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Physics of the piano / / Nicholas J. Giordano, Sr
| Physics of the piano / / Nicholas J. Giordano, Sr |
| Autore | Giordano Nicholas J |
| Pubbl/distr/stampa | Oxford, England : , : Oxford University Press, , 2010 |
| Descrizione fisica | 1 online resource (183 p.) |
| Disciplina | 534 |
| Soggetto topico |
Sound
Piano - Acoustics |
| Soggetto genere / forma | Electronic books. |
| ISBN |
0-19-878914-9
0-19-103014-7 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
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
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? 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 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 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 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 10.5 Consonance and dissonance of musical tones: Implications for piano design |
| Record Nr. | UNINA-9910453458003321 |
Giordano Nicholas J
|
||
| Oxford, England : , : Oxford University Press, , 2010 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Physics of the piano / / Nicholas J. Giordano, Sr
| Physics of the piano / / Nicholas J. Giordano, Sr |
| Autore | Giordano Nicholas J |
| Pubbl/distr/stampa | Oxford, England : , : Oxford University Press, , 2010 |
| Descrizione fisica | 1 online resource (183 p.) |
| Disciplina | 534 |
| Soggetto topico |
Sound
Piano - Acoustics |
| ISBN |
0-19-250663-3
0-19-878914-9 0-19-103014-7 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
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
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? 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 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 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 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 10.5 Consonance and dissonance of musical tones: Implications for piano design |
| Record Nr. | UNINA-9910791316203321 |
|
Giordano Nicholas J
|
||
| Oxford, England : , : Oxford University Press, , 2010 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Physics of the piano / / Nicholas J. Giordano, Sr
| Physics of the piano / / Nicholas J. Giordano, Sr |
| Autore | Giordano Nicholas J |
| Pubbl/distr/stampa | Oxford, England : , : Oxford University Press, , 2010 |
| Descrizione fisica | 1 online resource (183 p.) |
| Disciplina | 534 |
| Soggetto topico |
Sound
Piano - Acoustics |
| ISBN |
0-19-250663-3
0-19-878914-9 0-19-103014-7 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
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
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? 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 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 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 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 10.5 Consonance and dissonance of musical tones: Implications for piano design |
| Record Nr. | UNINA-9910811704103321 |
|
Giordano Nicholas J
|
||
| Oxford, England : , : Oxford University Press, , 2010 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Soggetto topico
-
Piano - Acoustics
(3)
- Sound (3)