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Perceptual Coherence : Hearing and Seeing

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340 <strong>Perceptual</strong> <strong>Coherence</strong><br />

frequencies found for strings. Nevertheless, each of the vibration modes<br />

of a plate has great similarity to those found for vibrating strings. The<br />

two-dimensionality of plates merely allows new spatial patterns of vibrations<br />

to occur.<br />

For a uniform string, the motion for the lowest resonant frequency is<br />

an up-down motion of the string as a whole. Similarly, the motion for the<br />

first mode of a uniform plate is an up-down motion of the plate as a whole<br />

(figure 8.1A). For a string, the motion for the second vibration mode<br />

consists of the out-of-phase motion of the two halves, <strong>and</strong> the maximum<br />

amplitude occurs at the midpoint of each half; there is a null point at the<br />

center of the string. This, again, is the same motion found for the second<br />

mode of a plate: The plate vibrates in two out-of-phase sections at the same<br />

frequency; there is a single null line (figure 8.1B). Because the plate has<br />

two dimensions, there is one vibratory mode that divides the plate into two<br />

vibratory regions along the length <strong>and</strong> one that divides the plate along the<br />

width. It is quite possible to have the length <strong>and</strong> width vibratory mode<br />

simultaneously. The third string mode consists of three out-of-phase vibrations;<br />

the third plate modes consist of three out-of-phase motions in regions<br />

of the plate. The nodal lines (zero amplitude) can run along either the width<br />

or length (figure 8.1C). St<strong>and</strong>ing waves for each vibratory mode along one<br />

dimension of the plate are independent of the st<strong>and</strong>ing waves along the<br />

other dimension. Given the two dimensions of the plate, there also are vibration<br />

modes that are twisting motions along the diagonals (figure 8.1D).<br />

If the membrane is not uniform (e.g., wooden plates of a violin then some<br />

of the vibration modes can extend for long distance. An example of such a<br />

third vibration mode is shown in figure 8.1E.<br />

As found for vibrating strings, the position <strong>and</strong> manner of excitation determine<br />

the relative amplitudes of the vibration modes. Any vibratory mode<br />

can be stilled by either (1) exciting the plate, say by hitting it with a narrow<br />

hammer, at a null region; or (2) mechanically restricting the displacement<br />

at a region of maximum amplitude (antinode).<br />

Source (String Vibration)-Filter (Sound Body) Model<br />

Strings are not good sound radiators; the periodic physical motion creates a<br />

compression wave in front of the string <strong>and</strong> a rarefaction wave in back, <strong>and</strong><br />

they effectively cancel each other. The string must transfer its vibration<br />

energy to the sound body <strong>and</strong> the shape of the violin body has evolved to<br />

increase that transfer to maximize the sound output power. As described<br />

above, each of the string vibrations can excite one or more of the sound<br />

body vibration modes. Depending on the match between the vibration<br />

frequencies of the string <strong>and</strong> sound body, some of the string vibrations are<br />

effectively amplified <strong>and</strong> others are effectively nulled, <strong>and</strong> the spectral

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