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      Physics and music : essential connections and illuminating excursions

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      https://www.riss.kr/link?id=M16608862

      • 저자
      • 발행사항

        Cham : Springer, c2021

      • 발행연도

        2021

      • 작성언어

        영어

      • 주제어
      • DDC

        781.1 판사항(22)

      • ISBN

        9783030686758

      • 자료형태

        일반단행본

      • 발행국(도시)

        스위스

      • 서명/저자사항

        Physics and music : essential connections and illuminating excursions / Kinko Tsuji, Stefan C. Müller.

      • 형태사항

        xviii, 424 p. : ill. (cheifly col.) ; 25 cm

      • 일반주기명

        Includes bibliographical references and index.

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      목차 (Table of Contents)

      • CONTENTS
      • Part I. Physics + Music = .....
      • 1 Introduction = 3
      • 1.1 Physics & Music - Quiz of the Year = 3
      • 1.2 What Is the Hybrid Field of Physics & Music? = 3
      • CONTENTS
      • Part I. Physics + Music = .....
      • 1 Introduction = 3
      • 1.1 Physics & Music - Quiz of the Year = 3
      • 1.2 What Is the Hybrid Field of Physics & Music? = 3
      • 1.2.1 Human Activities with Tones and Movements = 3
      • 1.2.2 Arts or Natural Sciences? = 6
      • 1.2.3 Sender and Receiver = 7
      • 1.3 Early History of Musical Notations = 8
      • 1.3.1 Mesopotamia, Egypt and Greece = 8
      • 1.3.2 Notation Systems in the Middle Ages = 10
      • 1.4 Gallery of Historical Instruments = 13
      • Appendix : Answers to the Physics & Music Quiz = 20
      • References = 21
      • Part II. Our Modern Tonal System
      • 2 Notation and Tonal Systems = 25
      • 2.1 What Is .....? = 25
      • 2.1.1 Music = 25
      • 2.1.2 Sound = 26
      • 2.1.3 Tone = 26
      • 2.1.4 Noise = 26
      • 2.1.5 Spectral Characteristics of Sounds = 26
      • 2.1.6 Standard Pitch = 28
      • 2.2 What Is Physics, in Close Partnership to Music? = 29
      • 2.3 Tonal System = 31
      • 2.3.1 Lines and Notes = 31
      • 2.3.2 Rest = 32
      • 2.3.3 Clef = 33
      • 2.3.4 Bars = 33
      • 2.3.5 Pitch = 35
      • 2.3.6 Change of Pitch-Accidentals = 37
      • 2.3.7 Loudness = 39
      • 2.3.8 Tempo = 40
      • 2.3.9 Ornaments = 41
      • 2.3.10 Note Relationships = 43
      • 2.3.11 Articulation Marks = 43
      • 2.3.12 Other Expressions = 44
      • 2.3.13 An Example-Rondo of Haydn = 45
      • References = 46
      • 3 Intervals and Scales = 47
      • 3.1 Intervals = 47
      • 3.1.1 Basic Intervals = 47
      • 3.1.2 Other Frequently Used Intervals and Chords = 48
      • 3.1.3 Beats = 55
      • 3.2 Scales = 57
      • 3.2.1 About Scales = 57
      • 3.2.2 Pentatonic Scale = 58
      • 3.2.3 Whole-Tone Scale = 59
      • 3.2.4 Heptatonics = 62
      • 3.2.5 Chromatic Scales = 66
      • 3.2.6 Microtones = 67
      • References = 70
      • 4 Tunings-From Pythagoras to Equal Temperament = 71
      • 4.1 Pythagorean Tuning = 71
      • 4.2 Some More Intonation Systems = 75
      • 4.2.1 Just Intonation (or Pure Tuning) = 75
      • 4.2.2 Meantone Temperament = 76
      • 4.2.3 Well-Tempered Mood = 76
      • 4.2.4 Equal Temperament = 77
      • 4.2.5 The Cent = 78
      • 4.3 Harmonic Series = 82
      • 4.3.1 Properties = 82
      • 4.3.2 Inharmonic Overtones = 84
      • 4.3.3 About Tonality = 86
      • 4.4 Timbre (Color of Sound) = 87
      • References = 90
      • 5 Comparison with Non-European Systems = 91
      • 5.1 Introduction = 91
      • 5.2 Music in Southern Neighborhoods of Europe = 94
      • 5.2.1 Sinti and Roma Music = 94
      • 5.2.2 Misheberach Scale = 97
