The transformation of acoustics into electro-acoustics, a field at the intersection of science and technology, guided by electrical engineering, industry, and the military. At the end of the nineteenth century, acoustics was a science of musical sounds; the musically trained ear was the ultimate reference. Just a few decades into the twentieth century, acoustics had undergone a transformation from a scientific field based on the understanding of classical music to one guided by electrical engineering, with industrial and military applications. In this book, Roland Wittje traces this transition, from the late nineteenth-century work of Hermann Helmholtz to the militarized research of World War I and media technology in the 1930s. Wittje shows that physics in the early twentieth century was not only about relativity and atomic structure but encompassed a range of experimental, applied, and industrial research fields. The emergence of technical acoustics and electroacoustics illustrates a scientific field at the intersection of science and technology. Wittje starts with Helmholtz's and Rayleigh's work and its intersection with telegraphy and early wireless, and continues with the industrialization of acoustics during World War I, when sound measurement was automated and electrical engineering and radio took over the concept of noise. Researchers no longer appealed to the musically trained ear to understand sound but to the thinking and practices of electrical engineering. Finally, Wittje covers the demilitarization of acoustics during the Weimar Republic and its remilitarization at the beginning of the Third Reich. He shows how technical acoustics fit well with the Nazi dismissal of pure science, representing everything that “German Physics” under National Socialism should be: experimental, applied, and relevant to the military.

Tuning the World tells the unknown story of how the musical pitch A 440 became the global norm. Now commonly accepted as the point of reference for musicians in the Western world, A 440 hertz only became the standard pitch during an international conference held in 1939. The adoption of this norm was the result of decades of negotiations between countries, involving a diverse group of performers, composers, diplomats, physicists, and sound engineers. Although there is widespread awareness of the variability of musical pitches over time, as attested by the use of lower frequencies to perform early music repertoires, no study has fully explained the invention of our current concert pitch. In this book, Fanny Gribenski draws on a rich variety of previously unexplored archival sources and a unique combination of musicological perspectives, transnational history, and science studies to tell the unknown story of how A 440 became the global norm. Tuning the World demonstrates the aesthetic, scientific, industrial, and political contingencies underlying the construction of one of the most “natural” objects of contemporary musical performance and shows how this century-old effort was ultimately determined by the influence of a few powerful nations.

Sound and Science in Nineteenth-Century Britain is a four-volume set of primary sources which seeks to define our historical understanding of the relationship between British scientific knowledge and sound between 1815 and 1900. In the context of rapid urbanization and industrialization, as well as a growing overseas empire, Britain was home to a rich scientific culture in which the ear was as valuable an organ as the eye for examining nature. Experiments on how sound behaved informed new understandings of how a diverse array of natural phenomena operated, notably those of heat, light, and electro-magnetism. In nineteenth-century Britain, sound was not just a phenomenon to be studied, but central to the practice of science itself and broader understandings over nature and the universe. This collection, accompanied by extensive editorial commentary, will be of great interest to students and scholars of the History of Science.

Today, the concept of noise is employed to characterize random fluctuations in general. Before the twentieth century, however, noise only meant disturbing sounds. In the 1900s-50s, noise underwent a conceptual transformation from unwanted sounds that needed to be domesticated into a synonym for errors and deviations to be now used as all kinds of signals and information. Transforming Noise examines the historical origin of modern attempts to understand, control, and use noise. Its history sheds light on the interactions between physics, mathematics, mechanical technology, electrical engineering, and information and data sciences in the twentieth century. This book explores the process of engineers and physicists turning noise into an informational concept, starting from the rise of sound reproduction technologies such as the phonograph, telephone, and radio in the 1900s-20s until the theory of Brownian motions for random fluctuations and its application in thermionic tubes of telecommunication systems. These processes produced different theoretical treatments of noise in the 1920s-30s, such as statistical physicists' studies of Brownian fluctuations' temporal evolution, radio engineers' spectral analysis of atmospheric disturbances, and mathematicians' measure-theoretic formulation. Finally, it discusses the period during and after World War II and how researchers have worked on military projects of radar, gunfire control, and secret communications and converted the interwar theoretical studies of noise into tools for statistical detection, estimation, prediction, and information transmission. To physicists, mathematicians, electrical engineers, and computer scientists, this book offers a historical perspective on themes highly relevant in today's science and technology, ranging from Wi-Fi and big data to quantum information and self-organization. This book also appeals to environmental and art historians to modern music scholars as the history of noise constitutes a unique angle to study sound and society. Finally, to researchers in media studies and digital cultures, Transforming Noise demonstrates the deep technoscientific historicity of certain notions - information, channel, noise, equivocation - they have invoked to understand modern media and communication.

For a decimated post-war West Germany, the electronic music studio at the WDR radio in Cologne was a beacon of hope. Jennifer Iverson's Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde traces the reclamation and repurposing of wartime machines, spaces, and discourses into the new sounds of the mid-century studio. In the 1950s, when technologies were plentiful and the need for reconstruction was great, West Germany began to rebuild its cultural prestige via aesthetic and technical advances. The studio's composers, collaborating with scientists and technicians, coaxed music from sine-tone oscillators, noise generators, band-pass filters, and magnetic tape. Together, they applied core tenets from information theory and phonetics, reclaiming military communication technologies as well as fascist propaganda broadcasting spaces. The electronic studio nurtured a revolutionary synthesis of science, technology, politics, and aesthetics. Its esoteric sounds transformed mid-century music and continue to reverberate today. Electronic music--echoing both cultural anxiety and promise--is a quintessential Cold War innovation.

