Introduction |
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Light and Sound |
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1 | (9) |
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5 | (1) |
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1.2 Electromagnetic Spectrum |
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6 | (1) |
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7 | (3) |
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2 Reflection and Refraction |
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10 | (20) |
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2.1 Specular Reflection of Light |
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10 | (4) |
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14 | (3) |
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2.3 Total Internal Reflection |
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17 | (4) |
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2.4 Reflection and Refraction in Diamonds |
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21 | (4) |
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25 | (2) |
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27 | (3) |
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30 | (26) |
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30 | (1) |
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3.2 Converging and Diverging Lenses |
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31 | (2) |
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33 | (3) |
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3.4 Images---Real and Virtual |
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36 | (3) |
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39 | (2) |
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41 | (6) |
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3.6.1 Note on Magnification |
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45 | (2) |
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47 | (5) |
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3.7.1 Chromatic Aberrations |
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48 | (1) |
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3.7.2 Spherical Aberration |
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49 | (3) |
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52 | (4) |
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56 | (7) |
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58 | (2) |
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60 | (1) |
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61 | (1) |
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62 | (1) |
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62 | (1) |
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63 | (19) |
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63 | (1) |
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64 | (3) |
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5.3 Choosing the Exposure Time |
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67 | (1) |
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5.4 Choosing the Aperture |
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68 | (1) |
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69 | (2) |
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70 | (1) |
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71 | (4) |
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75 | (1) |
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5.8 Putting it All Together: Taking a Photograph |
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76 | (4) |
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80 | (2) |
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82 | (17) |
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82 | (2) |
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6.2 Color Sensitivity of the Eye |
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84 | (5) |
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6.3 Physical and Psychological Color |
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89 | (1) |
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6.4 Color: Hue, Saturation, and Brightness |
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90 | (2) |
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6.5 Light Interaction with other Objects |
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92 | (1) |
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6.6 Scattering or Diffuse Reflection |
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92 | (6) |
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98 | (1) |
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99 | (19) |
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99 | (1) |
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7.2 Adding Primary Colors |
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100 | (3) |
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103 | (4) |
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7.4 Low-Brightness Colors |
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107 | (1) |
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107 | (5) |
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112 | (1) |
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113 | (1) |
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7.8 Additive Color Mixing in Painting |
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114 | (3) |
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117 | (1) |
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8 Subtractive Color Mixing |
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118 | (18) |
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118 | (2) |
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8.2 Subtractive Primary Colors |
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120 | (4) |
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8.2.1 Subtractive primaries |
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122 | (2) |
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124 | (1) |
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125 | (3) |
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128 | (2) |
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8.6 Why Do Blue and Yellow Make Green? |
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130 | (1) |
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131 | (3) |
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134 | (2) |
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9 Color-Generating Mechanisms |
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136 | (12) |
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136 | (1) |
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136 | (1) |
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9.3 Structural Color: Iridescence |
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137 | (2) |
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9.4 More Color-Generating Mechanisms Due to Iridescence |
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139 | (3) |
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142 | (2) |
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9.6 Mineral Color Due to Charge Transfer |
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144 | (1) |
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9.7 Mineral Color Due to Color Centers |
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144 | (1) |
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9.8 Color in Gems Due to Band Gap Absorption of Light |
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145 | (3) |
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148 | (10) |
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10.1 Displacement Graph: Position x Changes with Time t |
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151 | (2) |
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10.2 The Period T and the Frequency f |
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153 | (1) |
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10.3 Large and Small Numbers |
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154 | (1) |
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154 | (2) |
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156 | (2) |
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11 Simple Harmonic Motion |
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158 | (10) |
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160 | (1) |
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11.2 Oscillation Frequency for Simple Harmonic Motion (SHM) |
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161 | (2) |
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11.3 Wave Shape of Simple Harmonic Motion |
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163 | (2) |
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165 | (1) |
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166 | (2) |
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12 Damped Oscillations and Resonance |
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168 | (11) |
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12.1 Damped Oscillations---The Concept of "Damping Time" |
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168 | (2) |
