Physics and Music: Essential Connections and Illuminating Excursions
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| Main Author: | |
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| Format: | Electronic eBook |
| Language: | English |
| Published: |
Cham
Springer International Publishing AG
2021
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| Subjects: | |
| Online Access: | BSB01 BSB01 |
| Physical Description: | 1 Online-Ressource (432 Seiten) |
| ISBN: | 9783030686765 |
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| 505 | 8 | |a Intro -- Preface -- Contents -- Part I Physics + Music = ..... -- 1 Introduction -- 1.1 Physics & -- Music - Quiz of the Year -- 1.2 What Is the Hybrid Field of Physics & -- Music? -- 1.2.1 Human Activities with Tones and Movements -- 1.2.2 Arts or Natural Sciences? -- 1.2.3 Sender and Receiver -- 1.3 Early History of Musical Notations -- 1.3.1 Mesopotamia, Egypt and Greece -- 1.3.2 Notation Systems in the Middle Ages -- 1.4 Gallery of Historical Instruments -- References -- Part II Our Modern Tonal System -- 2 Notation and Tonal Systems -- 2.1 What Is .....? -- 2.1.1 Music -- 2.1.2 Sound -- 2.1.3 Tone -- 2.1.4 Noise -- 2.1.5 Spectral Characteristics of Sounds -- 2.1.6 Standard Pitch -- 2.2 What Is Physics, in Close Partnership to Music? -- 2.3 Tonal System -- 2.3.1 Lines and Notes -- 2.3.2 Rest -- 2.3.3 Clef -- 2.3.4 Bars -- 2.3.5 Pitch -- 2.3.6 Change of Pitch-Accidentals -- 2.3.7 Loudness -- 2.3.8 Tempo -- 2.3.9 Ornaments -- 2.3.10 Note Relationships -- 2.3.11 Articulation Marks -- 2.3.12 Other Expressions -- 2.3.13 An Example-Rondo of Haydn -- References -- 3 Intervals and Scales -- 3.1 Intervals -- 3.1.1 Basic Intervals -- 3.1.2 Other Frequently Used Intervals and Chords -- 3.1.3 Beats -- 3.2 Scales -- 3.2.1 About Scales -- 3.2.2 Pentatonic Scale -- 3.2.3 Whole-Tone Scale -- 3.2.4 Heptatonics -- 3.2.5 Chromatic Scales -- 3.2.6 Microtones -- References -- 4 Tunings-From Pythagoras to Equal Temperament -- 4.1 Pythagorean Tuning -- 4.2 Some More Intonation Systems -- 4.2.1 Just Intonation (or Pure Tuning) -- 4.2.2 Meantone Temperament -- 4.2.3 Well-Tempered Mood -- 4.2.4 Equal Temperament -- 4.2.5 The Cent -- 4.3 Harmonic Series -- 4.3.1 Properties -- 4.3.2 Inharmonic Overtones -- 4.3.3 About Tonality -- 4.4 Timbre (Color of Sound) -- References -- 5 Comparison with Non-European Systems -- 5.1 Introduction | |
| 505 | 8 | |a 5.2 Music in Southern Neighborhoods of Europe -- 5.2.1 Sinti and Roma Music -- 5.2.2 Misheberach Scale -- 5.2.3 Ragas in Indian Music -- 5.2.4 Arabic Music -- 5.3 Music in the Northern Neighborhoods of Europe -- 5.3.1 The Sami -- 5.3.2 Celtic Music -- 5.4 Music in East Asia -- 5.4.1 Chinese Music -- 5.4.2 Japanese Pentatonics -- 5.4.3 More About East Asian Music -- 5.5 Music in Austronesia, Australia and New Guinea -- 5.5.1 Austronesia -- 5.5.2 Australia and New Guinea -- 5.6 Music in Sub-Saharan Africa -- 5.7 Music in the Americas -- 5.7.1 History -- 5.7.2 Blues -- 5.7.3 Central America -- 5.7.4 South America -- References -- Part III Physics of Musical Instruments -- 6 Musical Instruments -- 6.1 Systematical Classification of Musical Instruments -- 6.1.1 The Idiophones -- 6.1.2 The Membranophones -- 6.1.3 The Chordophones -- 6.1.4 The Aerophones -- 6.2 Sound and Acoustic Waves -- 6.2.1 Excursion on Sound and Acoustic Waves -- 6.2.2 History -- 6.2.3 The Physics of Sound -- 6.2.4 Important Physical Quantities -- 6.2.5 Acoustic Wave -- 6.3 From Sound Waves to Sound Frequencies -- 6.3.1 Overview of Fourier Series -- 6.3.2 Transformation from Sound Waves to Sound Spectra -- References -- 7 Selected Instruments 1-Aerophones -- 7.1 Classification of Aerophones -- 7.2 The Flute -- 7.2.1 Windway -- 7.2.2 The Recorder -- 7.2.3 The Transverse Flute -- 7.2.4 Flutes from Various Areas -- 7.3 Double-Reed Instruments -- 7.3.1 The Oboe -- 7.3.2 The English Horn (Cor Anglais) -- 7.3.3 The Bassoon -- 7.3.4 Other Double-Reed Instruments -- 7.4 Single-Reed Instruments -- 7.4.1 The Clarinet -- 7.4.2 The Saxophone -- 7.4.3 Other Single-Reed Instruments -- 7.5 Brass Instruments -- 7.5.1 Physics of Sound Creation -- 7.5.2 The Horn -- 7.5.3 Trumpet, Trombone, and Tuba -- 7.6 The Organ -- 7.6.1 The Whistle -- 7.6.2 The Organ Pipe -- 7.6.3 Wind System -- References | |
| 505 | 8 | |a 8 Selected Instruments 2-Chordophones, Membranophones, Idiophones and Human Voice -- 8.1 String Instruments -- 8.1.1 The Monochord -- 8.1.2 The Vibrating String -- 8.1.3 Playing Techniques -- 8.1.4 Bowed String Instruments -- 8.1.5 The Modern Violin Family -- 8.1.6 The Violin -- 8.1.7 Sound and Acoustics of the Violin Family -- 8.1.8 Sound of Viola, Cello and Double Bass -- 8.2 Percussion Instruments -- 8.2.1 Timpani and Drums -- 8.2.2 Bells -- 8.3 The Human Voice: Singing -- 8.3.1 Tonal Range of Singers -- 8.3.2 Speech Organs -- 8.3.3 Formant -- 8.3.4 Singers -- References -- Part IV When Musicians Get Together, They -- 9 Create Music -- 9.1 Introduction -- 9.2 Music Forms -- 9.2.1 Levels of Musical Units -- 9.2.2 More About a Piece -- 9.2.3 More About a Cycle -- 9.3 Methods -- 9.3.1 Counterpoint -- 9.3.2 Harmony -- 9.4 Combination of Musical Instruments -- References -- 10 Play Together and Form an Orchestra -- 10.1 Introduction -- 10.2 Solo and Duo -- 10.2.1 Piano -- 10.2.2 String Solo Without Accompaniment -- 10.2.3 Solo with Accompaniment -- 10.2.4 Duo -- 10.3 Chamber Music -- 10.3.1 Baroque Trio Sonata -- 10.3.2 String Instruments and Piano -- 10.3.3 String Instruments Only -- 10.3.4 Together with Wind Instruments -- 10.4 Orchestra -- 10.4.1 History -- 10.4.2 Types of Orchestras -- 10.4.3 Seating Arrangement -- 10.4.4 People -- 10.5 Acoustics of an Orchestra -- 10.5.1 Directional Effects -- 10.5.2 Acoustic Radiation of Instruments -- References -- Part V Hearing -- 11 Physiology and Psychoacoustics -- 11.1 Hearing-Physiological Aspects -- 11.1.1 Structure of the Human Ear -- 11.1.2 Function of the Human Ear -- 11.1.3 Tonotopic Mapping -- 11.2 Hearing Music-Psychoacoustical Aspects -- 11.2.1 How Do We Hear Music? -- 11.2.2 A Huge Black Box -- 11.2.3 We Hear (or Do Not Hear) in Somewhat Different Ways... -- 11.3 Absolute Pitch and Relative Pitch | |
| 505 | 8 | |a 11.3.1 What Are Absolute Pitch and Relative Pitch? -- 11.3.2 Solfège -- 11.3.3 How Do Absolute Pitch and Relative Pitch Work? -- 11.3.4 Piano Versus Violin, Bells Versus Monochord -- 11.4 Auditory Illusion -- 11.4.1 Binaural Beats -- 11.4.2 Octave Illusion and Scale Illusion -- 11.4.3 Pitch Circularity and Tritone Paradox -- 11.4.4 Not Illusions, But... -- References -- 12 Room Acoustics -- 12.1 Concert Halls -- 12.2 Principles of Room Acoustics -- 12.3 Wave Theory -- 12.4 Statistical Room Acoustics -- 12.4.1 Reverberation -- 12.4.2 Absorption Coefficient α -- 12.5 Geometrical Room Acoustics -- References -- Part VI Music, Mind and Society -- 13 Music Analysis with Phase Portraits -- 13.1 Introduction -- 13.2 Trials with Phase Plots -- 13.2.1 What Is a Phase Plot? -- 13.2.2 Three-Dimensional Expression -- 13.2.3 Applying Phase Plots to Musical Pieces -- 13.3 Analysis-Some Examples -- 13.3.1 Bach and Gounod -- 13.3.2 Haydn: String Quartet ''Emperor'' -- 13.3.3 Rossini: Guillaume Tell Overture -- 13.4 Comparison of Various Scales -- 13.4.1 Heptatonic Scales -- 13.4.2 Pentatonic Scales -- 13.4.3 Other Scales -- 13.5 Concluding Remarks -- References -- 14 What Is Music Supposed to Do with Our Mind and For Our Society? -- 14.1 Major and Minor -- 14.1.1 Introduction -- 14.1.2 The Major Triad and the Minor Triad -- 14.1.3 Finished or Unfinished -- 14.1.4 Comfort or Discomfort -- 14.1.5 Happy, Sad or High -- 14.1.6 Boléro -- 14.1.7 Siegfried Idyll -- 14.1.8 Swan Lake -- 14.2 Music and Our Society -- 14.2.1 Music and Moving -- 14.2.2 Musical Expectation and Moving -- 14.2.3 Two-Edged Blade -- 14.2.4 Music-Related Illness and Therapy -- 14.3 Bye Bye, I Must Go -- References -- Correction to: Music Analysis with Phase Portraits -- Correction to: K. Tsuji et al., Physics and Music, https://doi.org/10.1007/978-3-030-68676-513 -- Index | |
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| contents | Intro -- Preface -- Contents -- Part I Physics + Music = ..... -- 1 Introduction -- 1.1 Physics & -- Music - Quiz of the Year -- 1.2 What Is the Hybrid Field of Physics & -- Music? -- 1.2.1 Human Activities with Tones and Movements -- 1.2.2 Arts or Natural Sciences? -- 1.2.3 Sender and Receiver -- 1.3 Early History of Musical Notations -- 1.3.1 Mesopotamia, Egypt and Greece -- 1.3.2 Notation Systems in the Middle Ages -- 1.4 Gallery of Historical Instruments -- References -- Part II Our Modern Tonal System -- 2 Notation and Tonal Systems -- 2.1 What Is .....? -- 2.1.1 Music -- 2.1.2 Sound -- 2.1.3 Tone -- 2.1.4 Noise -- 2.1.5 Spectral Characteristics of Sounds -- 2.1.6 Standard Pitch -- 2.2 What Is Physics, in Close Partnership to Music? -- 2.3 Tonal System -- 2.3.1 Lines and Notes -- 2.3.2 Rest -- 2.3.3 Clef -- 2.3.4 Bars -- 2.3.5 Pitch -- 2.3.6 Change of Pitch-Accidentals -- 2.3.7 Loudness -- 2.3.8 Tempo -- 2.3.9 Ornaments -- 2.3.10 Note Relationships -- 2.3.11 Articulation Marks -- 2.3.12 Other Expressions -- 2.3.13 An Example-Rondo of Haydn -- References -- 3 Intervals and Scales -- 3.1 Intervals -- 3.1.1 Basic Intervals -- 3.1.2 Other Frequently Used Intervals and Chords -- 3.1.3 Beats -- 3.2 Scales -- 3.2.1 About Scales -- 3.2.2 Pentatonic Scale -- 3.2.3 Whole-Tone Scale -- 3.2.4 Heptatonics -- 3.2.5 Chromatic Scales -- 3.2.6 Microtones -- References -- 4 Tunings-From Pythagoras to Equal Temperament -- 4.1 Pythagorean Tuning -- 4.2 Some More Intonation Systems -- 4.2.1 Just Intonation (or Pure Tuning) -- 4.2.2 Meantone Temperament -- 4.2.3 Well-Tempered Mood -- 4.2.4 Equal Temperament -- 4.2.5 The Cent -- 4.3 Harmonic Series -- 4.3.1 Properties -- 4.3.2 Inharmonic Overtones -- 4.3.3 About Tonality -- 4.4 Timbre (Color of Sound) -- References -- 5 Comparison with Non-European Systems -- 5.1 Introduction 5.2 Music in Southern Neighborhoods of Europe -- 5.2.1 Sinti and Roma Music -- 5.2.2 Misheberach Scale -- 5.2.3 Ragas in Indian Music -- 5.2.4 Arabic Music -- 5.3 Music in the Northern Neighborhoods of Europe -- 5.3.1 The Sami -- 5.3.2 Celtic Music -- 5.4 Music in East Asia -- 5.4.1 Chinese Music -- 5.4.2 Japanese Pentatonics -- 5.4.3 More About East Asian Music -- 5.5 Music in Austronesia, Australia and New Guinea -- 5.5.1 Austronesia -- 5.5.2 Australia and New Guinea -- 5.6 Music in