THE SCIENCE AND APPLICATIONS OF ACOUSTICS - H. H. Arnold ...

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18.9 Strings 523of moving very much air. It is for this reason that strings are coupled to a largemultiresonant surface (or soundboard) to increase the sound output.All string-musical instruments make use of a soundboard or a combination ofa ported hollow body and a soundboard to couple the string to the air. The largerthe radiating surface, the greater the acoustic impedance, and this provides theincreased coupling to enhance the sound output of the strings. Soundboards exhibitthe complex modes of vibrations that have been described in Chapter 6 that dealswith membranes and plates. In a number of string instruments such as the lute,lyre, zither, guitar, mandolin, and the violin family, a hollow body with portholesis coupled to the strings. The vibration imparted by the strings to the body exteriorproduces radiation in a fashion similar to that of the soundboard. The hollow bodywith a hole(s) coupled to the outside air comprises a Helmholtz resonator, andthe fundamental frequency can be established from the theory of Section 7.11.The dimensions of the resonator may equal or be larger than the wavelength of thesound in air for some of the tones or overtones produced in the instrument, so thehollow body with its holes can manifest other resonant frequencies in addition tothe fundamental resonant frequency. A hollow body is a quite complex resonantsystem.Some examples of a plucked-string instrument include the lyre, lute, zither, andharp, three of which are illustrated in Figure 18.13.The lyre traces its origin to ancient Greece, and it consists of a frame, fingerboard,and a hollow body with sound holes. The lyre is played by plucking the stringswith fingers, and the length of the string (and hence the resonant frequency) isvaried by pressing the finger against the fingerboard. The hollow body serves as asoundboard to increase the sound output of the string.The lute, developed more than a thousand years ago, is the precursor of theinstruments of the guitar class. It comprises a pear-shaped hollow body, a neckwith frets (projecting ridges across the neck), and a head equipped with pegs totune the strings.The zither, similar to the lyre in appearance but having its soundboard underneaththe entire length of strings, consists of two sets of strings stretched across a flathollow body featuring a large round holes. One set of steel strings, which passover a fretted fingerboard, is used to play the melody while a set of gut strings isused for accompaniment. The modern zither now consists of 32 strings, of whichfour are assigned to the fretted fingerboard. Each of the strings can be tuned byturning pegs of pins at one end of the instrument. The plucking of the zither occursin the following way: A ring-type plectrum is used on the thumb of the right handto play the melody. The left hand is used to stop the melody strings by pressingthe strings against the frets of the fingerboard. The spacing of the frets are suchthat the sounds produced by stopping the strings on any two adjacent frets areone semitone apart. The first, second, and third fingers of the right hand play theaccompaniment. Zithers are available in three sizes, called bass, bow, and concerttypes. The open melody strings of the concert zither are tuned to C 3 ,G 3 ,D 4 , andA 4 . The accompaniment strings provide the fundamental-frequency range of C 2to A 4 .
524 18. Music and Musical InstrumentsFigure 18.13. Plucked-string instruments: lyre, lute, and harp.The harp, often portrayed as being the instrument of angels, consists of stringsstretched vertically upon a triangular frame and connected to a soundboard constitutingthe lower leg of the triangular frame. The soundboard is quite small, andso the strings are not highly damped and the sound from each string persists for arather long time, yielding a rather mellow tone. The modern harp is usually providedwith seven pedals that actuate a transposing mechanism for shortening thestrings in two stages.The mechanism for shortening the strings is illustrated in Figure 18.14. In panelA of the figure the string is positioned at its maximum length. Depressing the pedalhalfway causes disk 1 to rotate along with the pins attached thereto, so the stringis shortened by a semitone as shown in panel B. When the pedal is depressed allthe way, disk 2 is rotated along with its attached pin, thus shortening the string
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THE SCIENCE ANDAPPLICATIONS OFACOUS
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xPrefaceReferencesBacon, Sir Franci
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xiiContents16. Ultrasonics 44317. C
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2 1. A Capsule History of Acoustics
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1. A Capsule History of Acoustics 5
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12 1. A Capsule History of Acoustic
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14 2. Fundamentals of AcousticsFigu
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16 2. Fundamentals of Acoustics2.2
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18 2. Fundamentals of Acousticsof t
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20 2. Fundamentals of AcousticsQ z+
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22 2. Fundamentals of Acousticsin t
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24 2. Fundamentals of AcousticsWe c
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26 2. Fundamentals of Acoustics(2)
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28 2. Fundamentals of AcousticsEqua
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30 2. Fundamentals of Acoustics11.
