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Learn the science of sound with easy experiments and examples from everyday life. Crickets, clarinets, and vocal chords. All vibrate. All make sound. Here is science learning at it's best: a kid-friendly, accessible text, with bold, retro-styled illustrations, and hands-on experiments you can try at home! Using everyday items like straws, balloons, rulers, and wax paper, readers can: See how sound can pass through a string Use four straws to hear high and low sounds Show how vocal chords work Use wax paper to see sound vibrate Learn how sound waves work And much more! A glossary is included in the back of the book. A Junior Library Guild Selection
book for musicians, instrument collectors, and fans of Fender. This, at last, is the complete Fender story." --Book Jacket.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
For twenty-two years, Katherine Bouton had a secret that grew harder to keep every day. An editor at The New York Times, at daily editorial meetings she couldn't hear what her colleagues were saying. She had gone profoundly deaf in her left ear; her right was getting worse. As she once put it, she was "the kind of person who might have used an ear trumpet in the nineteenth century." Audiologists agree that we're experiencing a national epidemic of hearing impairment. At present, 50 million Americans suffer some degree of hearing loss—17 percent of the population. And hearing loss is not exclusively a product of growing old. The usual onset is between the ages of nineteen and forty-four, and in many cases the cause is unknown. Shouting Won't Help is a deftly written, deeply felt look at a widespread and misunderstood phenomenon. In the style of Jerome Groopman and Atul Gawande, and using her experience as a guide, Bouton examines the problem personally, psychologically, and physiologically. She speaks with doctors, audiologists, and neurobiologists, and with a variety of people afflicted with midlife hearing loss, braiding their stories with her own to illuminate the startling effects of the condition. The result is a surprisingly engaging account of what it's like to live with an invisible disability—and a robust prescription for our nation's increasing problem with deafness. A Kirkus Reviews Best Nonfiction Book of 2013
a child without a childhood growing up in nazi Germany not knowing who she was and trying to find her identity...
"Last stop! Everybody out!" Jonathan is trying not to make a mess, but someone has put a subway station in his apartment. So Jonathan goes to City Hall to fix the computer. A newly designed Classic Munsch picture book introduces this hilarious tale about problem solving to a new generation of young readers.
What if history had a sound track? What would it tell us about ourselves? Based on a thirty-part BBC Radio series and podcast, Noise explores the human dramas that have revolved around sound at various points in the last 100,000 years, allowing us to think in fresh ways about the meaning of our collective past. Though we might see ourselves inhabiting a visual world, our lives have always been hugely influenced by our need to hear and be heard. To tell the story of sound—music and speech, but also echoes, chanting, drumbeats, bells, thunder, gunfire, the noise of crowds, the rumbles of the human body, laughter, silence, conversations, mechanical sounds, noisy neighbors, musical recordings, and radio—is to explain how we learned to overcome our fears about the natural world, perhaps even to control it; how we learned to communicate with, understand, and live alongside our fellow beings; how we've fought with one another for dominance; how we've sought to find privacy in an increasingly noisy world; and how we've struggled with our emotions and our sanity. Oratory in ancient Rome was important not just for the words spoken but for the sounds made—the tone, the cadence, the pitch of the voice—how that voice might have been transformed by the environment in which it was heard and how the audience might have responded to it. For the Native American tribes first encountering the European colonists, to lose one's voice was to lose oneself. In order to dominate the Native Americans, European colonists went to great effort to silence them, to replace their "demonic" "roars" with the more familiar "bugles, speaking trumpets, and gongs." Breaking up the history of sound into prehistoric noise, the age of oratory, the sounds of religion, the sounds of power and revolt, the rise of machines, and what he calls our "amplified age," Hendy teases out continuities and breaches in our long relationship with sound in order to bring new meaning to the human story.
The underwater world is a noisy place. Read all about some of the strongest, largest and loudest singers under the sea — whales! 'Have You Ever Heard a Whale Sing?' (English), written by Divya Panicker, illustrated by Deepti Sharma, supported by Oracle, published by Pratham Books (© Pratham Books,2020) under a CC BY 4.0 license, first released on StoryWeaver. Read, create and translate stories for free on www.storyweaver.org.in
A vibrant history of acoustical technology and aural culture in early-twentieth-century America. In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era. Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Boston's Symphony Hall, New York's office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated. Although this sound—clear, direct, efficient, and nonreverberant—had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.
“A skilled science translator, Denworth makes decibels, teslas and brain plasticity understandable to all.”—Washington Post Lydia Denworth’s third son, Alex, was nearly two when he was identified with significant hearing loss that was likely to get worse. Denworth knew the importance of enrichment to the developing brain but had never contemplated the opposite: deprivation. How would a child’s brain grow outside the world of sound? How would he communicate? Would he learn to read and write? An acclaimed science journalist as well as a mother, Denworth made it her mission to find out, interviewing experts on language development, inventors of groundbreaking technology, Deaf leaders, and neuroscientists at the frontiers of brain plasticity research. I Can Hear You Whisper chronicles Denworth’s search for answers—and her new understanding of Deaf culture and the exquisite relationship between sound, language, and learning.