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 whole range of noises we call music.
The physical properties and history of sound are fascinating to study. Barry Parker's tour of the physics of music details the science of how instruments, the acoustics of rooms, electronics, and humans create and alter the varied sounds we hear. Using physics as a base, Parker discusses the history of music, how sounds are made and perceived, and the various effects of acting on sounds. In the process, he demonstrates what acoustics can teach us about quantum theory and explains the relationship between harmonics and the theory of waves.
Peppered throughout with anecdotes and examples illustrating key concepts, this invitingly written book provides a firm grounding in the actual and theoretical physics of music.
Author(s): Barry Parker
Publisher: JHUP
Year: 2009
Language: English
Pages: 285
Contents......Page 6
Acknowledgments......Page 8
Introduction......Page 12
I: Sound and Sound Waves......Page 22
1 Making Music: How Sound Is Made......Page 24
2 The Sound of Music: Perception......Page 39
3 Good Vibes: Waves in Motion......Page 52
II: The Building Blocks of Music......Page 70
4 Making Music Beautiful: Complex Musical Tones......Page 72
5 The Well-Tempered Scale......Page 88
6 Down Melody Lane with Chords and Chord Sequences......Page 104
7 “You’ve Gotta Have Rhythm”: Rhythm and Types of Music......Page 120
III: Musical Instruments......Page 140
8 Why a Piano Is Not a Harpsichord......Page 142
9 The Stringed Instruments: Making Music with the Violin and the Guitar......Page 157
10 The Brass Instruments: Trumpet and Trombone......Page 176
11 The Woodwinds: Clarinet and Saxophone......Page 190
12 The Most Versatile Instrument: The Singing Voice......Page 200
IV: New Technologies and Acoustics......Page 220
13 Electronic Music......Page 222
14 Making a MIDI Recording......Page 238
15 The Acoustics of Concert Halls and Studios......Page 255
Epilogue......Page 270
Suggested Readings......Page 278
C......Page 280
F......Page 281
K......Page 282
P......Page 283
S......Page 284
Y......Page 285
