Atjaunināt sīkdatņu piekrišanu

Physics in the Arts: Revised Edition [Mīkstie vāki]

(University of Wisconsin-Madison, U.S.A.), (University of Wisconsin-Madison, USA)
  • Formāts: Paperback / softback, 328 pages, height x width: 229x152 mm, weight: 610 g, Approx. 300 illustrations; Illustrations, unspecified
  • Sērija : Complementary Science
  • Izdošanas datums: 12-Jul-2011
  • Izdevniecība: Academic Press Inc
  • ISBN-10: 0123918782
  • ISBN-13: 9780123918789
Citas grāmatas par šo tēmu:
  • Mīkstie vāki
  • Cena: 51,24 €*
  • * Šī grāmata vairs netiek publicēta. Jums tiks paziņota lietotas grāmatas cena
  • Šī grāmata vairs netiek publicēta. Jums tiks paziņota lietotas grāmatas cena.
  • Daudzums:
  • Ielikt grozā
  • Pievienot vēlmju sarakstam
  • Formāts: Paperback / softback, 328 pages, height x width: 229x152 mm, weight: 610 g, Approx. 300 illustrations; Illustrations, unspecified
  • Sērija : Complementary Science
  • Izdošanas datums: 12-Jul-2011
  • Izdevniecība: Academic Press Inc
  • ISBN-10: 0123918782
  • ISBN-13: 9780123918789
Citas grāmatas par šo tēmu:
A deep yet accessible analysis of the physics of light and sound, and how our eyes and
ears detect them, is not only intellectually enjoyable, but also useful to understand and
interpret the world in which we live, all the phenomena that take place around us, and how
we perceive them. In short, how we interface with our planet, its inhabitants, and their
creations. Understanding the physics of light and sound may also increase the appreciation
for works of art and for art itself, and even stimulate the artists among the readers to deepen
their knowledge of their media, of how people interface with them, and perhaps improve
their art production.

* Offers an alternative route to science literacy for those interested in the arts, music and photography * Popular science book with wide readership beyond the classroom at an accessible level * Material covered at a level appropriate for self-study or as a complementary textbook * For teaching purposes, all figures in the book as well as hints on how to build labs (including seven new labs in March 2012!) are provided at http://www.elsevierdirect.com/companion.jsp ISBN=9780123918789.



Physics in the Arts is a concise, 328-page four-color entry in the Complementary Science Series, designed for science enthusiasts and liberal arts students requiring or desiring a well-developed discussion of physical phenomena, particularly with regard to sound and light.

Typical course: A course on sound and light for non-science majors covering the nature of sound and sound perception; fundamentals of harmony, musical photography, color perception, and color mixing. Easily understood by those with high school algebra and geometry.

* Offers an alternative route to science literacy for those interested in the arts, music and photography * Popular science book with wide readership beyond the classroom at an accessible level * Material covered at a level appropriate for self-study or as a complementary textbook * For teaching purposes, all figures in the book as well as hints on how to build labs (including seven new labs in March 2012!) are provided at http://www.elsevierdirect.com/companion.jsp ISBN=9780123918789.

Recenzijas

"...the work of a pair of great physicists and top teachers...clear and imaginative. I cannot remember an occasion where a student complained about this text." --Francis Halzen, University of Wisconsin, Madison

"I found the book very-well written...the book is also very popular with students. It covers the material at a depth appropriate for non-science students who are interested in the subject...it will be a very useful addition to the textbook literature for liberal arts colleges." --Baha Balantekin, Eugene P. Wigner Professor of Physics, University of Wisconsin, Madison