Sub-Saharan Africa -- 5.7 Music in the Americas -- 5.7.1 History -- 5.7.2 Blues -- 5.7.3 Central America -- 5.7.4 South America -- References -- Part III Physics of Musical Instruments -- 6 Musical Instruments -- 6.1 Systematical Classification of Musical Instruments -- 6.1.1 The Idiophones -- 6.1.2 The Membranophones -- 6.1.3 The Chordophones -- 6.1.4 The Aerophones -- 6.2 Sound and Acoustic Waves -- 6.2.1 Excursion on Sound and Acoustic Waves -- 6.2.2 History -- 6.2.3 The Physics of Sound -- 6.2.4 Important Physical Quantities -- 6.2.5 Acoustic Wave -- 6.3 From Sound Waves to Sound Frequencies -- 6.3.1 Overview of Fourier Series -- 6.3.2 Transformation from Sound Waves to Sound Spectra -- References -- 7 Selected Instruments 1-Aerophones -- 7.1 Classification of Aerophones -- 7.2 The Flute -- 7.2.1 Windway -- 7.2.2 The Recorder -- 7.2.3 The Transverse Flute -- 7.2.4 Flutes from Various Areas -- 7.3 Double-Reed Instruments -- 7.3.1 The Oboe -- 7.3.2 The English Horn (Cor Anglais) -- 7.3.3 The Bassoon -- 7.3.4 Other Double-Reed Instruments -- 7.4 Single-Reed Instruments -- 7.4.1 The Clarinet -- 7.4.2 The Saxophone -- 7.4.3 Other Single-Reed Instruments -- 7.5 Brass Instruments -- 7.5.1 Physics of Sound Creation -- 7.5.2 The Horn -- 7.5.3 Trumpet, Trombone, and Tuba -- 7.6 The Organ -- 7.6.1 The Whistle -- 7.6.2 The Organ Pipe -- 7.6.3 Wind System -- References 8 Selected Instruments 2-Chordophones, Membranophones, Idiophones and Human Voice -- 8.1 String Instruments -- 8.1.1 The Monochord -- 8.1.2 The Vibrating String -- 8.1.3 Playing Techniques -- 8.1.4 Bowed String Instruments -- 8.1.5 The Modern Violin Family -- 8.1.6 The Violin -- 8.1.7 Sound and Acoustics of the Violin Family -- 8.1.8 Sound of Viola, Cello and Double Bass -- 8.2 Percussion Instruments -- 8.2.1 Timpani and Drums -- 8.2.2 Bells -- 8.3 The Human Voice: Singing -- 8.3.1 Tonal Range of Singers -- 8.3.2 Speech Organs -- 8.3.3 Formant -- 8.3.4 Singers -- References -- Part IV When Musicians Get Together, They -- 9 Create Music -- 9.1 Introduction -- 9.2 Music Forms -- 9.2.1 Levels of Musical Units -- 9.2.2 More About a Piece -- 9.2.3 More About a Cycle -- 9.3 Methods -- 9.3.1 Counterpoint -- 9.3.2 Harmony -- 9.4 Combination of Musical Instruments -- References -- 10 Play Together and Form an Orchestra -- 10.1 Introduction -- 10.2 Solo and Duo -- 10.2.1 Piano -- 10.2.2 String Solo Without Accompaniment -- 10.2.3 Solo with Accompaniment -- 10.2.4 Duo -- 10.3 Chamber Music -- 10.3.1 Baroque Trio Sonata -- 10.3.2 String Instruments and Piano -- 10.3.3 String Instruments Only -- 10.3.4 Together with Wind Instruments -- 10.4 Orchestra -- 10.4.1 History -- 10.4.2 Types of Orchestras -- 10.4.3 Seating Arrangement -- 10.4.4 People -- 10.5 Acoustics of an Orchestra -- 10.5.1 Directional Effects -- 10.5.2 Acoustic Radiation of Instruments -- References -- Part V Hearing -- 11 Physiology and Psychoacoustics -- 11.1 Hearing-Physiological Aspects -- 11.1.1 Structure of the Human Ear -- 11.1.2 Function of the Human Ear -- 11.1.3 Tonotopic Mapping -- 11.2 Hearing Music-Psychoacoustical Aspects -- 11.2.1 How Do We Hear Music? -- 11.2.2 A Huge Black Box -- 11.2.3 We Hear (or Do Not Hear) in Somewhat Different Ways... -- 11.3 Absolute Pitch and Relative Pitch 11.3.1 What Are Absolute Pitch and Relative Pitch? -- 11.3.2 Solfège -- 11.3.3 How Do Absolute Pitch and Relative Pitch Work? -- 11.3.4 Piano Versus Violin, Bells Versus Monochord -- 11.4 Auditory Illusion -- 11.4.1 Binaural Beats -- 11.4.2 Octave Illusion and Scale Illusion -- 11.4.3 Pitch Circularity and Tritone Paradox -- 11.4.4 Not Illusions, But... -- References -- 12 Room Acoustics -- 12.1 Concert Halls -- 12.2 Principles of Room Acoustics -- 12.3 Wave Theory -- 12.4 Statistical Room Acoustics -- 12.4.1 Reverberation -- 12.4.2 Absorption Coefficient α -- 12.5 Geometrical Room Acoustics -- References -- Part VI Music, Mind and Society -- 13 Music Analysis with Phase Portraits -- 13.1 Introduction -- 13.2 Trials with Phase Plots -- 13.2.1 What Is a Phase Plot? -- 13.2.2 Three-Dimensional Expression -- 13.2.3 Applying Phase Plots to Musical Pieces -- 13.3 Analysis-Some Examples -- 13.3.1 Bach and Gounod -- 13.3.2 Haydn: String Quartet ''Emperor'' -- 13.3.3 Rossini: Guillaume Tell Overture -- 13.4 Comparison of Various Scales -- 13.4.1 Heptatonic Scales -- 13.4.2 Pentatonic Scales -- 13.4.3 Other Scales -- 13.5 Concluding Remarks -- References -- 14 What Is Music Supposed to Do with Our Mind and For Our Society? -- 14.1 Major and Minor -- 14.1.1 Introduction -- 14.1.2 The Major Triad and the Minor Triad -- 14.1.3 Finished or Unfinished -- 14.1.4 Comfort or Discomfort -- 14.1.5 Happy, Sad or High -- 14.1.6 Boléro -- 14.1.7 Siegfried Idyll -- 14.1.8 Swan Lake -- 14.2 Music and Our Society -- 14.2.1 Music and Moving -- 14.2.2 Musical Expectation and Moving -- 14.2.3 Two-Edged Blade -- 14.2.4 Music-Related Illness and Therapy -- 14.3 Bye Bye, I Must Go -- References -- Correction to: Music Analysis with Phase Portraits -- Correction to: K. Tsuji et al., Physics and Music, https://doi.org/10.1007/978-3-030-68676-513 -- Index |
| ctrlnum | (ZDB-1-PQM)EBC6635026 (ZDB-30-PAD)EBC6635026 (ZDB-89-EBL)EBL6635026 (OCoLC)1253475643 (DE-599)BVBBV048935491 |
