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    Basic Dimensions of Sound

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    Prince Sanji
    1) Sound begins when an object vibrates, transferring energy to the air. Complex vibrations are combinations of simple vibration patterns. 2) Simple harmonic motion involves an elastic restoring force that returns an object to equilibrium after being displaced. Harmonic oscillations can be represented by sine curves. 3) The physics of sound involves the vibration of objects, transmission of energy through air, and the representation of complex vibrations through combinations of simple vibration patterns.

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    Basic Dimensions of Sound

    Uploaded by

    Prince Sanji
    34 views23 pages
    1) Sound begins when an object vibrates, transferring energy to the air. Complex vibrations are combinations of simple vibration patterns. 2) Simple harmonic motion involves an elastic restoring force that returns an object to equilibrium after being displaced. Harmonic oscillations can be represented by sine curves. 3) The physics of sound involves the vibration of objects, transmission of energy through air, and the representation of complex vibrations through combinations of simple vibration patterns.

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    1) Sound begins when an object vibrates, transferring energy to the air. Complex vibrations are combinations of simple vibration patterns. 2) Simple harmonic motion involves an elastic restoring force that returns an object to equilibrium after being displaced. Harmonic oscillations can be represented by sine curves. 3) The physics of sound involves the vibration of objects, transmission of energy through air, and the representation of complex vibrations through combinations of simple vibration patterns.

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    34 views23 pages

    Basic Dimensions of Sound

    Uploaded by

    Prince Sanji
    1) Sound begins when an object vibrates, transferring energy to the air. Complex vibrations are combinations of simple vibration patterns. 2) Simple harmonic motion involves an elastic restoring force that returns an object to equilibrium after being displaced. Harmonic oscillations can be represented by sine curves. 3) The physics of sound involves the vibration of objects, transmission of energy through air, and the representation of complex vibrations through combinations of simple vibration patterns.

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    of 23

    The Physics of Sound

    • Sound begins with a vibration of an


    object
    • Vibrating object transfers energy
    to air medium
    • All complex vibration patterns
    seen as a combination of many
    simple vibration patterns

    • Simple harmonic motion


    • Elastic restoring force
    • Move object from equilibrium point,
    force returns it to equilibrium point
    • Force is proportion to distance from
    equilibrium – Displacement
    Simple Harmonic Motion

    • Harmonic oscillations, or sinusoid


    (sine) curves
    Simple Harmonic Motion, con’t
    1

    0.5

    -0.5

    -1

    • Amplitude: Maximum displacement from one


    extreme to resting position
    • Periodic vibration: Wave repeats itself
    • Frequency (F): Number of cycles per sec (Hz)
    • Period (T): Time (sec) to complete one cycle
    • F=1/T
    • Phase: Progression of wave through one cycle
    (measured in degrees)
    Simple Harmonic Motion, con’t

    • Decay of harmonic motion


    Additivity and Superposition of
    Sine Waves
    Additivity and Superposition of
    Sine Waves, con’t
    Fourier Decomposition or
    Fourier Analysis
    Fourier Decomposition, con’t

    Systems for Naming Frequency


    Components

    Freq. Harmonics Overtones Partials

    f0 Fundamental Fundamental 1st Partial

    2f0 2nd Harmonic 1st Overtone 2nd Partial

    3f0 3nd Harmonic 2st Overtone 3nd Partial

    4f0 4nd Harmonic 3st Overtone 4nd Partial


    Fourier Decomposition, con’t
    The Perception of Pitch
    The physiology of the ear
    The Perception of Pitch, con’t
    The place theory of pitch perception

    • The basilar membrane as a set of


    independently tuned resonators
    • Tone of single frequency causes
    corresponding place on basilar
    membrane to vibrate
    The Perception of Pitch, con’t
    The frequency theory of pitch perception

    • Basilar membrane vibrates to match frequency


    • Because of refractory period, nerve fibers cannot
    encode high frequency
    • Volley principle: nerve fibers working together can
    encode high frequencies
    The Perception of Pitch, con’t
    The psychophysics of frequency

    • The Mel Scale: Perceived pitch as a


    function of frequency
    • Non-linear relation between frequency
    and pitch
    The Perception of Pitch, con’t
    The Cognitive-Structural approach
    • Octave equivalence
    • Tones in a 2:1 frequency ratio have a
    special relation
    • Evidence for octave equivalence:
    • The harmonic series
    • The musical pitch set
    The Perception of Pitch, con’t
    The Cognitive-Structural approach
    • Psychological evidence for octave
    equivalence
    • Deutsch (1973)
    Standard Intervening Sequence Comparison
    The Perception of Pitch, con’t
    The Cognitive-Structural approach
    • Psychological evidence for octave
    equivalence
    • Octave-scramble nursery rhymes
    The Perception of Pitch, con’t
    A bi-dimensional approach
    • Tone / Pitch Height: A continuous
    dimension that increases with frequency
    • Tone / Pitch Chroma: Circular component
    representing tones with 2:1 freq. ratio
    • The pitch helix
    The Perception of Pitch, con’t
    A bi-dimensional approach
    • Shepard / Circular tones

    • Single tones:

    • Continuous glide:

    • Tritone paradox:
    The Perception of Loudness
    The psychophysics of loudness
    • Audibility curves
    The Perception of Loudness, con’t
    The psychological scale of loudness
    • Sones scale
    The Perception of Timbre
    The steady state component approach

    • Components that remain the same over


    time
    • Problems with the steady state view of
    timbre
    The Perception of Timbre, con’t
    The importance of transient
    components

    • Onset rapidity: Rate of onset of the tone


    • Noise bursts: Amount/type of noise in
    beginning of tone
    • Spectral energy shift: Changes in relative
    intensity of harmonics over time
    The Perception of Timbre, con’t
    The perceptual similarity of musical
    timbre
    • John Grey’s studies of musical timbre

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