Papildus informācija

Check out the companion website: http://www.elsevierdirect.com/companion.jsp?ISBN=9780123918789
Introduction xi
Light and Sound xi
1 Light and Light Waves
1(9)
1.1 Speed of Light
5(1)
1.2 Electromagnetic Spectrum
6(1)
1.3 Polarization
7(3)
2 Reflection and Refraction
10(20)
2.1 Specular Reflection of Light
10(4)
2.2 Refraction of Light
14(3)
2.3 Total Internal Reflection
17(4)
2.4 Reflection and Refraction in Diamonds
21(4)
2.5 The Rainbow
25(2)
2.6 Questions
27(3)
3 Lenses
30(26)
3.1 The Prism
30(1)
3.2 Converging and Diverging Lenses
31(2)
3.3 Focal Length
33(3)
3.4 Images---Real and Virtual
36(3)
3.5 Three Easy Rays
39(2)
3.6 The Lens Formula
41(6)
3.6.1 Note on Magnification
45(2)
3.7 Lens Aberrations
47(5)
3.7.1 Chromatic Aberrations
48(1)
3.7.2 Spherical Aberration
49(3)
3.8 Questions
52(4)
4 The Eye
56(7)
4.1 Accommodation
58(2)
4.2 Eyeglasses
60(1)
4.3 Nearsighted Eye
61(1)
4.4 Farsighted Eye
62(1)
4.5 Astigmatic Eye
62(1)
5 Photography
63(19)
5.1 The Camera
63(1)
5.2 Focusing the Camera
64(3)
5.3 Choosing the Exposure Time
67(1)
5.4 Choosing the Aperture
68(1)
5.5 Depth of Field
69(2)
5.5.1 Why the f Number?
70(1)
5.6 The Film
71(4)
5.7 Digital Photography
75(1)
5.8 Putting it All Together: Taking a Photograph
76(4)
5.9 Questions
80(2)
6 Color and Color Vision
82(17)
6.1 Color
82(2)
6.2 Color Sensitivity of the Eye
84(5)
6.3 Physical and Psychological Color
89(1)
6.4 Color: Hue, Saturation, and Brightness
90(2)
6.5 Light Interaction with other Objects
92(1)
6.6 Scattering or Diffuse Reflection
92(6)
6.7 Questions
98(1)
7 Additive Color Mixing
99(19)
7.1 Primary Colors
99(1)
7.2 Adding Primary Colors
100(3)
7.3 The Color Triangle
103(4)
7.4 Low-Brightness Colors
107(1)
7.5 Spectral Colors
107(5)
7.6 Non-Spectral Colors
112(1)
7.7 Summary
113(1)
7.8 Additive Color Mixing in Painting
114(3)
7.9 Questions
117(1)
8 Subtractive Color Mixing
118(18)
8.1 Filters
118(2)
8.2 Subtractive Primary Colors
120(4)
8.2.1 Subtractive primaries
122(2)
8.3 Color Photography
124(1)
8.4 Pigments
125(3)
8.5 Change in Saturation
128(2)
8.6 Why Do Blue and Yellow Make Green?
130(1)
8.7 Change in Hue
131(3)
8.8 Questions
134(2)
9 Color-Generating Mechanisms
136(12)
9.1 Illuminating Light
136(1)
9.2 Pigments
136(1)
9.3 Structural Color: Iridescence
137(2)
9.4 More Color-Generating Mechanisms Due to Iridescence
139(3)
9.5 Color in Gemstones
142(2)
9.6 Mineral Color Due to Charge Transfer
144(1)
9.7 Mineral Color Due to Color Centers
144(1)
9.8 Color in Gems Due to Band Gap Absorption of Light
145(3)
10 Periodic Oscillations
148(10)
10.1 Displacement Graph: Position x Changes with Time t
151(2)
10.2 The Period T and the Frequency f
153(1)
10.3 Large and Small Numbers
154(1)
10.4 Speed of Motion
154(2)
10.5 Questions
156(2)
11 Simple Harmonic Motion
158(10)
11.1 The Spring Constant
160(1)
11.2 Oscillation Frequency for Simple Harmonic Motion (SHM)
161(2)
11.3 Wave Shape of Simple Harmonic Motion
163(2)
11.4 Phase Angle
165(1)
11.5 Questions
166(2)
12 Damped Oscillations and Resonance
168(11)
12.1 Damped Oscillations---The Concept of "Damping Time"
168(2)
12.2 Resonance
170(5)
12.3 Build-up and Decay of Musical Tones
175(1)
12.4 Applications in Music
175(2)
12.4.1 Resonators in Musical Instruments
175(2)
12.5 Questions
177(2)
13 Adding Sound Sources: Beats and Harmony
179(11)
13.1 Principle of Superposition
179(1)
13.2 Two Pure Tones of the Same Frequency
180(2)
13.3 Beats
182(2)
13.4 Harmony
184(1)
13.5 For the Fun of It: Lissajous Figures
