries to a Study of Musical Acoustics
............... 3
1.1
Musical Acoustics: The Meeting Place of Music, Vibration Physics,
Auditory Science, and Craftsmanship,
3
1.2
The Organization of This Book,
6
1.3
A Brief Operating Manual,
8
2.
Impulsive Sounds, Alone and in Sequence
................. 10
2.1
Sequences of Impulsive Sounds,
12
2.2
A Scale of Reference Pitches,
14
2.3
Repetition Rates of Rhythmic Patterns,
16
2.4
Electronically Controlled Repetition Rates,
18
2.5
Examples, Experiments, and Questions,
21
3.
Simple Relations of Sounds and Motions
.................. 25
3.1
Mechanical Motion of Sound Source and Eardrum,
25
3.2
The Representation of Motion,
26
3.3
Displaying Motion: The Strip Chart Recorder and the Oscilloscope,
29
3.4
Oscilloscope Display of a Particular Clang,
31
3.5
Examples, Experiments, and Questions,
35
4.
Characteristic Frequencies and the Decay of Composite Sounds
37
4.1
A Preliminary Speculation on the Pitch Behavior of Skillet Clangs,
37
4.2
Repetitive Properties of an Impulsive Motion,
37
4.3
Several Simultaneous Repetition Rates,
38
4.4
Experimental Search for Vibrations Having Several Repetition Rates,
39
4.5
Patterns Made by Adding Two Different Repeating Motions,
41
4.6
Composite Motions of a Skillet,
41
4.7
The Characteristic Oscillations of a Struck Object,
44
4.8
The Formal Description of a Decaying Sound,
44
4.9
Examples, Experiments, and Questions,
46
5.
Pitch: The Simplest Musical Implication of Characteristic
Oscillations
........................................... 50
5.1
Perceived Pitch of a Composite Sound I: Rectangular Bars,
50
Contents
5.2
Perceived Pitch II: Small Clock Chimes,
52
5.3
Perceived Pitch III: Bells,
54
5.4
Frequency Components of the Sounds from a Plucked or Struck
String: Guitars and Pianos,
56
5.5
Sounds Having Whole-Number Frequency Ratios,
59
5.6
The Pitch of Chimes and Bells: Hints of Pattern Recognition,
62
5.7
Another Pitch Assignment Phenomenon: The Effect of Suppressing
Upper or Lower
Partials,
65
5.8
Pitch Assignments and Frequency Patterns: Summary and
Conclusions,
67
5.9
Examples, Experiments, and Questions,
69
6.
The Modes of Oscillation of Simple and Composite Systems
. . 73
6.1
Properties of Simple Oscillators,
74
6.2
Possible Oscillations of a Mass Supported by Springs,
78
6.3
Transverse Oscillations of Two Masses Connected by Springs,
81
6.4
More Than Two Masses Connected by Springs,
82
6.5
Characteristic Modes of Oscillation: A Summary,
85
6.6
Examples, Experiments, and Questions,
86
7.
Introduction to Vibration Recipes: The Plucked String
......91
7.1
Combinations of Modes: The Two-Mass Chain,
91
7.2
Vibration Recipe of a Stringlike Beaded Chain,
95
7.3
The Basic Recipe of a Plucked or Struck String,
100
7.4
Examples, Experiments, and Questions,
104
8
Broad Hammers and Plectra, Soft Hammers, and the Stiffness
of Strings
............................................ 108
8.1
The Equivalence of Broad Plectra to Sets of Narrow Ones,
108
8.2
The Effect of Hammer Width on the Recipe for a Struck String,
114
8.3
The Effect of Impact Duration on the Recipe for a Struck String,
116
8.4
The Effect of String Stiffness on the Excitation of Strings,
118
8.5
The Upper Limits of the Vibration Recipe: A Summary,
119
8.6
Examples, Experiments, and Questions,
120
9.
