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Good Vibrations: The Physics of Music PDF

285 Pages·2009·5.2 MB·English
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GOOD VIBRATIONS This page intentionally left blank © 2009 The Johns Hopkins University Press All rights reserved. Published 2009 Printed in the United States of America on acid-free paper 2 4 6 8 9 7 5 3 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Parker, Barry R. Good vibrations : the physics of music / Barry Parker. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8018-9264-6 (hardcover : alk. paper) ISBN-10: 0-8018-9264-3 (hardcover : alk. paper) 1. Vibration. 2. Sound-waves. 3. Sound. 4. Wave-motion, Theory of. I. Title. QC231.P37 2009 781.2—dc22 2008054589 A catalog record for this book is available from the British Library. Special discounts are available for bulk purchases of this book. For more information, please contact Special Sales at 410-516-6936 or [email protected]. The Johns Hopkins University Press uses environmentally friendly book materials, including recycled text paper that is composed of at least 30 percent post-consumer waste, whenever possible. All of our book papers are acid-free, and our jackets and covers are printed on paper with recycled content. CONTENTS Acknowledgments vii Introduction 1 I Sound and Sound Waves 1 Making Music: How Sound Is Made 13 2 The Sound of Music: Perception 28 3 Good Vibes: Waves in Motion 41 II The Building Blocks of Music 4 Making Music Beautiful: Complex Musical Tones 61 5 The Well-Tempered Scale 77 6 Down Melody Lane with Chords and Chord Sequences 93 7 “You’ve Gotta Have Rhythm”: Rhythm and Types of Music 109 III Musical Instruments 8 Why a Piano Is Not a Harpsichord 131 9 The Stringed Instruments: Making Music with the Violin and the Guitar 146 10 The Brass Instruments: Trumpet and Trombone 165 11 The Woodwinds: Clarinet and Saxophone 179 vi Contents 12 The Most Versatile Instrument: The Singing Voice 189 IV New Technologies and Acoustics 13 Electronic Music 211 14 Making a MIDI Recording 227 15 The Acoustics of Concert Halls and Studios 244 Epilogue 259 Suggested Readings 267 Index 269 ACKNOWLEDGMENTS I am grateful to Trevor Lipscombe for his many suggestions and help in preparing this volume. I would like to thank Carolyn Moser for careful editing of the manuscript and the staff of the Johns Hopkins University Press for their assistance in bringing this project to com- pletion. Thanks, too, to my artist, Lori Beer, for doing an excellent job on the drawings. Finally, I appreciate the assistance I received from Mike’s Music of Pocatello in obtaining the photographs. For more information on the physics of music and information on other books by the author, visit the web page www.BarryParker books.com. This page intentionally left blank GOOD VIBRATIONS

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Why does a harpsichord sound different from a piano? For that matter, why does middle C on a piano differ from middle C on a tuning fork, a trombone, or a flute? Good Vibrations explains in clear, friendly language the out-of-sight physics responsible not only for these differences but also for the
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