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32 3. Sound Wave Propagation and Ch
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3.14 Performance Indices for Enviro
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3.14 Performance Indices for Enviro
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or in terms of complex exponential
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3.17 Sound Intensity 61Here the sur
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3.18 The Monopole Source 63The thre
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3.21 Energy Density 653.20 The Hemi
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References 67medium. The time avera
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Problems for Chapter 3 69(a) the wa
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4Vibrating Strings4.1 IntroductionI
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4.4 General Solution of the Wave Eq
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4.6 Simple Harmonic Solutions of th
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4.7 Standing Waves 77Figure 4.3. Di
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4.8 The Effect of Initial Condition
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4.10 Forced Vibrations in an Infini
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4.11 Strings of Finite Lengths: For
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References 854.12 Real Strings: Fre
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Problems for Chapter 4 878. A devic
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90 5. Vibrating BarsFigure 5.1. A b
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92 5. Vibrating BarsSettingc 2 = E/
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94 5. Vibrating BarsThe allowable f
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96 5. Vibrating Barsthe acceleratio
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98 5. Vibrating BarsFigure 5.5. Loc
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100 5. Vibrating Barsmore difficult
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102 5. Vibrating BarsFigure 5.7. An
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104 5. Vibrating Barsthe light beam
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106 5. Vibrating BarsFigure 5.8. Tr
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108 5. Vibrating BarsFigure 5.10. T
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110 5. Vibrating Barsof 0.005 m dia
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112 6. Membrane and PlatesFigure 6.
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114 6. Membrane and PlatesBecause t
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116 6. Membrane and PlatesThe left-
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118 6. Membrane and PlatesTable 6.1
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120 6. Membrane and PlatesIn real a
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122 6. Membrane and PlatesTable 6.2
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124 6. Membrane and PlatesAt low fr
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126 6. Membrane and PlatesThe elast
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128 6. Membrane and PlatesFor the f
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130 6. Membrane and Plates(b) Deter
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132 7. Pipes, Waveguides, and Reson
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152 8. Acoustic Analogs, Ducts, and
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9Sound-Measuring Instrumentation9.1
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9.3 Microphones 175Figure 9.1. A cu
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SolutionEquation (9.3) is applied t
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9.5 Selection and Positioning of Mi
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9.6 Vector Sound Intensity Probes 1
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9.8 Proper Procedures for Using the
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9.8 Proper Procedures for Using the
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Example Problem 39.10 Dosimeters 18
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9.11 Noise Measurement in Selected
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9.11 Noise Measurement in Selected
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9.12 Real Time Analysis 193analyzer
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9.13 Fast Fourier Transform Analysi
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9.14 Data Windows and Selection of
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9.16 Measurement Error 199whereβ =
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9.18 Measurement of Sound in a Free
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9.20 Sound Power Measurement in a D
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9.20 Sound Power Measurement in a D
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9.23 The Addition Method for Measur
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References 209acoustical output and
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Problems for Chapter 9 2112. Determ
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214 10. Physiology of Hearing and P
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11Acoustics of Enclosed Spaces:Arch
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11.2 Sound Fields 245Figure 11.1. P
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11.4 Sound Intensity Growth in a Li
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11.5 Sound Absorption Coefficients
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11.6 Growth of Sound with Absorbent
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11.7 Decay of Sound 253Following Sa
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11.8 Decay of Sound in Dead Rooms 2
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11.9 Reverberation as Affected by S
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11.13 Sound Levels due to Direct an
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11.15 Concert Halls and Opera House
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Figure 11.9. A view of the Boston S
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11.16 Band Shells and Outdoor Audit
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11.16 Band Shells and Outdoor Audit
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11.17 Subjective Preferences in Sou
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References 277preferred subsequent
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Problems for Chapter 11 279Siebein,
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12Walls, Enclosures, and Barriers12
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12.3 Mass Control Case 283Figure 12
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12.5 Effect of Frequencies on Sound
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12.6 Coincidence Effect and Critica
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12.7 The Double-Panel Partition 289
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an ideal gas) varies in the followi
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12.8 Measuring Transmission Loss 29
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12.10 Combined Sound Transmission C
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12.11 Noise Insulation Ratings 297F
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12.11 Noise Insulation Ratings 299s
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12.12 Noise Reduction of a Wall 301
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12.12 Noise Reduction of a Wall 303
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12.14 Enclosures 305to the extent t
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12.14 Enclosures 307and similarly f
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12.15 Small Enclosures 309walls. Ac
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12.16 Acoustic Barriers 311Figure 1
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12.16 Acoustic Barriers 313In the c
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Equation (12.67) becomes(11D = λ+
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Problems for Chapter 12 3173. A 0.7
