Principles of Musical Acoustics focuses on the basic principles in the science and technology of music. Musical examples and specific musical instruments demonstrate the principles. The book begins with a study of vibrations and waves, in that order. These topics constitute the basic physical properties of sound, one of two pillars supporting the science of musical acoustics. The second pillar is the human element, the physiological and psychological aspects of acoustical science. The perceptual topics include loudness, pitch, tone color, and localization of sound. With these two pillars in place, it is possible to go in a variety of directions. The book treats in turn, the topics of room acoustics, audio both analog and digital, broadcasting, and speech. It ends with chapters on the traditional musical instruments, organized by family. The mathematical level of this book assumes that the reader is familiar with elementary algebra. Trigonometric functions, logarithms and powers also appear in the book, but computational techniques are included as these concepts are introduced, and there is further technical help in appendices.

Comprehensive and accessible, this foundational text surveys general principles of sound, musical scales, characteristics of instruments, mechanical and electronic recording devices, and many other topics. More than 300 illustrations plus questions, problems, and projects.

An ideal text for advanced undergraduates, the book provides the foundations needed to understand the acoustics of rooms and musical instruments as well as the basics for scientists and engineers interested in noise and vibration. The new edition contains four new chapters devoted primarily to applications of acoustical principles in everyday life: Microphones and Other Transducers, Sound in Concert Halls and Studios, Sound and Noise Outdoors; and Underwater Sound.

Comprehensive, up-to-date coverage of principles, materials, and technologies Architectural Acoustics provides the vital information that architects, engineers, and all concerned with the built environment need to control and direct wanted or unwanted sounds within and around buildings. A team of internationally recognized experts presents the very latest information on acoustical materials, technologies, design criteria, and methods for a wide variety of applications, including airports and other transportation facilities; theaters, churches, and concert halls; classrooms, lecture halls, and libraries; music practice rooms and recording studios; sports venues; and all types of residential, commercial, and industrial buildings. This comprehensive reference is one of the few books of its kind to include richly detailed case studies that demonstrate real-world applications of acoustic principles, materials, and methods. Nearly two hundred photos and illustrations further elucidate specific principles, applications, and techniques. Topics covered include: * Basic principles of architectural acoustics * Acoustical materials and methods * Building noise control applications

This book comprises twelve articles which cover a range of topics from musical instrument acoustics to issues in psychoacoustics and sound perception as well as neuromusicology. In addition to experimental methods and data acquisition, modeling (such as FEM or wave field synthesis) and numerical simulation plays a central role in studies addressing sound production in musical instruments as well as interaction of radiated sound with the environment. Some of the studies have a focus on psychoacoustic aspects in regard to virtual pitch and timbre as well as apparent source width (for techniques such as stereo or ambisonics) in music production. Since musical acoustics imply subjects playing instruments or singing in order to produce sound according to musical structures, this area is also covered including a study that presents an artificial intelligent agent capable to interact with a real ('analog') player in musical genres such as traditional and free jazz.

Schallschutz und Akustik gehören vielleicht nicht zu den primären Parametern, die den Entwurf eines Gebäudes normalerweise beeinflussen. Doch spätestens wenn man den Vortragenden im Seminarraum nicht versteht, der Geräuschpegel im Großraumbüro unerträgliche Ausmaße annimmt oder das Rumoren des Nachbars einem den Schlaf raubt, wird klar, wie wesentlich die Raumakustik zum alltäglichen Wohlbefinden beiträgt. Nicht nur Konzertsäle oder das antike Amphitheater erheben Anspruch auf akustische Qualität, sondern jedes Gebäude, sogar jeder Raum besitzt eine akustische Dimension, die je nach Funktion in ihren individuellen Anforderungen variiert. Der vorliegende Praxis-Band vermittelt allen Fachplanern, Architekten, aber auch interessierten Bauherren praxisnahe Kenntnisse zum Thema Akustik im Hochbau, angefangen von normativen Regelungen über Planungs- und Prognosemethoden bis hin zu den Bereichen Raumakustik, Bauakustik und Schallschutz im Städtebau. Typologische Kapitel erläutern beispielhaft den richtigen Umgang mit der Thematik an verschiedenen Gebäudearten wie beispielsweise Wohn- und Bürogebäuden, Schulen, Kindergärten, Hörsälen, Veranstaltungsräumen etc. , denn angemessene akustische Bedingungen tragen zum Erfolg eines Projektes massgeblich bei.

This corrected version of the landmark 1981 textbook introduces the physical principles and theoretical basis of acoustics with deep mathematical rigor, concentrating on concepts and points of view that have proven useful in applications such as noise control, underwater sound, architectural acoustics, audio engineering, nondestructive testing, remote sensing, and medical ultrasonics. Since its publication, this text has been used as part of numerous acoustics-related courses across the world, and continues to be used widely today. During its writing, the book was fine-tuned according to insights gleaned from a broad range of classroom settings. Its careful design supports students in their pursuit of a firm foundation while allowing flexibility in course structure. The book can easily be used in single-term or full-year graduate courses and includes problems and answers. This rigorous and essential text is a must-have for any practicing or aspiring acoustician.

This book, the first English-language translation of Acoustique des instruments de musique, Second Edition, presents the necessary foundations for understanding the complex physical phenomena involved in musical instruments. What is the function of the labium in a flute? Which features of an instrument allow us to make a clear audible distinction between a clarinet and a trumpet? With the help of numerous examples, these questions are addressed in detail. The authors focus in particular on the significant results obtained in the field during the last fifteen years. Their goal is to show that elementary physical models can be used with benefit for various applications in sound synthesis, instrument making, and sound recording. The book is primarily addressed to graduate students and researchers; however it could also be of interest for engineers, musicians, craftsmen, and music lovers who wish to learn about the basics of musical acoustics.

Undergraduate-level text examines waves in air and in three dimensions, interference patterns and diffraction, and acoustic impedance, as illustrated in the behavior of horns. 1951 edition.

The acoustics of a space can have a real impact on the sounds you create and capture. Acoustics and Psychoacoustics, Fifth Edition provides supportive tools and exercises to help you understand how music sounds and behaves in different spaces, whether during a performance or a recording, when planning a control room or listening space, and how it is perceived by performers, listeners, and recording engineers. With their clear and simple style, Howard and Angus cover both theory and practice by addressing the science of sound engineering and music production, the acoustics of musical instruments, the ways in which we hear musical sounds, the underlying principles of sound processing, and the application of these concepts to music spaces to create professional sound. This new edition is fully revised to reflect new psychoacoustic information related to timbre and temporal perception, including an updated discussion of vocal fold vibration principles, samples of recent acoustic treatments, and a description of variable acoustics in spaces, as well as coverage of the environment’s effect on production listening, sonification, and other topics. Devoted to the teaching of musical understanding, an accompanying website (www.routledge.com/cw/howard) features various audio clips, tutorial sheets, questions and answers, and trainings that will take your perception of sound to the next level. This book will help you: Gain a basic grounding in acoustics and psychoacoustics with respect to music audio technology systems Incorporate knowledge of psychoacoustics in future music technology system designs as appropriate Understand how we hear pitch, loudness, and timbre Learn to influence the acoustics of an enclosed space through designed physical modifications