      • 5.2.3 Ragas in Indian Music = 98
      • 5.2.4 Arabic Music = 100
      • 5.3 Music in the Northern Neighborhoods of Europe = 102
      • 5.3.1 The Sami = 102
      • 5.3.2 Celtic Music = 104
      • 5.4 Music in East Asia = 105
      • 5.4.1 Chinese Music = 105
      • 5.4.2 Japanese Pentatonics = 107
      • 5.4.3 More About East Asian Music = 110
      • 5.5 Music in Austronesia, Australia and New Guinea = 111
      • 5.5.1 Austronesia = 111
      • 5.5.2 Australia and New Guinea = 114
      • 5.6 Music in Sub-Saharan Africa = 115
      • 5.7 Music in the Americas = 117
      • 5.7.1 History = 117
      • 5.7.2 Blues = 119
      • 5.7.3 Central America = 120
      • 5.7.4 South America = 121
      • References = 124
      • Part III. Physics of Musical Instruments
      • 6 Musical Instruments = 129
      • 6.1 Systematical Classification of Musical Instruments = 129
      • 6.1.1 The Idiophones = 130
      • 6.1.2 The Membranophones = 131
      • 6.1.3 The Chordophones = 132
      • 6.1.4 The Aerophones = 133
      • 6.2 Sound and Acoustic Waves = 136
      • 6.2.1 Excursion on Sound and Acoustic Waves = 136
      • 6.2.2 History = 137
      • 6.2.3 The Physics of Sound = 138
      • 6.2.4 Important Physical Quantities = 139
      • 6.2.5 Acoustic Wave = 143
      • 6.3 From Sound Waves to Sound Frequencies = 152
      • 6.3.1 Overview of Fourier Series = 152
      • 6.3.2 Transformation from Sound Waves to Sound Spectra = 158
      • References = 162
      • 7 Selected Instruments 1-Aerophones = 165
      • 7.1 Classification of Aerophones = 165
      • 7.2 The Flute = 165
      • 7.2.1 Windway = 166
      • 7.2.2 The Recorder = 167
      • 7.2.3 The Transverse Flute = 171
      • 7.2.4 Flutes from Various Areas = 176
      • 7.3 Double-Reed Instruments = 178
      • 7.3.1 The Oboe = 179
      • 7.3.2 The English Horn (Cor Anglais) = 181
      • 7.3.3 The Bassoon = 182
      • 7.3.4 Other Double-Reed Instruments = 184
      • 7.4 Single-Reed Instruments = 185
      • 7.4.1 The Clarinet = 186
      • 7.4.2 The Saxophone = 189
      • 7.4.3 Other Single-Reed Instruments = 190
      • 7.5 Brass Instruments = 191
      • 7.5.1 Physics of Sound Creation = 191
      • 7.5.2 The Horn = 193
      • 7.5.3 Trumpet, Trombone, and Tuba = 196
      • 7.6 The Organ = 199
      • 7.6.1 The Whistle = 200
      • 7.6.2 The Organ Pipe = 201
      • 7.6.3 Wind System = 202
      • References = 204
      • 8 Selected Instruments 2-Chordophones, Membranophones, Idiophones and Human Voice = 205
      • 8.1 String Instruments = 205
      • 8.1.1 The Monochord = 205
      • 8.1.2 The Vibrating String = 205
      • 8.1.3 Playing Techniques = 208
      • 8.1.4 Bowed String Instruments = 210
      • 8.1.5 The Modern Violin Family = 213
      • 8.1.6 The Violin = 214
      • 8.1.7 Sound and Acoustics of the Violin Family = 220
      • 8.1.8 Sound of Viola, Cello and Double Bass = 222
      • 8.2 Percussion Instruments = 224
      • 8.2.1 Timpani and Drums = 224
      • 8.2.2 Bells = 235
      • 8.3 The Human Voice : Singing = 240
      • 8.3.1 Tonal Range of Singers = 240
      • 8.3.2 Speech Organs = 240
      • 8.3.3 Formant = 242
      • 8.3.4 Singers = 243
      • References = 244
      • Part IV. When Musicians Get Together, They…
      • 9 Create Music = 249
      • 9.1 Introduction = 249
      • 9.2 Music Forms = 250
      • 9.2.1 Levels of Musical Units = 250
      • 9.2.2 More About a Piece = 252
      • 9.2.3 More About a Cycle = 252
      • 9.3 Methods = 260
      • 9.3.1 Counterpoint = 260
      • 9.3.2 Harmony = 265
      • 9.4 Combination of Musical Instruments = 268
      • References = 270
      • 10 Play Together and Form an Orchestra = 271