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13Criteria and Regulations forNoise
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13.3 The Occupational Safety and He
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13.4 Perception of Noise 323inspect
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13.6 Indoor Noise Criteria 325accou
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13.6 Indoor Noise Criteria 327Room
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13.7 Equivalent Sound Level, Day-Ni
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13.7 Equivalent Sound Level, Day-Ni
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Composite Noise Rating13.9 Rating o
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13.10 Evaluation of Traffic Noise 3
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Highway Construction Noise13.10 Eva
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13.11 Evaluation of Community Noise
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13.12 Guidelines and Regulations in
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References 353Computer Program, HIC
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Problems for Chapter 13 355Problems
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14Machinery Noise Control14.1 Intro
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14.4 Fan or Blower Noise 359Table 1
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14.4 Fan or Blower Noise 361Figure
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14.6 Pumps and Plumbing Systems 367
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14.6 Pumps and Plumbing Systems 369
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14.8 Gears 371fromwheref BRC = N r
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14.8 Gears 373Figure 14.7. Gear noi
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14.8 Gears 375Figure 14.8. Gear tra
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14.8 Gears 377The subscripts 1 and
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14.10 Ball and Roller Bearings 379l
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14.10 Ball and Roller Bearings 381c
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14.11 Other Mechanical Drive Elemen
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Belt Drivesf CL = n 1N 1 2400 × 12
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14.12 Gas-Jet Noise 387said to be c
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14.12 Gas-Jet Noise 389power discha
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Solution14.12 Gas-Jet Noise 391Usin
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14.13 Gas Jet Noise Control 393Solu
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14.13 Gas Jet Noise Control 395Figu
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14.13 Gas Jet Noise Control 397Figu
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14.14 Mufflers and Silencers 399Fig
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(1 + m)A I 1=A 314.14 Mufflers and
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14.14 Mufflers and Silencers 403Let
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References 405Figure 14.21 illustra
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Problems for Chapter 14 407the nois
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15Underwater Acoustics15.1 Sound Pr
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15.3 Speed of Sound in Seawater 411
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15.4 Velocity Profiles in the Sea 4
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15.4 Velocity Profiles in the Sea 4
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15.5 Underwater Transmission Loss 4
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15.6 Parametric Variation of Absorp
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15.8 Underwater Refraction 421Figur
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15.9 Mixed Layer 423When G is const
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15.11 Sonar Transducers and Their P
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Example Problem 115.12 The Sonar Eq
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Active and Passive Equations15.12 T
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15.13 Noise, Echo, and Reverberatio
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15.13 Noise, Echo, and Reverberatio
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15.14 Transient Form of Sonar Equat
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Example Problem 315.16 Shortcomings
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15.17 Theoretical Target Strength o
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Problems for Chapter 15 441Wilson,
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444 16. Ultrasonicscatching small i
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446 16. UltrasonicsPlanck constant
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448 16. UltrasonicsEquation (16.5)
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450 16. UltrasonicsFigure 16.1. Sou
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452 16. Ultrasonicsthe positive hal
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454 16. Ultrasonicson each and ever
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456 16. Ultrasonicscomplete as a li
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458 16. Ultrasonicsinitial of their
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460 16. Ultrasonicsoptic axis, deno
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462 16. Ultrasonicstransducer, it h
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464 16. UltrasonicsTable 16.1. Valu
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466 16. Ultrasonicsthe mechanical r
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468 16. UltrasonicsThe Physics of M
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470 16. UltrasonicsFigure 16.7. The
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574 19. Sound Reproductionon, machi
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576 19. Sound ReproductionIt is fai
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578 19. Sound ReproductionINNER SUS
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580 19. Sound Reproductiontuned ape
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582 19. Sound Reproductionuse of MP
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584 19. Sound ReproductionDickason,
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586 20. Vibration and Vibration Con
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618 21. Nonlinear Acousticsby∇ 2
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620 21. Nonlinear Acousticsmay be i
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622 21. Nonlinear Acousticswhereδ
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624 21. Nonlinear AcousticsThe shoc
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626 21. Nonlinear AcousticsBut the
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Appendix APhysical Properties of Ma
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Appendix A. Physical Properties of
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Appendix BBessel FunctionsB.1 The B
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B.8 Tables of Bessel Functions, Zer
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Appendix CUsing Laplace Transforms
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C.3 Solving Differential Equations
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C.4 Equations with Multiple-Order R
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SolutionC.5 Equations with Complex
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C.5 Equations with Complex Roots 64
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SolutionC.5 Equations with Complex
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650 IndexAuditoriums, design of, 26
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652 IndexElectrostatic speakers, 58
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654 IndexKey notation, 518Kinetic e
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656 IndexPascal (unit), 48Percent i
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658 IndexSound intensity growth in
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660 IndexWater-hammer arresters, 37
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