Physics of the piano:
Why does a piano sound like a piano? A similar question can be asked of virtually all musical instruments. A particular note-such as middle C-can be produced by a piano, a violin, a clarinet, and many other instruments, yet it is easy for even a musically untrained listener to distinguish between th...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford ; New York
Oxford University Press
[2010]
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Why does a piano sound like a piano? A similar question can be asked of virtually all musical instruments. A particular note-such as middle C-can be produced by a piano, a violin, a clarinet, and many other instruments, yet it is easy for even a musically untrained listener to distinguish between these different instruments. A central quest in the study of musical instruments is to understand why the sound of the "same" note depends greatly on the instrument, and to elucidate which aspects of an instrument are most critical in producing the musical tones characteristic of the instrument. The primary goal of this book is to investigate these questions for the piano. The explanations in this book use a minimum of mathematics, and are intended for anyone who is interested in music and musical instruments. At the same time, there are many insights relating physics and the piano that will likely be interesting and perhaps surprising for many physicists. - Nicholas J. Giordano, Sr. is Hubert James Distinguished Professor of Physics at Purdue University, Indiana. He joined the Department of Physics there as an Assistant Professor in 1979, becoming an Associate Professor in 1982 and Full Professor in 1985. He served as an Assistant Dean of Science from 2000-2003, and became Head of the Department of Physics in 2007. His research includes nanoscience and conduction in small metallic systems, micro- and nanofluidic systems, musical acoustics, and computational biophysics. He was an Alfred P. Sloan Foundation Fellow (1979-1983), received a Computational Science Education Award from the U.S. Department of Energy in 1977, and was named Indiana Professor of the Year by the Carnegie Foundation for the Advancement of Teaching in 2004. |
| Beschreibung: | Hier auch später erschienene, unveränderte Nachdrucke |
| Beschreibung: | XI, 170 Seiten Illustrationen, Diagramme |
| ISBN: | 9780199546022 |
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| 520 | |a Why does a piano sound like a piano? A similar question can be asked of virtually all musical instruments. A particular note-such as middle C-can be produced by a piano, a violin, a clarinet, and many other instruments, yet it is easy for even a musically untrained listener to distinguish between these different instruments. A central quest in the study of musical instruments is to understand why the sound of the "same" note depends greatly on the instrument, and to elucidate which aspects of an instrument are most critical in producing the musical tones characteristic of the instrument. The primary goal of this book is to investigate these questions for the piano. The explanations in this book use a minimum of mathematics, and are intended for anyone who is interested in music and musical instruments. At the same time, there are many insights relating physics and the piano that will likely be interesting and perhaps surprising for many physicists. - Nicholas J. Giordano, Sr. is Hubert James Distinguished Professor of Physics at Purdue University, Indiana. He joined the Department of Physics there as an Assistant Professor in 1979, becoming an Associate Professor in 1982 and Full Professor in 1985. He served as an Assistant Dean of Science from 2000-2003, and became Head of the Department of Physics in 2007. His research includes nanoscience and conduction in small metallic systems, micro- and nanofluidic systems, musical acoustics, and computational biophysics. He was an Alfred P. Sloan Foundation Fellow (1979-1983), received a Computational Science Education Award from the U.S. Department of Energy in 1977, and was named Indiana Professor of the Year by the Carnegie Foundation for the Advancement of Teaching in 2004. | ||
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
Introduction
1
1.1
The goals of this book
1
1.2
What exactly is a piano?
3
1.3
The way a physicist thinks
5
1.4
Organization of this book
6
A brief introduction to waves and sound
9
2.1
What is a wave?
9
2.2
Sound as a wave
10
2.3
The spectrum of a sound
12
2.4
Spectrum of a real musical tone
14
2.5
Pitch
17
2.6
How the ear detects sound
19
2.7
Combining two waves: Beats
20
Making a musical scale
23
3.1
It all starts with the octave
23
3.2
Using a logarithmic scale for frequency and pitch
25
3.3
Pythagoras and the importance of musical intervals
26
3.4
Constructing a musical scale
28
3.5
Measuring the distance between notes: Cents
33
Why the piano was invented: A little history
35
4.1
The harpsichord
35
4.2
The clavichord
38
4.3
Hitting strings with hammers: The pantaleon
41
4.4
The invention of the piano
42
4.5
Acceptance of the piano
44
4.6
The evolutionary road ahead
45
Making music with a vibrating string
47
5.1
The ideal string and some of its properties
47
5.2
Standing waves
50
5.3
The shape of a grand piano
52
5.4
Designing the strings
53
5.5
Waves on real strings: The effect of string stiffness
57
5.6
Real strings: What have we learned and where do we go
next?
62
χ
Contents
6
Hitting strings with hammers
65
6.1
What happens when a hammer hits a string?
65
6.2
The design of piano hammers
66
6.3
The hammer-string collision and the importance of con¬
tact time
69
6.4
The hammer-string collision and the importance of non-
linearity
73
6.5
Where should the hammer hit the string?