A landmark history of early radio in Germany and the quest for broadcast fidelity When we turn on a radio or stream a playlist, we can usually recognize the instrument we hear, whether it’s a cello, a guitar, or an operatic voice. Such fidelity was not always true of radio. Broadcasting Fidelity shows how the problem of broadcast fidelity pushed German scientists beyond the traditional bounds of their disciplines and led to the creation of one of the most important electronic instruments of the twentieth century. In the early days of radio, acoustical distortions made it hard for even the most discerning musical ears to differentiate instruments and voices. The physicists and engineers of interwar Germany, with the assistance of leading composers and musicians, tackled this daunting technical challenge. Research led to the invention in 1930 of the trautonium, an early electronic instrument capable of imitating the timbres of numerous acoustical instruments and generating novel sounds for many musical genres. Myles Jackson charts the broader political and artistic trajectories of this instrument, tracing how it was embraced by the Nazis and subsequently used to subvert Nazi aesthetics after the war and describing how Alfred Hitchcock commissioned a later version of the trautonium to provide the sounds of birds squawking and flapping their wings in his 1963 thriller The Birds. A splendid work of scholarship by an acclaimed historian of science, Broadcasting Fidelity reveals how the interplay of science, technology, politics, and culture gave rise to new aesthetic concepts, innovative musical genres, and the modern discipline of electroacoustics.

Testing Hearing: The Making of Modern Aurality argues that the modern cultural practices of hearing and testing have emerged from a long interrelationship. Since the early nineteenth century, auditory test tools (whether organ pipes or electronic tone generators) and the results of hearing tests have fed back into instrument calibration, human training, architecture, and the creation of new musical sounds. Hearing tests received a further boost around 1900 as a result of injury compensation laws and state and professional demands for aptitude testing in schools, conservatories, the military, and other fields. Applied at large scale, tests of seemingly small measure-of auditory acuity, of hearing range-helped redefine the modern concept of hearing as such. During the twentieth and twenty-first centuries, the epistemic function of hearing expanded. Hearing took on the dual role of test object and test instrument; in the latter case, human hearing became a gauge by which to evaluate or regulate materials, nonhuman organisms, equipment, and technological systems. This book considers both the testing of hearing and testing with hearing to explore the co-creation of modern epistemic and auditory cultures. The book's twelve contributors trace the design of ever more specific tests for the arts, education and communication, colonial and military applications, sociopolitical and industrial endeavors. Together, they demonstrate that testing as such became an enduring and wide-ranging cultural technique in the modern period, one that is situated between histories of scientific experimentation and many fields of application.

A century ago, the emergence of radio, along with organized systems of broadcasting, sparked a global fascination with the 'wonder' of sound transmission and reception. The thrilling experience of tuning in to the live sounds of this new medium prompted strong affective responses in its listeners. This book introduces a new concept of radiophilia, defined as the attachment to, or even a love of radio. Treating radiophilia as a dynamic cultural phenomenon, it unpacks the various pleasures associated with radio and its sounds, the desire to discover and learn new things via radio, and efforts to record, re-experience, and share radio. Surveying 100 years of radio from early wireless through to digital audio formats like podcasting, the book engages in debates about fandom, audience participation, listening experience, material culture, and how media relate to affect and emotions.

Physical Acoustics: Principles and Methods, Volume XV is a four-chapter text that covers the history of ultrasonics, interdigital transducers, theory of resonance scattering, and acoustic emission. Chapter 1 provides the history of ultrasonics and the developments of its application in crystal transducers, oscillators, selective wave filters, underwater sound, dentistry, and medicine. Chapter 2 is a comprehensive account of the use of circuit model analysis to design interdigital transducers (IDTs) for surface acoustic wave (SAW) devices. This chapter also looks into the total filter design problem for the important case of SAW filters composed solely of IDTs and matching circuits. Chapter 3 discusses the resonance scattering theory, its application to acoustic-and elastic-wave scattering, and the relevant experiments. Chapter 4 deals with the optical detection of acoustic emissions, acoustic emissions during various transformations, and dislocation effects. Researchers in the fields of electronics technology and applied and engineering mechanics will find this book invaluable.

This book is intended for those who are active with sound amplification and sound distribution. The book provides information on adapting sound systems and/or transducer to the given acoustics like in open, half-open and closed spaces. An important aspect is how loudspeakers can be adapted to cover all types of surroundings. Very often a choice has to be made from a wide range of loudspeakers. On the other hand a combination of loudspeakers must be developed and composed in order to adapt the loudspeakers to the given acoustical circumstances. The question of which loudspeaker is the correct choice and how they need to be set-up so that speech and music are fully comprehensible in all kinds of acoustical and noisy circumstances. This book gives a full answer to these questions. The reader is also made aware of the design of loudspeakers on the basis of Small and Thiele parameters. With thorough calculations and the visibility of the out coming of these calculations by simple software it is possible to convert the acoustic and mechanical elements of the loudspeaker into electrical analogues so that the loudspeaker is simulated on the PC. Using an example the calculations mentioned above can be supported. Finally the full reference list simplifies the task of the reader in finding the information they require. “I’ve been fascinated by the possibilities of Electro-acoustics since I was 10 years old and now I am very pleased to be able to share the knowledge that I built up over 40 years working in the Electro-acoustics division of Philips.” My work experience was supplemented by giving lectures on electro-acoustics at the post-academic courses on acoustics in Antwerp (Belgium)