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[null,"1.","Record Nr.",null,"UNISALENTO991001478169707536"]
[null,null,"Autore",null,"Centre d'Etudes et de Recherches sur la théorie de l'Etat"]
[null,null,"Titolo",null,"La régulation entre droit et politique : colloque du Centre d'Etudes et de Recherches sur la Théorie de l'Etat : Université de Montpellier I, 1 et 2 octobre 1992 ; textes réunis / sous la direction de Michel Miaille"]
[null,null,"Pubbl/distr/stampa",null,"Paris : L'Harmattan, c1995"]
[null,null,"ISBN",null,"273843374X"]
[null,null,"Descrizione fisica",null,"271 p. ; 21 cm."]
[null,null,"Collana",null,"Logiques juridiques"]
[null,null,"Lingua di pubblicazione",null,"Italiano"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,"2.","Record Nr.",null,"UNINA9910811704103321"]
[null,null,"Autore",null,"Giordano Nicholas J"]
[null,null,"Titolo",null,"Physics of the piano / / Nicholas J. Giordano, Sr"]
[null,null,"Pubbl/distr/stampa",null,"Oxford, England : , : Oxford University Press, , 2010"]
[{"$nulls":4},"©2010"]
[null,null,"ISBN",null,"0-19-250663-3"]
[{"$nulls":4},"0-19-878914-9"]
[{"$nulls":4},"0-19-103014-7"]
[null,null,"Descrizione fisica",null,"1 online resource (183 p.)"]
[null,null,"Disciplina",null,"534"]
[null,null,"Soggetti",null,"Sound"]
[{"$nulls":4},"Piano - Acoustics"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Contents; 1 Introduction; 1.1 The goals of this book; 1.2 What exactly is a piano?; 1.3 The way a physicist thinks; 1.4 Organization of this book; 2 A brief introduction to waves and sound; 2.1 What is a wave?; 2.2 Sound as a wave; 2.3 The spectrum of a sound; 2.4 Spectrum of a real musical tone; 2.5 Pitch; 2.6 How the ear detects sound; 2.7 Combining two waves: Beats; 3 Making a musical scale; 3.1 It all starts with the octave; 3.2 Using a logarithmic scale for frequency and pitch; 3.3 Pythagoras and the importance of musical intervals; 3.4 Constructing a musical scale"]
[{"$nulls":4},"3.5 Measuring the distance between notes: Cents4 Why the piano was invented: A little history; 4.1 The harpsichord; 4.2 The clavichord; 4.3 Hitting strings with hammers: The pantaleon; 4.4 The invention of the piano; 4.5 Acceptance of the piano; 4.6 The evolutionary road ahead; 5 Making music with a vibrating string; 5.1 The ideal string and some of its properties; 5.2 Standing waves; 5.3 The shape of a grand piano; 5.4 Designing the strings; 5.5 Waves on real strings: The effect of string stiffness; 5.6 Real strings: What have we learned and where do we go next?"]
[{"$nulls":4},"6 Hitting strings with hammers6.1 What happens when a hammer hits a string?; 6.2 The design of piano hammers; 6.3 The hammer-string collision and the importance of contact time; 6.4 The hammer-string collision and the importance of nonlinearity; 6.5 Where should the hammer hit the string?; 6.6 Longitudinal string vibrations; 6.7 Holding "]
[{"$nulls":4},"the string in place: The agraffe and capo tasto bar; 6.8 Connecting the key to the hammer: Design of the piano action; 6.9 The Viennese action: An example of an evolutionary dead end; 7 The soundboard: Turning string vibrations into sound"]
[{"$nulls":4},"7.1 Design of the soundboard7.2 Vibration of the soundboard; 7.3 The soundboard as a speaker; 7.4 The rest of the piano: Contributions of the rim, lid, and plate; 8 Connecting the strings to the soundboard; 8.1 Decay of a piano tone; 8.2 Damping of a piano tone part 1: Motion of a single string and the effect of polarization; 8.3 Damping of a piano tone part 2: How the strings act on each other through the bridge; 8.4 Making sound from longitudinal string motion; 8.5 Motion of the bridge and its effect on the frequencies of string partials; 9 Evolution of the piano"]
[{"$nulls":4},"9.1 In the beginning: Key features of the first pianos9.2 Why did the piano need to evolve?; 9.3 The piano industry on the move; 9.4 The industrial revolution and its impact on the piano; 9.5 The shape of a piano: Fitting everything into the case; 9.6 On the nature of evolutionary change; 10 Psychoacoustics: How we perceive musical tones; 10.1 Physics and human senses: The difficulties in putting them together; 10.2 Hermann von Helmholtz and his long shadow; 10.3 Range of human hearing and the range of a piano; 10.4 Pitch perception and the missing fundamental"]
[{"$nulls":4},"10.5 Consonance and dissonance of musical tones: Implications for piano design"]
[null,null,null,"Sommario/riassunto","Why does a piano sound like a piano? A similar question can be asked of virtually all musical instruments. A particular note-such as middle C-can be produced by a piano, a violin, a clarinet, and many other instruments, yet it is easy for even a musically untrained listener to distinguish between these different instruments. A central quest in the study of musical instruments is to understand why the sound of the \"\"same\"\" note depends greatly on the instrument, and to elucidate whichaspects of an instrument are most critical in producing the musical tones characteristic of the instrument. The"]