| discipline | Physik Musikwissenschaft |
| discipline_str_mv | Physik Musikwissenschaft |
| format | Electronic eBook |
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ind2=" "><subfield code="a">Tsuji, Kinko</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Physics and Music</subfield><subfield code="b">Essential Connections and Illuminating Excursions</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Cham</subfield><subfield code="b">Springer International Publishing AG</subfield><subfield code="c">2021</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">©2021</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 Online-Ressource (432 Seiten)</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Intro -- Preface -- Contents -- Part I Physics + Music = ..... -- 1 Introduction -- 1.1 Physics &amp -- Music - Quiz of the Year -- 1.2 What Is the Hybrid Field of Physics &amp -- Music? -- 1.2.1 Human Activities with Tones and Movements -- 1.2.2 Arts or Natural Sciences? -- 1.2.3 Sender and Receiver -- 1.3 Early History of Musical Notations -- 1.3.1 Mesopotamia, Egypt and Greece -- 1.3.2 Notation Systems in the Middle Ages -- 1.4 Gallery of Historical Instruments -- References -- Part II Our Modern Tonal System -- 2 Notation and Tonal Systems -- 2.1 What Is .....? -- 2.1.1 Music -- 2.1.2 Sound -- 2.1.3 Tone -- 2.1.4 Noise -- 2.1.5 Spectral Characteristics of Sounds -- 2.1.6 Standard Pitch -- 2.2 What Is Physics, in Close Partnership to Music? -- 2.3 Tonal System -- 2.3.1 Lines and Notes -- 2.3.2 Rest -- 2.3.3 Clef -- 2.3.4 Bars -- 2.3.5 Pitch -- 2.3.6 Change of Pitch-Accidentals -- 2.3.7 Loudness -- 2.3.8 Tempo -- 2.3.9 Ornaments -- 2.3.10 Note Relationships -- 2.3.11 Articulation Marks -- 2.3.12 Other Expressions -- 2.3.13 An Example-Rondo of Haydn -- References -- 3 Intervals and Scales -- 3.1 Intervals -- 3.1.1 Basic Intervals -- 3.1.2 Other Frequently Used Intervals and Chords -- 3.1.3 Beats -- 3.2 Scales -- 3.2.1 About Scales -- 3.2.2 Pentatonic Scale -- 3.2.3 Whole-Tone Scale -- 3.2.4 Heptatonics -- 3.2.5 Chromatic Scales -- 3.2.6 Microtones -- References -- 4 Tunings-From Pythagoras to Equal Temperament -- 4.1 Pythagorean Tuning -- 4.2 Some More Intonation Systems -- 4.2.1 Just Intonation (or Pure Tuning) -- 4.2.2 Meantone Temperament -- 4.2.3 Well-Tempered Mood -- 4.2.4 Equal Temperament -- 4.2.5 The Cent -- 4.3 Harmonic Series -- 4.3.1 Properties -- 4.3.2 Inharmonic Overtones -- 4.3.3 About Tonality -- 4.4 Timbre (Color of Sound) -- References -- 5 Comparison with Non-European Systems -- 5.1 Introduction</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">5.2 Music in Southern Neighborhoods of Europe -- 5.2.1 Sinti and Roma Music -- 5.2.2 Misheberach Scale -- 5.2.3 Ragas in Indian Music -- 5.2.4 Arabic Music -- 5.3 Music in the Northern Neighborhoods of Europe -- 5.3.1 The Sami -- 5.3.2 Celtic Music -- 5.4 Music in East Asia -- 5.4.1 Chinese Music -- 5.4.2 Japanese Pentatonics -- 5.4.3 More About East Asian Music -- 5.5 Music in Austronesia, Australia and New Guinea -- 5.5.1 Austronesia -- 5.5.2 Australia and New Guinea -- 5.6 Music in Sub-Saharan Africa -- 5.7 Music in the Americas -- 5.7.1 History -- 5.7.2 Blues -- 5.7.3 Central America -- 5.7.4 South America -- References -- Part III Physics of Musical Instruments -- 6 Musical Instruments -- 6.1 Systematical Classification of Musical Instruments -- 6.1.1 The Idiophones -- 6.1.2 The Membranophones -- 6.1.3 The Chordophones -- 6.1.4 The Aerophones -- 6.2 Sound and Acoustic Waves -- 6.2.1 Excursion on Sound and Acoustic Waves -- 6.2.2 History -- 6.2.3 The Physics of Sound -- 6.2.4 Important Physical Quantities -- 6.2.5 Acoustic Wave -- 6.3 From Sound Waves to Sound Frequencies -- 6.3.1 Overview of Fourier Series -- 6.3.2 Transformation from Sound Waves to Sound Spectra -- References -- 7 Selected Instruments 1-Aerophones -- 7.1 Classification of Aerophones -- 7.2 The Flute -- 7.2.1 Windway -- 7.2.2 The Recorder -- 7.2.3 The Transverse Flute -- 7.2.4 Flutes from Various Areas -- 7.3 Double-Reed Instruments -- 7.3.1 The Oboe -- 7.3.2 The English Horn (Cor Anglais) -- 7.3.3 The Bassoon -- 7.3.4 Other Double-Reed Instruments -- 7.4 Single-Reed Instruments -- 7.4.1 The Clarinet -- 7.4.2 The Saxophone -- 7.4.3 Other Single-Reed Instruments -- 7.5 Brass Instruments -- 7.5.1 Physics of Sound Creation -- 7.5.2 The Horn -- 7.5.3 Trumpet, Trombone, and Tuba -- 7.6 The Organ -- 7.6.1 The Whistle -- 7.6.2 The Organ Pipe -- 7.6.3 Wind System -- References</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">8 Selected Instruments 2-Chordophones, Membranophones, Idiophones and Human Voice -- 8.1 String Instruments -- 8.1.1 The Monochord -- 8.1.2 The Vibrating String -- 8.1.3 Playing Techniques -- 8.1.4 Bowed String Instruments -- 8.1.5 The Modern Violin Family -- 8.1.6 The Violin -- 8.1.7 Sound and Acoustics of the Violin Family -- 8.1.8 Sound of Viola, Cello and Double Bass -- 8.2 Percussion Instruments -- 8.2.1 Timpani and Drums -- 8.2.2 Bells -- 8.3 The Human Voice: Singing -- 8.3.1 Tonal Range of Singers -- 8.3.2 Speech Organs -- 8.3.3 Formant -- 8.3.4 Singers -- References -- Part IV When Musicians Get Together, They -- 9 Create Music -- 9.1 Introduction -- 9.2 Music Forms -- 9.2.1 Levels of Musical Units -- 9.2.2 More About a Piece -- 9.2.3 More About a Cycle -- 9.3 Methods -- 9.3.1 Counterpoint -- 9.3.2 Harmony -- 9.4 Combination of Musical Instruments -- References -- 10 Play Together and Form an Orchestra -- 10.1 Introduction -- 10.2 Solo and Duo -- 10.2.1 Piano -- 10.2.2 String Solo Without Accompaniment -- 10.2.3 Solo with Accompaniment -- 10.2.4 Duo -- 10.3 Chamber Music -- 10.3.1 Baroque Trio Sonata -- 10.3.2 String Instruments and Piano -- 10.3.3 String Instruments Only -- 10.3.4 Together with Wind Instruments -- 10.4 Orchestra -- 10.4.1 History -- 10.4.2 Types of Orchestras -- 10.4.3 Seating Arrangement -- 10.4.4 People -- 10.5 Acoustics of an Orchestra -- 10.5.1 Directional Effects -- 10.5.2 Acoustic Radiation of Instruments -- References -- Part V Hearing -- 11 Physiology and Psychoacoustics -- 11.1 Hearing-Physiological Aspects -- 11.1.1 Structure of the Human Ear -- 11.1.2 Function of the Human Ear -- 11.1.3 Tonotopic Mapping -- 11.2 Hearing Music-Psychoacoustical Aspects -- 11.2.1 How Do We Hear Music? -- 11.2.2 A Huge Black Box -- 11.2.3 We Hear (or Do Not Hear) in Somewhat Different Ways... -- 11.3 Absolute Pitch and Relative Pitch</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">11.3.1 What Are Absolute Pitch and Relative Pitch? -- 11.3.2 Solfège -- 11.3.3 How Do Absolute Pitch and Relative Pitch Work? -- 11.3.4 Piano Versus Violin, Bells Versus Monochord -- 11.4 Auditory Illusion -- 11.4.1 Binaural Beats -- 11.4.2 Octave Illusion and Scale Illusion -- 11.4.3 Pitch Circularity and Tritone Paradox -- 11.4.4 Not Illusions, But... -- References -- 12 Room Acoustics -- 12.1 Concert Halls -- 12.2 Principles of Room Acoustics -- 12.3 Wave Theory -- 12.4 Statistical Room Acoustics -- 12.4.1 Reverberation -- 12.4.2 Absorption Coefficient α -- 12.5 Geometrical Room Acoustics -- References -- Part VI Music, Mind and Society -- 13 Music Analysis with Phase Portraits -- 13.1 Introduction -- 13.2 Trials with Phase Plots -- 13.2.1 What Is a Phase Plot? -- 13.2.2 Three-Dimensional Expression -- 13.2.3 Applying Phase Plots to Musical Pieces -- 13.3 Analysis-Some Examples -- 13.3.1 Bach and Gounod -- 13.3.2 Haydn: String Quartet ''Emperor'' -- 13.3.3 Rossini: Guillaume Tell Overture -- 13.4 Comparison of Various Scales -- 13.4.1 Heptatonic Scales -- 13.4.2 Pentatonic Scales -- 13.4.3 Other Scales -- 13.5 Concluding Remarks -- References -- 14 What Is Music Supposed to Do with Our Mind and For Our Society? -- 14.1 Major and Minor -- 14.1.1 Introduction -- 14.1.2 The Major Triad and the Minor Triad -- 14.1.3 Finished or Unfinished -- 14.1.4 Comfort or Discomfort -- 14.1.5 Happy, Sad or High -- 14.1.6 Boléro -- 14.1.7 Siegfried Idyll -- 14.1.8 Swan Lake -- 14.2 Music and Our Society -- 14.2.1 Music and Moving -- 14.2.2 Musical Expectation and Moving -- 14.2.3 Two-Edged Blade -- 14.2.4 Music-Related Illness and Therapy -- 14.3 Bye Bye, I Must Go -- References -- Correction to: Music Analysis with Phase Portraits -- Correction to: K. 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| id | DE-604.BV048935491 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T21:58:11Z |
| indexdate | 2024-07-10T09:50:21Z |
| institution | BVB |
| isbn | 9783030686765 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034199357 |
| oclc_num | 1253475643 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 1 Online-Ressource (432 Seiten) |
| psigel | ZDB-1-PQM ZDB-30-PQE BSB_NED_20231106 ZDB-30-PQE BSB_PDA_PQEMUS_Kauf ZDB-1-PQM BSB_PDA_PQM |
| publishDate | 2021 |
| publishDateSearch | 2021 |
| publishDateSort | 2021 |
| publisher | Springer International Publishing AG |
| record_format | marc |
| spelling | Tsuji, Kinko Verfasser aut Physics and Music Essential Connections and Illuminating Excursions Cham Springer International Publishing AG 2021 ©2021 1 Online-Ressource (432 Seiten) txt rdacontent c rdamedia cr rdacarrier Intro -- Preface -- Contents -- Part I Physics + Music = ..... -- 1 Introduction -- 1.1 Physics & -- Music - Quiz of the Year -- 1.2 What Is the Hybrid Field of Physics & -- Music? -- 1.2.1 Human Activities with Tones and Movements -- 1.2.2 Arts or Natural Sciences? -- 1.2.3 Sender and Receiver -- 1.3 Early History of Musical Notations -- 1.3.1 Mesopotamia, Egypt and Greece -- 1.3.2 Notation Systems in the Middle Ages -- 1.4 Gallery of Historical Instruments -- References -- Part II Our Modern Tonal System -- 2 Notation and Tonal Systems -- 2.1 What Is .....? -- 2.1.1 Music -- 2.1.2 Sound -- 2.1.3 Tone -- 2.1.4 Noise -- 2.1.5 Spectral Characteristics of Sounds -- 2.1.6 Standard Pitch -- 2.2 What Is Physics, in Close Partnership to Music? -- 2.3 Tonal System -- 2.3.1 Lines and Notes -- 2.3.2 Rest -- 2.3.3 Clef -- 2.3.4 Bars -- 2.3.5 Pitch -- 2.3.6 Change of Pitch-Accidentals -- 2.3.7 Loudness -- 2.3.8 Tempo -- 2.3.9 Ornaments -- 2.3.10 Note Relationships -- 2.3.11 Articulation Marks -- 2.3.12 Other Expressions -- 2.3.13 An Example-Rondo of Haydn -- References -- 3 Intervals and Scales -- 3.1 Intervals -- 3.1.1 Basic Intervals -- 3.1.2 Other Frequently Used Intervals and Chords -- 3.1.3 Beats -- 3.2 Scales -- 3.2.1 About Scales -- 3.2.2 Pentatonic Scale -- 3.2.3 Whole-Tone Scale -- 3.2.4 Heptatonics -- 3.2.5 Chromatic Scales -- 3.2.6 Microtones -- References -- 4 Tunings-From Pythagoras to Equal Temperament -- 4.1 Pythagorean Tuning -- 4.2 Some More Intonation Systems -- 4.2.1 Just Intonation (or Pure Tuning) -- 4.2.2 Meantone Temperament -- 4.2.3 Well-Tempered Mood -- 4.2.4 Equal Temperament -- 4.2.5 The Cent -- 4.3 Harmonic Series -- 4.3.1 Properties -- 4.3.2 Inharmonic Overtones -- 4.3.3 About Tonality -- 4.4 Timbre (Color of Sound) -- References -- 5 Comparison with Non-European Systems -- 5.1 Introduction 5.2 Music in Southern Neighborhoods of Europe -- 5.2.1 Sinti and Roma Music -- 5.2.2 Misheberach Scale -- 5.2.3 Ragas in Indian Music -- 5.2.4 Arabic Music -- 5.3 Music in the Northern Neighborhoods of Europe -- 5.3.1 The Sami -- 5.3.2 Celtic Music -- 5.4 Music in East Asia -- 5.4.1 Chinese Music -- 5.4.2 Japanese Pentatonics -- 5.4.3 More About East Asian Music -- 5.5 Music in Austronesia, Australia and New Guinea -- 5.5.1 Austronesia -- 5.5.2 Australia and New Guinea -- 5.6 Music in Sub-Saharan Africa -- 5.7 Music in the Americas -- 5.7.1 History -- 5.7.2 Blues -- 5.7.3 Central America -- 5.7.4 South America -- References -- Part III Physics of Musical Instruments -- 6 Musical Instruments -- 6.1 Systematical Classification of Musical Instruments -- 6.1.1 The Idiophones -- 6.1.2 The Membranophones -- 6.1.3 The Chordophones -- 6.1.4 The Aerophones -- 6.2 Sound and Acoustic Waves -- 6.2.1 Excursion on Sound and Acoustic Waves -- 6.2.2 History -- 6.2.3 The Physics of Sound -- 6.2.4 Important Physical Quantities -- 6.2.5 Acoustic Wave -- 6.3 From Sound Waves to Sound Frequencies -- 6.3.1 Overview of Fourier Series -- 6.3.2 Transformation from Sound Waves to Sound Spectra -- References -- 7 Selected Instruments 1-Aerophones -- 7.1 Classification of Aerophones -- 7.2 The Flute -- 7.2.1 Windway -- 7.2.2 The Recorder -- 7.2.3 The Transverse Flute -- 7.2.4 Flutes from Various Areas -- 7.3 Double-Reed Instruments -- 7.3.1 The Oboe -- 7.3.2 The English Horn (Cor Anglais) -- 7.3.3 The Bassoon -- 7.3.4 Other Double-Reed Instruments -- 7.4 Single-Reed Instruments -- 7.4.1 The Clarinet -- 7.4.2 The Saxophone -- 7.4.3 Other Single-Reed Instruments -- 7.5 Brass Instruments -- 7.5.1 Physics of Sound Creation -- 7.5.2 The Horn -- 7.5.3 Trumpet, Trombone, and Tuba -- 7.6 The Organ -- 7.6.1 The Whistle -- 7.6.2 The Organ Pipe -- 7.6.3 Wind System -- References 8 Selected Instruments 2-Chordophones, Membranophones, Idiophones and Human Voice -- 8.1 String Instruments -- 8.1.1 The Monochord -- 8.1.2 The Vibrating String -- 8.1.3 Playing Techniques -- 8.1.4 Bowed String Instruments -- 8.1.5 The Modern Violin Family -- 8.1.6 The Violin -- 8.1.7 Sound and Acoustics of the Violin Family -- 8.1.8 Sound of Viola, Cello and Double Bass -- 8.2 Percussion Instruments -- 8.2.1 Timpani and Drums -- 8.2.2 Bells -- 8.3 The Human Voice: Singing -- 8.3.1 Tonal Range of Singers -- 8.3.2 Speech Organs -- 8.3.3 Formant -- 8.3.4 Singers -- References -- Part IV When Musicians Get Together, They -- 9 Create Music -- 9.1 Introduction -- 9.2 Music Forms -- 9.2.1 Levels of Musical Units -- 9.2.2 More About a Piece -- 9.2.3 More About a Cycle -- 9.3 Methods -- 9.3.1 Counterpoint -- 9.3.2 Harmony -- 9.4 Combination of Musical Instruments -- References -- 10 Play Together and Form an Orchestra -- 10.1 Introduction -- 10.2 Solo and Duo -- 10.2.1 Piano -- 10.2.2 String Solo Without Accompaniment -- 10.2.3 Solo with Accompaniment -- 10.2.4 Duo -- 10.3 Chamber Music -- 10.3.1 Baroque Trio Sonata -- 10.3.2 String Instruments and Piano -- 10.3.3 String Instruments Only -- 10.3.4 Together with Wind Instruments -- 10.4 Orchestra -- 10.4.1 History -- 10.4.2 Types of Orchestras -- 10.4.3 Seating Arrangement -- 10.4.4 People -- 10.5 Acoustics of an Orchestra -- 10.5.1 Directional Effects -- 10.5.2 Acoustic Radiation of Instruments -- References -- Part V Hearing -- 11 Physiology and Psychoacoustics -- 11.1 Hearing-Physiological Aspects -- 11.1.1 Structure of the Human Ear -- 11.1.2 Function of the Human Ear -- 11.1.3 Tonotopic Mapping -- 11.2 Hearing Music-Psychoacoustical Aspects -- 11.2.1 How Do We Hear Music? -- 11.2.2 A Huge Black Box -- 11.2.3 We Hear (or Do Not Hear) in Somewhat Different Ways... -- 11.3 Absolute Pitch and Relative Pitch 11.3.1 What Are Absolute Pitch and Relative Pitch? -- 11.3.2 Solfège -- 11.3.3 How Do Absolute Pitch and Relative Pitch Work? -- 11.3.4 Piano Versus Violin, Bells Versus Monochord -- 11.4 Auditory Illusion -- 11.4.1 Binaural Beats -- 11.4.2 Octave Illusion and Scale Illusion -- 11.4.3 Pitch Circularity and Tritone Paradox -- 11.4.4 Not Illusions, But... -- References -- 12 Room Acoustics -- 12.1 Concert Halls -- 12.2 Principles of Room Acoustics -- 12.3 Wave Theory -- 12.4 Statistical Room Acoustics -- 12.4.1 Reverberation -- 12.4.2 Absorption Coefficient α -- 12.5 Geometrical Room Acoustics -- References -- Part VI Music, Mind and Society -- 13 Music Analysis with Phase Portraits -- 13.1 Introduction -- 13.2 Trials with Phase Plots -- 13.2.1 What Is a Phase Plot? -- 13.2.2 Three-Dimensional Expression -- 13.2.3 Applying Phase Plots to Musical Pieces -- 13.3 Analysis-Some Examples -- 13.3.1 Bach and Gounod -- 13.3.2 Haydn: String Quartet ''Emperor'' -- 