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

Problems for Chapter 18 567Olson, Harry F. 1967. Music, Physics and Engineering, 2nd ed. New York: Dover Publications.(A classic in the field of musical acoustics written by a major researcher in thefield of sound reproduction.)Raman, C. V. 1918. On the mechanical theory of the vibrations of bowed strings and ofmusical instruments of the violin family, with experimental verification of the results.Indian Association for the Cultivation of Science Bulletin 15:1–18. Excerpted 1975 inMusical Acoustics, Part II. Violin Family Functions. C. M. Hutchins (ed.). Stroudsburg,PA: Dowden, Hutchinson and Ross.Risset, J. C. and Mathews, M. V. 1965. Journal of the Audio Engineering Society 13:200–206.Roederer, Juan G. 1995. The Physics and Psychophysics of Music, An Introduction, 3rded. New York: Springer-Verlag. (An interesting combined approach to the physical processesof producing music and human perception of music. While intended for musictheorists, composers, performers, music psychologists, and therapists, this text includessome materials on recent findings that may prove useful to acousticians, psychoacousticians,audiologists, and neuropsychologists.)Rossing, T. D. 1990. The Science of Sound. New York: Addison Wesley. Chapters 27–29.Rossing, Thomas D. and Fletcher, Neville H. 2004. Principles of Vibration and Sound,2nd ed. New York: Springer Verlag. (An excellent text that concentrates on the physicsunderlying the acoustical and vibrational aspects of musical instruments and includeschapters on underwater acoustics, noise, architectural acoustics, and nonlinear acoustics.)Sadie, Stanley (ed.). 1984. The New Grove Dictionary of Musical Instruments, Vols. 1and 3. New York: Macmillan Press Grove’s Dictionary of Music, pp. 8–22, 736–814.(Dictionary is really an encyclopedia dealing with music, music history, musical instruments,and performance techniques. A real treasure trove of information.)Savart, F. 1840. Des instruments de musique. Translated by D. H. Fletcher, in Hutchins(1976):15–18.Schelleng, John C. 1974. The physics of the bowed string. Scientific American: pp. 87–95.Strong, W. J. and Plitnik, G. R. 1983. Music, Speech and High Fidelity. Salt Lake City:Soundprint.Young, Robert W. 1939. Journal of the Acoustical Society of America 11(1):134.Problems for Chapter 181. Why does a middle C from an oboe and a piano sound different, even thoughit is the same note?2. Although the piano is classified as a string instrument, in what way it acts asa percussion instrument?3. What is the difference in the manner a piano and a harpsichord sound a note?4. What acoustical theory (e.g., vibrating bar) would you apply to the study of(a) piano(b) bass drum(c) xylophone(d) cello?