The Vibrations of Drumheads and Soundboards
........... 124
9.1
Unraveling the Mode Shapes of a Glockenspiel Bar,
124
9.2
Mode Shapes of a Rectangular Plate Having Free Edges,
128
9.3
The Effect of Various Boundaries,
131
9-4
Adjustment of Frequency Relations by Variations of Thickness,
135
9.5
An Example: The Kettledrum,
141
9.6
Examples, Experiments, and Questions,
145
Contents
10. Sinusoidally
Driven Oscillations
......................... 148
10.1
Excitation of a Pendulum by a Repetitive Force,
148
10.2
Properties of the Initial Transient Motion,
153
10.3
The Influence of Variable Damping on the Steady Response,
157
10.4
A Flute Player s Unplanned Experiment,
160
10.5
Steady Excitation of a System Having Two Characteristic Modes of
Vibration,
160
10.6
A Summary of the Properties of a Sinusoidally Driven System,
165
10.7
The Transfer Response of a Tin Tray,
165
10.8
Some Musical Implications,
170
10.9
Examples, Experiments, and Questions,
170
11.
Room Acoustics I: Excitation of the Modes and the
Transmission of Impulses
.............................. 172
11.1
Sound Pressure: A Way of Describing the Characteristic Oscillatory
Modes of Room Air,
172
11.2
Excitation of Room Modes by a Simple Source,
173
11.3
Detection of Room Modes by a Microphone or by the Ear:
Interchangeability of Source and Detector,
175
11.4
Measured Steady-State Response Curves for a Room,
177
11.5
The Influence of Furniture and Moving Objects on Room Modes,
181
11.6
Room Response: Some Apparent Problems,
183
11.7
Transient Response of Rooms to Sinusoidal Excitation,
184
11.8
Response to Impulsive Excitation I: Signal Delays and
Reverberation,
187
11.9
Response to Impulsive Excitation II: Reflections and Scattering,
191
11.10
Examples, Experiments, and Questions,
195
12.
Room Acoustics II: The Listener and the Room
........... 197
12.1
Hearing Sustained Sounds in a Room,
197
12.2
The Role of Early Reflections: The Precedence Effect,
201
12.3
Localization by the Ears of Sound Sources in a Room,
205
12.4
Some Examples of the Interplay between Room and Ear,
210
12.5
Examples, Experiments, and Questions,
218
13.
The Loudness of Single and Combined Sounds
............ 223
13.1
Thresholds of Hearing and Pain for a 1000-Hz Sinusoid,
223
13.2
The Decibel Notation and Its Application to Acoustical Signals,
225
13-3
Hearing and Pain Thresholds at Various Frequencies,
228
13.4
Variations in the Perceived Loudness of a Single-Component
Sound:
Sones,
231
13.5
Loudness of Combined Single-Component or Narrow-Band Noise
Signals Having Identical or Different Pitches,
234
Contents
13.6
The Combined Loudness of Two or More Sinusoids; Relationships
Advertised by Beats,
238
13.7
A Loudness Experiment Comparing Two Saxophone Tones,
244
13.8
The Sound Level Meter,
247
13.9
Examples, Experiments, and Questions,
251
14.
The Acoustical Phenomena Governing the Musical
Relationships of Pitch
................................. 254
14.1
Heterodyne Components: Their Detection and Frequency
•
Relationships,
254
14.2
Mechanical Origins of the Heterodyne Components,
259
14.3
The Musical Tone: Special Properties of Sounds Having Harmonic
Components,
264
14.4
Pitch Matching: The Unison and Other Special Intervals,
266
14.5
Examples, Experiments, and Questions,
277
15.
Successive Tones: Reverberations, Melodic Relationships, and
Musical Scales
........................................ 281
15.1
Reverberation Times and the Audibility of Decaying Sounds in a
Room,
281
15.2
The Effect of Room Reverberation and Noise on Musical Pitch
Relationships,
284
15.3
Introduction to Musical Scales,
288
15.4
The Function of Equal Temperament for Adjustable-Pitch
Instruments,
293
15.5
Basic Scale Relations in the Music of India,
296
15.6
Other Reasons for Departures from the Special Intervals of a Scale,
298
15.7
Examples, Experiments, and Questions,
300
16.