13.3.3 Rossini: Guillaume Tell Overture -- 13.4 Comparison of Various Scales -- 13.4.1 Heptatonic Scales -- 13.4.2 Pentatonic Scales -- 13.4.3 Other Scales -- 13.5 Concluding Remarks -- References -- 14 What Is Music Supposed to Do with Our Mind and For Our Society? -- 14.1 Major and Minor -- 14.1.1 Introduction -- 14.1.2 The Major Triad and the Minor Triad -- 14.1.3 Finished or Unfinished -- 14.1.4 Comfort or Discomfort -- 14.1.5 Happy, Sad or High -- 14.1.6 Boléro -- 14.1.7 Siegfried Idyll -- 14.1.8 Swan Lake -- 14.2 Music and Our Society -- 14.2.1 Music and Moving -- 14.2.2 Musical Expectation and Moving -- 14.2.3 Two-Edged Blade -- 14.2.4 Music-Related Illness and Therapy -- 14.3 Bye Bye, I Must Go -- References -- Correction to: Music Analysis with Phase Portraits -- Correction to: K. Tsuji et al., Physics and Music, https://doi.org/10.1007/978-3-030-68676-513 -- Index Music-Acoustics and physics Akustik (DE-588)4000988-9 gnd rswk-swf Tonsystem (DE-588)4060412-3 gnd rswk-swf Physik (DE-588)4045956-1 gnd rswk-swf Musikinstrument (DE-588)4040851-6 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Electronic books Akustik (DE-588)4000988-9 s Musik (DE-588)4040802-4 s Tonsystem (DE-588)4060412-3 s DE-604 Physik (DE-588)4045956-1 s Musikinstrument (DE-588)4040851-6 s Müller, Stefan C. 1949- Sonstige (DE-588)1074162498 oth Erscheint auch als Druck-Ausgabe Tsuji, Kinko Physics and Music Cham : Springer International Publishing AG,c2021 9783030686758 |
| spellingShingle | Tsuji, Kinko Physics and Music Essential Connections and Illuminating Excursions Intro -- Preface -- Contents -- Part I Physics + Music = ..... -- 1 Introduction -- 1.1 Physics & -- Music - Quiz of the Year -- 1.2 What Is the Hybrid Field of Physics & -- Music? -- 1.2.1 Human Activities with Tones and Movements -- 1.2.2 Arts or Natural Sciences? -- 1.2.3 Sender and Receiver -- 1.3 Early History of Musical Notations -- 1.3.1 Mesopotamia, Egypt and Greece -- 1.3.2 Notation Systems in the Middle Ages -- 1.4 Gallery of Historical Instruments -- References -- Part II Our Modern Tonal System -- 2 Notation and Tonal Systems -- 2.1 What Is .....? -- 2.1.1 Music -- 2.1.2 Sound -- 2.1.3 Tone -- 2.1.4 Noise -- 2.1.5 Spectral Characteristics of Sounds -- 2.1.6 Standard Pitch -- 2.2 What Is Physics, in Close Partnership to Music? -- 2.3 Tonal System -- 2.3.1 Lines and Notes -- 2.3.2 Rest -- 2.3.3 Clef -- 2.3.4 Bars -- 2.3.5 Pitch -- 2.3.6 Change of Pitch-Accidentals -- 2.3.7 Loudness -- 2.3.8 Tempo -- 2.3.9 Ornaments -- 2.3.10 Note Relationships -- 2.3.11 Articulation Marks -- 2.3.12 Other Expressions -- 2.3.13 An Example-Rondo of Haydn -- References -- 3 Intervals and Scales -- 3.1 Intervals -- 3.1.1 Basic Intervals -- 3.1.2 Other Frequently Used Intervals and Chords -- 3.1.3 Beats -- 3.2 Scales -- 3.2.1 About Scales -- 3.2.2 Pentatonic Scale -- 3.2.3 Whole-Tone Scale -- 3.2.4 Heptatonics -- 3.2.5 Chromatic Scales -- 3.2.6 Microtones -- References -- 4 Tunings-From Pythagoras to Equal Temperament -- 4.1 Pythagorean Tuning -- 4.2 Some More Intonation Systems -- 4.2.1 Just Intonation (or Pure Tuning) -- 4.2.2 Meantone Temperament -- 4.2.3 Well-Tempered Mood -- 4.2.4 Equal Temperament -- 4.2.5 The Cent -- 4.3 Harmonic Series -- 4.3.1 Properties -- 4.3.2 Inharmonic Overtones -- 4.3.3 About Tonality -- 4.4 Timbre (Color of Sound) -- References -- 5 Comparison with Non-European Systems -- 5.1 Introduction 5.2 Music in Southern Neighborhoods of Europe -- 5.2.1 Sinti and Roma Music -- 5.2.2 Misheberach Scale -- 5.2.3 Ragas in Indian Music -- 5.2.4 Arabic Music -- 5.3 Music in the Northern Neighborhoods of Europe -- 5.3.1 The Sami -- 5.3.2 Celtic Music -- 5.4 Music in East Asia -- 5.4.1 Chinese Music -- 5.4.2 Japanese Pentatonics -- 5.4.3 More About East Asian Music -- 5.5 Music in Austronesia, Australia and New Guinea -- 5.5.1 Austronesia -- 5.5.2 Australia and New Guinea -- 5.6 Music in Sub-Saharan Africa -- 5.7 Music in the Americas -- 5.7.1 History -- 5.7.2 Blues -- 5.7.3 Central America -- 5.7.4 South America -- References -- Part III Physics of Musical Instruments -- 6 Musical Instruments -- 6.1 Systematical Classification of Musical Instruments -- 6.1.1 The Idiophones -- 6.1.2 The Membranophones -- 6.1.3 The Chordophones -- 6.1.4 The Aerophones -- 6.2 Sound and Acoustic Waves -- 6.2.1 Excursion on Sound and Acoustic Waves -- 6.2.2 History -- 6.2.3 The Physics of Sound -- 6.2.4 Important Physical Quantities -- 6.2.5 Acoustic Wave -- 6.3 From Sound Waves to Sound Frequencies -- 6.3.1 Overview of Fourier Series -- 6.3.2 Transformation from Sound Waves to Sound Spectra -- References -- 7 Selected Instruments 1-Aerophones -- 7.1 Classification of Aerophones -- 7.2 The Flute -- 7.2.1 Windway -- 7.2.2 The Recorder -- 7.2.3 The Transverse Flute -- 7.2.4 Flutes from Various Areas -- 7.3 Double-Reed Instruments -- 7.3.1 The Oboe -- 7.3.2 The English Horn (Cor Anglais) -- 7.3.3 The Bassoon -- 7.3.4 Other Double-Reed Instruments -- 7.4 Single-Reed Instruments -- 7.4.1 The Clarinet -- 7.4.2 The Saxophone -- 7.4.3 Other Single-Reed Instruments -- 7.5 Brass Instruments -- 7.5.1 Physics of Sound Creation -- 7.5.2 The Horn -- 7.5.3 Trumpet, Trombone, and Tuba -- 7.6 The Organ -- 7.6.1 The Whistle -- 