76
6.6
Longitudinal string vibrations
79
6.7
Holding the string in place: The agraffe and
capo tasto
bar
80
6.8
Connecting the key to the hammer: Design of the piano
action
81
6.9
The Viennese action: An example of an evolutionary dead
end
85
7
The soundboard: Turning string vibrations into sound
89
7.1
Design of the soundboard
89
7.2
Vibration of the soundboard
92
7.3
The soundboard as a speaker
98
7.4
The rest of the piano: Contributions of the rim, lid, and
plate 103
8
Connecting the strings to the soundboard
105
8.1
Decay of a piano tone
105
8.2
Damping of a piano tone part
1 :
Motion of a single string
and the effect of polarization
107
8.3
Damping of a piano tone part
2:
How the strings act on
each other through the bridge
110
8.4
Making sound from longitudinal string motion
113
8.5
Motion of the bridge and its effect on the frequencies of
string
partials
ц%
9
Evolution of the piano
И5
9.1
In the beginning: Key features of the first pianos
115
9.2
Why did the piano need to evolve?
117
9.3
The piano industry on the move
119
9.4
The industrial revolution and its impact on the piano
121
9.5
The shape of a piano: Fitting everything into the case
123
У.О
On the nature of evolutionary change
124
10
Psychoacoustics: How we perceive musical tones
127
10.1
Physics and human senses: The difficulties in putting
them together 127
10.2
Hermann
von Helmholtz
and his long shadow
128
10.3
Range of human hearing and the range of a piano
129
10.4
Pitch perception and the missing fundamental
130
10.5
Consonance and dissonance of musical tones: Implica¬
tions for piano design 133
Contents xi
11
The magic of Steinway
137
11.1
The piano in our culture
137
11.2
The Steinway family and the rise of the company
139
11.3
Steinway and Sons role in the development of the piano
141
11.4
Marketing and the Steinway legend
145
11.5
Rise and fall of the family business
146
11.6
The Steinway brand today
148
11.7
Why is a Steinway piano special?
149
12
What physics can and cannot teach us about pianos
151
12.1
Physics lessons
151
12.2
Perceptual lessons
152
12.3
The evolutionary future of the piano
153
12.4
Finding the right piano
155
Definitions of common terms
157
References
163
Index
169
|
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| discipline | Physik Musikwissenschaft |
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| spelling | Giordano, Nicholas J. Verfasser (DE-588)1024798097 aut Physics of the piano Nicholas J. Giordano, Sr. (Hubert James Distinguished Professor of Physics, Purdue University) Oxford ; New York Oxford University Press [2010] © 2010 XI, 170 Seiten Illustrationen, Diagramme txt rdacontent n rdamedia nc rdacarrier Hier auch später erschienene, unveränderte Nachdrucke Literaturangaben Why does a piano sound like a piano? A similar question can be asked of virtually all musical instruments. A particular note-such as middle C-can be produced by a piano, a violin, a clarinet, and many other instruments, yet it is easy for even a musically untrained listener to distinguish between these different instruments. A central quest in the study of musical instruments is to understand why the sound of the "same" note depends greatly on the instrument, and to elucidate which aspects of an instrument are most critical in producing the musical tones characteristic of the instrument. The primary goal of this book is to investigate these questions for the piano. The explanations in this book use a minimum of mathematics, and are intended for anyone who is interested in music and musical instruments. At the same time, there are many insights relating physics and the piano that will likely be interesting and perhaps surprising for many physicists. - Nicholas J. Giordano, Sr. is Hubert James Distinguished Professor of Physics at Purdue University, Indiana. He joined the Department of Physics there as an Assistant Professor in 1979, becoming an Associate Professor in 1982 and Full Professor in 1985. He served as an Assistant Dean of Science from 2000-2003, and became Head of the Department of Physics in 2007. His research includes nanoscience and conduction in small metallic systems, micro- and nanofluidic systems, musical acoustics, and computational biophysics. He was an Alfred P. Sloan Foundation Fellow (1979-1983), received a Computational Science Education Award from the U.S. Department of Energy in 1977, and was named Indiana Professor of the Year by the Carnegie Foundation for the Advancement of Teaching in 2004. Akustik (DE-588)4000988-9 gnd rswk-swf Klang (DE-588)4030933-2 gnd rswk-swf Klavier (DE-588)4030982-4 gnd rswk-swf Sound. Piano--Acoustics. Klavier (DE-588)4030982-4 s Akustik (DE-588)4000988-9 s Klang (DE-588)4030933-2 s DE-604 Erscheint auch als Online-Ausgabe 978-0-19-103014-7 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020525189&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Giordano, Nicholas J. Physics of the piano Literaturangaben Akustik (DE-588)4000988-9 gnd Klang (DE-588)4030933-2 gnd Klavier (DE-588)4030982-4 gnd |
| subject_GND | (DE-588)4000988-9 (DE-588)4030933-2 (DE-588)4030982-4 |
| title | Physics of the piano |
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| title_exact_search | Physics of the piano |
| title_full | Physics of the piano Nicholas J. Giordano, Sr. (Hubert James Distinguished Professor of Physics, Purdue University) |
| title_fullStr | Physics of the piano Nicholas J. Giordano, Sr. (Hubert James Distinguished Professor of Physics, Purdue University) |
| title_full_unstemmed | Physics of the piano Nicholas J. Giordano, Sr. (Hubert James Distinguished Professor of Physics, Purdue University) |
| title_short | Physics of the piano |
| title_sort | physics of the piano |
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