Keyboard Temperaments and Tuning Properties of the
Organ, Harpsichord, and Piano
......................... 304
16.1
Just Scales: The Conventional Basis for Keyboard Tunings,
305
16.2
Tuning Procedure for Setting Equal Temperament,
306
16.3
A Useful Unequal Temperament: Andreas Werckmeister III,
310
16.4
Some Musical Implications: Key Mood and Modulation,
311
16.5
Vibration Physics of Real Strings,
313
16.6
Temperaments for Stringed Keyboard Instruments,
318
16.7
Further Musical Implications and Summary,
322
16.8
Examples, Experiments, and Questions,
324
17.
Sound Production in Pianos
............................ 328
17.1
The Soundboard As Seen by the Strings; The Concept of Wave
Impedance,
328
17.2
The Proportions of a Mid-Scale Piano String and the Necessity for
Multiple Stringing,
333
Contents
17.3
The Effect of Multiple Stringing on the Sound of the Piano,
334
17.4
The Action of Piano Hammers,
339
17.5
Scaling the Strings of a Piano,
343
17.6
The Sound of a Piano,
346
17.7
Examples, Experiments, and Questions,
349
18.
The Clavichord and the Harpsichord
.................... 353
18.1
The Clavichord,
353
18.2
The Harpsichord,
354
18.3
Examples, Experiments, and Questions,
357
19-
The Voice as a Musical Instrument
...................... 360
19.1
The Voice: A Source of Controllable Sound,
360
19.2
The Larynx: A Self-Sustaining Oscillatory Flow Controller,
363
19-3
Sound Transmission through the Vocal Cavities and into the Room,
369
19.4
The Male Voice and the Singer s
Formant ,
376
19.5
Formant
Tuning and the Soprano Singing Voice,
381
19.6
Intermediate Voices and Various Musical Implications,
385
19-7
Examples, Experiments, and Questions,
387
20.
The Brass Wind Instruments
........................... 391
20.1
A Model of the Brass Player s Excitation Mechanism: The Water
Trumpet,
391
20.2
Multiple-Mode Cooperations: Regimes of Oscillation,
394
20.3
Acoustical Measurements and Playing Experiments on Simple Air
Columns,
396
20.4
The Influence of the Mouthpiece on the Heights of Resonance
Peaks; Some Playing Properties of a Trumpet,
400
20.5
Musically Useful Shapes: The Flaring and Conical Families of
Brasses,
405
20.6
The Selection of Valve Slides to Give a Complete Scale,
412
20.7
Further Properties of the Mouthpiece; Adjustment Techniques,
414
20.8
The Internal and External Sound Spectra of a Trumpet,
418
20.9
The Problem of Clean Attack,
425
20.10
Examples, Experiments, and Questions,
426
21.
The Woodwinds: I
....................................430
21.1
Resonance Curves and the Characteristic Shapes of Woodwind
Vibrational Modes: The Tone-Hole Cutoff Frequency,
431
21.2
The Flow-Control and Elastic Properties of Reeds,
435
21.3
Woodwind Regimes of Oscillation; Worman s Results,
439
21.4
Acoustical Properties of a Set of Closed or Open Tone Holes,
447
Contents
21.5 The Higher Registers
of Wood winds; The Function of Register
Holes and Cross-Fingerings,
455
21.6
Examples, Experiments, and Questions,
462
22.
The Woodwinds: II
...................................465
22.1
The Reed Cavity and Neck Proportions in Conical Instruments,
465
22.2
Reed Cavity Acoustics for Cylindrical Instruments,
472
22.3
Adjustment of Natural Frequencies by Means of Small Changes of
Air-Column Shape,
473
22.4
The Radiation of Sound from a Woodwind; Some Problems Faced
by Recording Engineers,
481
22.5
Characterization of a Woodwind by Its Cutoff Frequency,
485
22.6
The Flute Family of Instruments,
489
22.7
The Effect of Wall Material on the Playing Properties of Wind
Instruments,
499
22.8
Examples, Experiments, and Questions,
501
23.
