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Explores music's scientific principles, the physiological properties of sound, how the ear perceives music, the effect of the acoustic environment, how instruments produce their sounds, and new computer applications in music
Foundations of Engineering Acoustics takes the reader on a journey from a qualitative introduction to the physical nature of sound, explained in terms of common experience, to mathematical models and analytical results which underlie the techniques applied by the engineering industry to improve the acoustic performance of their products. The book is distinguished by extensive descriptions and explanations of audio-frequency acoustic phenomena and their relevance to engineering, supported by a wealth of diagrams, and by a guide for teachers of tried and tested class demonstrations and laboratory-based experiments. Foundations of Engineering Acoustics is a textbook suitable for both senior undergraduate and postgraduate courses in mechanical, aerospace, marine, and possibly electrical and civil engineering schools at universities. It will be a valuable reference for academic teachers and researchers and will also assist Industrial Acoustic Group staff and Consultants. - Comprehensive and up-to-date: broad coverage, many illustrations, questions, elaborated answers, references and a bibliography - Introductory chapter on the importance of sound in technology and the role of the engineering acoustician - Deals with the fundamental concepts, principles, theories and forms of mathematical representation, rather than methodology - Frequent reference to practical applications and contemporary technology - Emphasizes qualitative, physical introductions to each principal as an entrée to mathematical analysis for the less theoretically oriented readers and courses - Provides a 'cook book' of demonstrations and laboratory-based experiments for teachers - Useful for discussing acoustical problems with non-expert clients/managers because the descriptive sections are couched in largely non-technical language and any jargon is explained - Draws on the vast pedagogic experience of the writer
A commonsense, self-contained introduction to the mathematics and physics of music; essential reading for musicians, music engineers, and anyone interested in the intersection of art and science. “Mathematics can be as effortless as humming a tune, if you know the tune,” writes Gareth Loy. In Musimathics, Loy teaches us the tune, providing a friendly and spirited tour of the mathematics of music—a commonsense, self-contained introduction for the nonspecialist reader. It is designed for musicians who find their art increasingly mediated by technology, and for anyone who is interested in the intersection of art and science. In Volume 1, Loy presents the materials of music (notes, intervals, and scales); the physical properties of music (frequency, amplitude, duration, and timbre); the perception of music and sound (how we hear); and music composition. Calling himself “a composer seduced into mathematics,” Loy provides answers to foundational questions about the mathematics of music accessibly yet rigorously. The examples given are all practical problems in music and audio. Additional material can be found at http://www.musimathics.com.
Landmark book hailed for exceptionally clear, delightfully readable explication of everything acoustically important to music-making. Includes over 300 illustrations. Examples, experiments, and questions conclude each chapter.
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.
The fifth edition of Psychological Foundations of Musical Behavior appears at a time of continuing worldwide anxiety and turmoil. We have learned a lot about human musical behavior, and we have some understanding of how music can meet diverse human needs. In this exceptional new edition, the authors have elected to continue a “one volume” coverage of a broad array of topics, guided by three criteria: The text is comprehensive in its coverage of diverse areas comprising music psychology; it is comprehensible to the reader; and it is contemporary in its inclusion of information gathered in recent years. Chapter organization recognizes the traditional and more contemporary domains, with special emphases on psychoacoustics, musical preference, learning, and the psychological foundations of rhythm, melody, and harmony. Following the introductory preview chapter, the text examines diverse views of why people have music and considers music’s functions for individuals, its social values, and its importance as a cultural phenomenon. “Functional music” and music as a therapeutic tool is discussed, including descriptions and relationships involving psychoacoustical phenomena, giving considerable attention to perception, judgment, measurement, and physical and psychophysical events. Rhythmic behaviors and what is involved in producing and responding to rhythms are explored. The organization of horizontal and vertical pitch, tonality, scales, and value judgments, as well as related pedagogical issues are also considered. The basic aspects of musical performance, improvisation, composition, existing musical preferences and tastes, approaches to studying the affective response to music with particular emphasis on developments in psychological aesthetics are examined. The text closely relates the development and prediction of musical ability, music learning as a form of human learning, and music abnormalities, concluding with speculation regarding future research directions. The authors offer their latest review of aspects of human musical behavior with profound recognition of music’s enduring values.
In Psychology of Music: From Sound to Significance (2nd edition), the authors consider music on a broad scale, from its beginning as an acoustical signal to its different manifestations across cultures. In their second edition, the authors apply the same richness of depth and scope that was a hallmark of the first edition of this text. In addition, having laid out the topography of the field in the original book, the second edition puts greater emphasis on linking academic learning to real-world contexts, and on including compelling topics that appeal to students’ natural curiosity. Chapters have been updated with approximately 500 new citations to reflect advances in the field. The organization of the book remains the same as the first edition, while chapters have been updated and often expanded with new topics. 'Part I: Foundations' explores the acoustics of sound, the auditory system, and responses to music in the brain. 'Part II: The Perception and Cognition of Music' focuses on how we process pitch, melody, meter, rhythm, and musical structure. 'Part III: Development, Learning, and Performance' describes how musical capacities and skills unfold, beginning before birth and extending to the advanced and expert musician. And finally, 'Part IV: The Meaning and Significance of Music' explores social, emotional, philosophical and cultural dimensions of music and meaning. This book will be invaluable to undergraduates and postgraduate students in psychology and music, and will appeal to anyone who is interested in the vital and expanding field of psychology of music.
While the history of musical instruments is nearly as old as civilisation itself, the science of acoustics is quite recent. By understanding the physical basis of how instruments are used to make music, one hopes ultimately to be able to give physical criteria to distinguish a fine instrument from a mediocre one. At that point science may be able to come to the aid of art in improving the design and performance of musical instruments. As yet, many of the subtleties in musical sounds of which instrument makers and musicians are aware remain beyond the reach of modern acoustic measurements. This book describes the results of such acoustical investigations - fascinating intellectual and practical exercises. Addressed to readers with a reasonable grasp of physics who are not put off by a little mathematics, this book discusses most of the traditional instruments currently in use in Western music. A guide for all who have an interest in music and how it is produced, as well as serving as a comprehensive reference for those undertaking research in the field.
Music in the Human Experience: An Introduction to Music Psychology, Second Edition, is geared toward music students yet incorporates other disciplines to provide an explanation for why and how we make sense of music and respond to it—cognitively, physically, and emotionally. All human societies in every corner of the globe engage in music. Taken collectively, these musical experiences are widely varied and hugely complex affairs. How did human beings come to be musical creatures? How and why do our bodies respond to music? Why do people have emotional responses to music? Music in the Human Experience seeks to understand and explain these phenomena at the core of what it means to be a human being. New to this edition: Expanded references and examples of non-Western musical styles Updated literature on philosophical and spiritual issues Brief sections on tuning systems and the acoustics of musical instruments A section on creativity and improvisation in the discussion of musical performance New studies in musical genetics Greatly increased usage of explanatory figures