185(3)
13.6 Questions
188(2)
14 Soundwaves
190(16)
14.1 Propagation of a Pulse
190(2)
14.2 Longitudinal and Transverse Waves
192(1)
14.3 Sound Waves in Air Are Longitudinal Waves
193(2)
14.4 Speed of Sound in Air
195(1)
14.5 Wavelength and Frequency
196(2)
14.5.1 Relevance to Size of Instruments or Loudspeakers
197(1)
14.6 Sound Propagation
198(1)
14.7 Interference of Sound Waves
199(2)
14.8 Concert Hall Acoustics
201(4)
14.9 Questions
205(1)
15 Sound Perception: Pitch, Loudness, and Timbre
206(8)
15.1 Loudness and Amplitude
207(3)
15.2 Loudness and Frequency
210(3)
15.3 Pitch Discrimination
213(1)
16 The Ear
214(6)
16.1 The Parts of the Ear
214(2)
16.2 Place Theory of Pitch Perception
216(1)
16.3 What Do the Auditory Nerves Tell the Brain?
217(3)
17 Vibration of Strings
220(11)
17.1 Single Modes
220(2)
17.2 Higher Modes
222(1)
17.3 Traveling Versus Standing Waves
223(2)
17.4 The Voicing Formula
225(1)
17.5 How Do Modes Relate to Music?
226(1)
17.6 Damping of Higher Partials
227(1)
17.7 Plucked Strings: Missing Partials
227(1)
17.8 Playing Harmonics
228(1)
17.9 Real Strings Have Some Stiffness
228(1)
17.10 Questions
229(2)
18 Pipes
231(12)
18.1 Pressure Pulse in a Pipe
231(1)
18.2 Reflections in Open and Closed Pipes
232(1)
18.2.1 Boundary Conditions
233(1)
18.3 Standing Waves in Open Pipes
233(1)
18.4 Fundamental Frequency of Open Pipe
234(1)
18.5 Higher Modes of Open Pipe
235(2)
18.6 Fundamental Frequency of Closed Pipe
237(1)
18.7 Higher Modes of Closed Pipe
238(2)
18.8 Playing Tunes on Wind Instruments: Fingerholes and Overblowing
240(1)
18.9 Other Shapes
240(1)
18.10 Acoustic Length
241(1)
18.11 Questions
241(2)
19 Fourier Analysis
243(13)
19.1 The Fourier Theorem
243(1)
19.2 Sound Spectrum
244(5)
19.3 Fourier Analyzer (Sound Analyzer)
249(2)
19.4 Fourier Synthesis
251(1)
19.5 Why Can't We Synthesize a Stradivari?
252(2)
19.6 Questions
254(2)
20 Musical Scales
256(19)
20.1 Musical Intervals
257(1)
20.2 Consonance (Harmony): Simple Number Ratios
258(1)
20.3 The Major Triad
259(1)
20.4 Constructing a Scale: The Just Scale
260(3)
20.5 Whole and Half Tone Intervals
263(1)
20.6 Names of Intervals
264(2)
20.7 Transposing: Why Black Keys?
266(1)
20.8 Perfection Sacrificed: The Tempered Scale
267(6)
20.9 Major and Minor Scales
273(1)
20.10 The Natural Scale
273(1)
20.11 Questions
274(1)
21 Musical Instruments
275(9)
21.1 Structure of Musical Instruments
275(1)
21.2 Excitation Mechanism
276(2)
21.3 Playing a Tune
278(5)
21.4 Questions
283(1)
22 Solutions to Problems
284(23)
Index 307
Pupa Gilbert is a Vilas Distinguished Achievement Professor of Physics at the University of Wisconsin Madison and an amateur surrealist painter. She is a physicist with passionate loves for biology, geoscience, and modern art. She studied at the Sapienza University of Rome, worked as a staff scientist at the Italian National Research Council and at the École Polytechnique Fédérale de Lausanne until she joined the University of Wisconsin in 1999. Her research focuses on biominerals, including coral skeletons, tooth enamel, nacre, and sea urchin spines. She studies them with spectromicroscopy methods at the Advanced Light Source in Berkeley, where she discovers the complex structures of the biominerals, and their formation mechanisms. She won several awards for her research and teaching, including the UW-Madison Distinguished Teaching Award in 2011, Radcliffe Fellowship 2014-15, and the David A. Shirley Award in 2018. She lives in Madison and Berkeley with her husband Ben.