The Oscillations of a Bowed String
...................... 505
23.1
The Excitation Mechanism of a Bowed String,
505
23-2
The Resonance Curves and Regimes of Oscillation of a Bowed String,
507
23.3
The Effect of Inharmonicity and Damping on the Setting-Up of
Regimes,
512
23.4
A Description of the Bowing Mechanism; Helmholtz and Raman,
515
23.5
The Bridge Driving Force Spectrum,
521
23.6
Examples, Experiments, and Questions,
524
24.
Instruments of the Violin Family
........................ 527
24.1
The Body and the Bridge of Instruments of the Violin Family,
527
24.2
High-Frequency Radiation Properties of Bowed String Instruments,
535
24.3
Characteristic Features of the Violin, Viola, and Cello; A Recent
Development: The New Family of Large and Small True Violins,
537
24.4
The Adjustment of Violin Plates and the Required Properties of
Their Material,
543
24.5
Musical Properties of Bowed String Instruments,
547
24.6
Examples, Experiments, and Questions,
549
25.
Half-Valved Octaves, Burrs, Multiphonics, and Wolf Notes
. 554
25.1
The Playing of Half-Valved Octaves on Brass Instruments,
554
25.2
Brass-Instrument Burrs,
557
25.3
Reed Woodwind Multiphonics,
559
25.4
The Wolf Note on Violin-Family Instruments,
567
25.5
Examples, Experiments, and Questions,
573
Index
............................................... 577
|
| any_adam_object | 1 |
| author | Benade, Arthur H. 1925-1987 |
| author_GND | (DE-588)143022636 |
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| id | DE-604.BV024708724 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T22:08:16Z |
| institution | BVB |
| isbn | 048626484X |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-018830193 |
| oclc_num | 780097828 |
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| owner_facet | DE-634 DE-11 DE-739 DE-29T DE-91G DE-BY-TUM |
| physical | XII, 596 S. graph. Darst. |
| publishDate | 1990 |
| publishDateSearch | 1990 |
| publishDateSort | 1990 |
| publisher | Dover Publ. |
| record_format | marc |
| series2 | Dover books on music, music history |
| spelling | Benade, Arthur H. 1925-1987 Verfasser (DE-588)143022636 aut Fundamentals of musical acoustics Arthur H. Benade 2., rev. ed. New York Dover Publ. 1990 XII, 596 S. graph. Darst. txt rdacontent n rdamedia nc rdacarrier Dover books on music, music history This Dover edition, first published in 1990, is an unabridged, extensively corrected republication of the edition originally published by Oxford University Press in 1976. Musikalische Akustik (DE-588)4123807-2 gnd rswk-swf Musikalische Akustik (DE-588)4123807-2 s DE-604 Digitalisierung UB Passau application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018830193&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Benade, Arthur H. 1925-1987 Fundamentals of musical acoustics Musikalische Akustik (DE-588)4123807-2 gnd |
| subject_GND | (DE-588)4123807-2 |
| title | Fundamentals of musical acoustics |
| title_auth | Fundamentals of musical acoustics |
| title_exact_search | Fundamentals of musical acoustics |
| title_full | Fundamentals of musical acoustics Arthur H. Benade |
| title_fullStr | Fundamentals of musical acoustics Arthur H. Benade |
| title_full_unstemmed | Fundamentals of musical acoustics Arthur H. Benade |
| title_short | Fundamentals of musical acoustics |
| title_sort | fundamentals of musical acoustics |
| topic | Musikalische Akustik (DE-588)4123807-2 gnd |
| topic_facet | Musikalische Akustik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018830193&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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