      • 10.1 Introduction = 271
      • 10.2 Solo and Duo = 272
      • 10.2.1 Piano = 272
      • 10.2.2 String Solo Without Accompaniment = 274
      • 10.2.3 Solo with Accompaniment = 274
      • 10.2.4 Duo = 275
      • 10.3 Chamber Music = 276
      • 10.3.1 Baroque Trio Sonata = 277
      • 10.3.2 String Instruments and Piano = 278
      • 10.3.3 String Instruments Only = 279
      • 10.3.4 Together with Wind Instruments = 282
      • 10.4 Orchestra = 284
      • 10.4.1 History = 284
      • 10.4.2 Types of Orchestras = 286
      • 10.4.3 Seating Arrangement = 290
      • 10.4.4 People = 291
      • 10.5 Acoustics of an Orchestra = 294
      • 10.5.1 Directional Effects = 294
      • 10.5.2 Acoustic Radiation of Instruments = 299
      • References = 308
      • Part V. Hearing
      • 11 Physiology and Psychoacoustics = 313
      • 11.1 Hearing-Physiological Aspects = 313
      • 11.1.1 Structure of the Human Ear = 313
      • 11.1.2 Function of the Human Ear = 316
      • 11.1.3 Tonotopic Mapping = 319
      • 11.2 Hearing Music-Psychoacoustical Aspects = 319
      • 11.2.1 How Do We Hear Music? = 319
      • 11.2.2 A Huge Black Box = 320
      • 11.2.3 We Hear (or Do Not Hear) in Somewhat Different Ways... = 323
      • 11.3 Absolute Pitch and Relative Pitch = 325
      • 11.3.1 What Are Absolute Pitch and Relative Pitch? = 325
      • 11.3.2 Solfège = 326
      • 11.3.3 How Do Absolute Pitch and Relative Pitch Work? = 327
      • 11.3.4 Piano Versus Violin, Bells Versus Monochord = 329
      • 11.4 Auditory Illusion = 331
      • 11.4.1 Binaural Beats = 331
      • 11.4.2 Octave Illusion and Scale Illusion = 332
      • 11.4.3 Pitch Circularity and Tritone Paradox = 334
      • 11.4.4 Not Illusions, But... = 336
      • References = 339
      • 12 Room Acoustics = 341
      • 12.1 Concert Halls = 343
      • 12.2 Principles of Room Acoustics = 344
      • 12.3 Wave Theory = 345
      • 12.4 Statistical Room Acoustics = 348
      • 12.4.1 Reverberation = 348
      • 12.4.2 Absorption Coefficient α = 352
      • 12.5 Geometrical Room Acoustics = 354
      • References = 358
      • Part VI. Music, Mind and Society
      • 13 Music Analysis with Phase Portraits = 361
      • 13.1 Introduction = 361
      • 13.2 Trials with Phase Plots = 363
      • 13.2.1 What Is a Phase Plot? = 363
      • 13.2.2 Three-Dimensional Expression = 364
      • 13.2.3 Applying Phase Plots to Musical Pieces = 365
      • 13.3 Analysis-Some Examples = 366
      • 13.3.1 Bach and Gounod = 366
      • 13.3.2 Haydn : String Quartet “Emperor” = 369
      • 13.3.3 Rossini : Guillaume Tell Overture = 374
      • 13.4 Comparison of Various Scales = 376
      • 13.4.1 Heptatonic Scales = 377
      • 13.4.2 Pentatonic Scales = 378
      • 13.4.3 Other Scales = 380
      • 13.5 Concluding Remarks = 381
      • References = 384
      • 14 What Is Music Supposed to Do with Our Mind and For Our Society? = 385
      • 14.1 Major and Minor = 385
      • 14.1.1 Introduction = 385
      • 14.1.2 The Major Triad and the Minor Triad = 388
      • 14.1.3 Finished or Unfinished = 390
      • 14.1.4 Comfort or Discomfort = 391
      • 14.1.5 Happy, Sad or High = 392
      • 14.1.6 Boléro = 392
      • 14.1.7 Siegfried Idyll = 395
      • 14.1.8 Swan Lake = 396
      • 14.2 Music and Our Society = 398
      • 14.2.1 Music and Moving = 399
      • 14.2.2 Musical Expectation and Moving = 401
      • 14.2.3 Two-Edged Blade = 403
      • 14.2.4 Music-Related Illness and Therapy = 405
      • 14.3 Bye Bye, I Must Go = 406
      • References = 407
      • Correction to : Music Analysis with Phase Portraits = C1
      • Index = 409
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