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170 | (5) |
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12.3 Build-up and Decay of Musical Tones |
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175 | (1) |
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12.4 Applications in Music |
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175 | (2) |
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12.4.1 Resonators in Musical Instruments |
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175 | (2) |
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177 | (2) |
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13 Adding Sound Sources: Beats and Harmony |
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179 | (11) |
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13.1 Principle of Superposition |
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179 | (1) |
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13.2 Two Pure Tones of the Same Frequency |
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180 | (2) |
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182 | (2) |
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184 | (1) |
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13.5 For the Fun of It: Lissajous Figures |
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185 | (3) |
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188 | (2) |
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190 | (16) |
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14.1 Propagation of a Pulse |
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190 | (2) |
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14.2 Longitudinal and Transverse Waves |
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192 | (1) |
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14.3 Sound Waves in Air Are Longitudinal Waves |
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193 | (2) |
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14.4 Speed of Sound in Air |
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195 | (1) |
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14.5 Wavelength and Frequency |
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196 | (2) |
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14.5.1 Relevance to Size of Instruments or Loudspeakers |
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197 | (1) |
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198 | (1) |
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14.7 Interference of Sound Waves |
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199 | (2) |
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14.8 Concert Hall Acoustics |
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201 | (4) |
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205 | (1) |
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15 Sound Perception: Pitch, Loudness, and Timbre |
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206 | (8) |
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15.1 Loudness and Amplitude |
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207 | (3) |
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15.2 Loudness and Frequency |
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210 | (3) |
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15.3 Pitch Discrimination |
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213 | (1) |
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214 | (6) |
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16.1 The Parts of the Ear |
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214 | (2) |
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16.2 Place Theory of Pitch Perception |
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216 | (1) |
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16.3 What Do the Auditory Nerves Tell the Brain? |
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217 | (3) |
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220 | (11) |
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220 | (2) |
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222 | (1) |
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17.3 Traveling Versus Standing Waves |
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223 | (2) |
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225 | (1) |
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17.5 How Do Modes Relate to Music? |
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226 | (1) |
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17.6 Damping of Higher Partials |
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227 | (1) |
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17.7 Plucked Strings: Missing Partials |
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227 | (1) |
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228 | (1) |
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17.9 Real Strings Have Some Stiffness |
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228 | (1) |
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229 | (2) |
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231 | (12) |
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18.1 Pressure Pulse in a Pipe |
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231 | (1) |
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18.2 Reflections in Open and Closed Pipes |
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232 | (1) |
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18.2.1 Boundary Conditions |
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233 | (1) |
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18.3 Standing Waves in Open Pipes |
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233 | (1) |
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18.4 Fundamental Frequency of Open Pipe |
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234 | (1) |
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18.5 Higher Modes of Open Pipe |
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235 | (2) |
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18.6 Fundamental Frequency of Closed Pipe |
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237 | (1) |
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18.7 Higher Modes of Closed Pipe |
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238 | (2) |
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18.8 Playing Tunes on Wind Instruments: Fingerholes and Overblowing |
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240 | (1) |
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240 | (1) |
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241 | (1) |
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241 | (2) |
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243 | (13) |
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243 | (1) |
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244 | (5) |
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19.3 Fourier Analyzer (Sound Analyzer) |
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249 | (2) |
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251 | (1) |
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19.5 Why Can't We Synthesize a Stradivari? |
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252 | (2) |
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254 | (2) |
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256 | (19) |
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257 | (1) |
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20.2 Consonance (Harmony): Simple Number Ratios |
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258 | (1) |
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259 | (1) |
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20.4 Constructing a Scale: The Just Scale |
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260 | (3) |
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20.5 Whole and Half Tone Intervals |
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263 | (1) |
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264 | (2) |
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20.7 Transposing: Why Black Keys? |
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266 | (1) |
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20.8 Perfection Sacrificed: The Tempered Scale |
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267 | (6) |
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20.9 Major and Minor Scales |
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273 | (1) |
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273 | (1) |
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274 | (1) |
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275 | (9) |
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21.1 Structure of Musical Instruments |
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275 | (1) |
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21.2 Excitation Mechanism |
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276 | (2) |
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278 | (5) |
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283 | (1) |
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284 | (23) |
Index |
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307 | |