7.6.2 The Organ Pipe -- 7.6.3 Wind System -- References 8 Selected Instruments 2-Chordophones, Membranophones, Idiophones and Human Voice -- 8.1 String Instruments -- 8.1.1 The Monochord -- 8.1.2 The Vibrating String -- 8.1.3 Playing Techniques -- 8.1.4 Bowed String Instruments -- 8.1.5 The Modern Violin Family -- 8.1.6 The Violin -- 8.1.7 Sound and Acoustics of the Violin Family -- 8.1.8 Sound of Viola, Cello and Double Bass -- 8.2 Percussion Instruments -- 8.2.1 Timpani and Drums -- 8.2.2 Bells -- 8.3 The Human Voice: Singing -- 8.3.1 Tonal Range of Singers -- 8.3.2 Speech Organs -- 8.3.3 Formant -- 8.3.4 Singers -- References -- Part IV When Musicians Get Together, They -- 9 Create Music -- 9.1 Introduction -- 9.2 Music Forms -- 9.2.1 Levels of Musical Units -- 9.2.2 More About a Piece -- 9.2.3 More About a Cycle -- 9.3 Methods -- 9.3.1 Counterpoint -- 9.3.2 Harmony -- 9.4 Combination of Musical Instruments -- References -- 10 Play Together and Form an Orchestra -- 10.1 Introduction -- 10.2 Solo and Duo -- 10.2.1 Piano -- 10.2.2 String Solo Without Accompaniment -- 10.2.3 Solo with Accompaniment -- 10.2.4 Duo -- 10.3 Chamber Music -- 10.3.1 Baroque Trio Sonata -- 10.3.2 String Instruments and Piano -- 10.3.3 String Instruments Only -- 10.3.4 Together with Wind Instruments -- 10.4 Orchestra -- 10.4.1 History -- 10.4.2 Types of Orchestras -- 10.4.3 Seating Arrangement -- 10.4.4 People -- 10.5 Acoustics of an Orchestra -- 10.5.1 Directional Effects -- 10.5.2 Acoustic Radiation of Instruments -- References -- Part V Hearing -- 11 Physiology and Psychoacoustics -- 11.1 Hearing-Physiological Aspects -- 11.1.1 Structure of the Human Ear -- 11.1.2 Function of the Human Ear -- 11.1.3 Tonotopic Mapping -- 11.2 Hearing Music-Psychoacoustical Aspects -- 11.2.1 How Do We Hear Music? -- 11.2.2 A Huge Black Box -- 11.2.3 We Hear (or Do Not Hear) in Somewhat Different Ways... -- 11.3 Absolute Pitch and Relative Pitch 11.3.1 What Are Absolute Pitch and Relative Pitch? -- 11.3.2 Solfège -- 11.3.3 How Do Absolute Pitch and Relative Pitch Work? -- 11.3.4 Piano Versus Violin, Bells Versus Monochord -- 11.4 Auditory Illusion -- 11.4.1 Binaural Beats -- 11.4.2 Octave Illusion and Scale Illusion -- 11.4.3 Pitch Circularity and Tritone Paradox -- 11.4.4 Not Illusions, But... -- References -- 12 Room Acoustics -- 12.1 Concert Halls -- 12.2 Principles of Room Acoustics -- 12.3 Wave Theory -- 12.4 Statistical Room Acoustics -- 12.4.1 Reverberation -- 12.4.2 Absorption Coefficient α -- 12.5 Geometrical Room Acoustics -- References -- Part VI Music, Mind and Society -- 13 Music Analysis with Phase Portraits -- 13.1 Introduction -- 13.2 Trials with Phase Plots -- 13.2.1 What Is a Phase Plot? -- 13.2.2 Three-Dimensional Expression -- 13.2.3 Applying Phase Plots to Musical Pieces -- 13.3 Analysis-Some Examples -- 13.3.1 Bach and Gounod -- 13.3.2 Haydn: String Quartet ''Emperor'' -- 13.3.3 Rossini: Guillaume Tell Overture -- 13.4 Comparison of Various Scales -- 13.4.1 Heptatonic Scales -- 13.4.2 Pentatonic Scales -- 13.4.3 Other Scales -- 13.5 Concluding Remarks -- References -- 14 What Is Music Supposed to Do with Our Mind and For Our Society? -- 14.1 Major and Minor -- 14.1.1 Introduction -- 14.1.2 The Major Triad and the Minor Triad -- 14.1.3 Finished or Unfinished -- 14.1.4 Comfort or Discomfort -- 14.1.5 Happy, Sad or High -- 14.1.6 Boléro -- 14.1.7 Siegfried Idyll -- 14.1.8 Swan Lake -- 14.2 Music and Our Society -- 14.2.1 Music and Moving -- 14.2.2 Musical Expectation and Moving -- 14.2.3 Two-Edged Blade -- 14.2.4 Music-Related Illness and Therapy -- 14.3 Bye Bye, I Must Go -- References -- Correction to: Music Analysis with Phase Portraits -- Correction to: K. Tsuji et al., Physics and Music, https://doi.org/10.1007/978-3-030-68676-513 -- Index Music-Acoustics and physics Akustik (DE-588)4000988-9 gnd Tonsystem (DE-588)4060412-3 gnd Physik (DE-588)4045956-1 gnd Musikinstrument (DE-588)4040851-6 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4000988-9 (DE-588)4060412-3 (DE-588)4045956-1 (DE-588)4040851-6 (DE-588)4040802-4 |
| title | Physics and Music Essential Connections and Illuminating Excursions |
| title_auth | Physics and Music Essential Connections and Illuminating Excursions |
| title_exact_search | Physics and Music Essential Connections and Illuminating Excursions |
| title_exact_search_txtP | Physics and Music Essential Connections and Illuminating Excursions |
| title_full | Physics and Music Essential Connections and Illuminating Excursions |
| title_fullStr | Physics and Music Essential Connections and Illuminating Excursions |
| title_full_unstemmed | Physics and Music Essential Connections and Illuminating Excursions |
| title_short | Physics and Music |
| title_sort | physics and music essential connections and illuminating excursions |
| title_sub | Essential Connections and Illuminating Excursions |
| topic | Music-Acoustics and physics Akustik (DE-588)4000988-9 gnd Tonsystem (DE-588)4060412-3 gnd Physik (DE-588)4045956-1 gnd Musikinstrument (DE-588)4040851-6 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Music-Acoustics and physics Akustik Tonsystem Physik Musikinstrument Musik |
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