Gilbert / Haeberli Physics in the Arts

1. Auflage 2008
ISBN: 978-0-08-056023-6
Verlag: Elsevier Science & Techn.
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 328 Seiten, Web PDF

Reihe: Complementary Science

Physics in the Arts is a concise, 288-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. Topics discussed include the nature of sound and sound perception, and the fundamentals of harmony, musical photography, color perception, and color mixing. The materials are covered at a level appropriate for self-study or as a complementary textbook. A companion website for Instructors is available in Spring 2008.* 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
* Companion website for Instructors available in Spring 2008

Autoren/Hrsg.

Gilbert, Pupa U. P. A.

Gilbert, P.U.P.A.

Haeberli, Willy

Inhaltsverzeichnis

1;Front Cover;1
2;Physics in the Arts;4
3;Copyright Page;5
4;Table of Contents;6
5;Introduction;12
6;Chapter 1. Light and Light Waves;16
6.1;1.1 Speed of Light;20
6.2;1.2 Electromagnetic Spectrum;21
6.3;1.3 Polarization;22
7;Chapter 2. Reflection and Refraction;25
7.1;2.1 Specular Reflection of Light;25
7.2;2.2 Refraction of Light;29
7.3;2.3 Total Internal Reflection;32
7.4;2.4 Reflection and Refraction in Diamonds;36
7.5;2.5 The Rainbow;40
7.6;2.6 Questions;42
8;Chapter 3. Lenses;45
8.1;3.1 The Prism;45
8.2;3.2 Converging and Diverging Lenses;46
8.3;3.3 Focal Length;48
8.4;3.4 Images—Real and Virtual;51
8.5;3.5 Three Easy Rays;54
8.6;3.6 The Lens Formula;56
8.7;3.7 Lens Aberrations;62
8.8;3.8 Questions;67
9;Chapter 4. The Eye;71
9.1;4.1 Accommodation;73
9.2;4.2 Eyeglasses;75
9.3;4.3 Nearsighted Eye;76
9.4;4.4 Farsighted Eye;77
9.5;4.5 Astigmatic Eye;77
10;Chapter 5. Photography;78
10.1;5.1 The Camera;78
10.2;5.2 Focusing the Camera;79
10.3;5.3 Choosing the Exposure Time;82
10.4;5.4 Choosing the Aperture;83
10.5;5.5 Depth of Field;84
10.6;5.6 The Film;86
10.7;5.7 Digital Photography;90
10.8;5.8 Putting it All Together: Taking a Photograph;91
10.9;5.9 Questions;95
11;Chapter 6. Color and Color Vision;97
11.1;6.1 Color;97
11.2;6.2 Color Sensitivity of the Eye;99
11.3;6.3 Physical and Psychological Color;104
11.4;6.4 Color: Hue, Saturation, and Brightness;105
11.5;6.5 Light Interaction with other Objects;107
11.6;6.6 Scattering or Diffuse Reflection;107
11.7;6.7 Questions;113
12;Chapter 7. Additive Color Mixing;114
12.1;7.1 Primary Colors;114
12.2;7.2 Adding Primary Colors;115
12.3;7.3 The Color Triangle;118
12.4;7.4 Low-Intensity Colors;122
12.5;7.5 Spectral Colors;122
12.6;7.6 Non-Spectral Colors;127
12.7;7.7 Summary;128
12.8;7.8 Additive Color Mixing in Painting;129
12.9;7.9 Questions;132
13;Chapter 8. Subtractive Color Mixing;133
13.1;8.1 Filters;133
13.2;8.2 Subtractive Primary Colors;135
13.3;8.3 Color Photography;139
13.4;8.4 Pigments;140
13.5;8.5 Change in Saturation;143
13.6;8.6 Why Do Blue and Yellow Make Green?;145
13.7;8.7 Change in Hue;146
13.8;8.8 Questions;149
14;Chapter 9. Color-Generating Mechanisms;151
14.1;9.1 Illuminating Light;151
14.2;9.2 Pigments;151
14.3;9.3 Structural Color: Iridescence;152
14.4;9.4 More Color-Generating Mechanisms Due to Iridescence;154
14.5;9.5 Color in Gemstones;157
14.6;9.6 Mineral Color Due to Charge Transfer;159
14.7;9.7 Mineral Color Due to Color Centers;159
14.8;9.8 Color in Gems Due to Band Gap Absorption of Light;160
15;Chapter 10. Periodic Oscillations;163
15.1;10.1 Displacement Graph: Position x Changes with Time t;166
15.2;10.2 The Period T and the Frequency f;168
15.3;10.3 Large and Small Numbers;169
15.4;10.4 Speed of Motion;169
15.5;10.5 Questions;171
16;Chapter 11. Simple Harmonic Motion;173
16.1;11.1 The Spring Constant;175
16.2;11.2 Oscillation Frequency for Simple Harmonic Motion (SHM);176
16.3;11.3 Wave Shape of Simple Harmonic Motion;178
16.4;11.4 Phase Angle;180
16.5;11.5 Questions;181
17;Chapter 12. Damped Oscillations and Resonance;183
17.1;12.1 Damped Oscillations—The Concept of “Damping Time”;183
17.2;12.2 Resonance;185
17.3;12.3 Build-up Decay of Musical Tones;190
17.4;12.4 Applications in Music;190
17.5;12.5 Questions;192
18;Chapter 13. Adding Sound Sources: Beats and Harmony;194
18.1;13.1 Principle of Superposition;194
18.2;13.2 Three Special Cases;195
18.3;13.3 Beats;197
18.4;13.4 Harmony;199
18.5;13.5 For the Fun of it: Lissajous Figures;200
18.6;13.6 Questions;203
19;Chapter 14. Sound Waves;205
19.1;14.1 Propagation of a Pulse;205
19.2;14.2 Longitudinal and Transverse Waves;207
19.3;14.3 Sound Waves in Air are Longitudinal Waves;208
19.4;14.4 Speed of Sound in Air;210
19.5;14.5 Wavelength and Frequency;211
19.6;14.6 Sound Propagation;213
19.7;14.7 Interference of Sound Waves;214
19.8;14.8 Concert Hall Acoustics;216
19.9;14.9 Questions;220
20;Chapter 15. Sound Perception: Pitch, Loudness, and Timbre;221
20.1;15.1 Loudness and Amplitude;222
20.2;15.2 Loudness and Frequency;225
20.3;15.3 Pitch Discrimination;228
21;Chapter 16. The Ear;229
21.1;16.1 The Parts of the Ear;229
21.2;16.2 Place Theory of Pitch Perception;231
21.3;16.3 What Do the Auditory Nerves Tell the Brain?;232
22;Chapter 17. Vibration of Strings;235
22.1;17.1 Single Modes;235
22.2;17.2 Higher Modes;237
22.3;17.3 Traveling Versus Standing Waves;238
22.4;17.4 The Voicing Formula;240
22.5;17.5 How Do Modes Relate to Music?;241
22.6;17.6 Damping of Higher Partials;242
22.7;17.7 Plucked Strings: Missing Partials;242
22.8;17.8 Playing Harmonics;243
22.9;17.9 Real Strings Have Some Stiffness;243
22.10;17.10 Questions;244
23;Chapter 18. Pipes;246
23.1;18.1 Pressure Pulse in a Pipe;246
23.2;18.2 Reflections in Open and Closed Pipes;247
23.3;18.3 Standing Waves in Open Pipes;248
23.4;18.4 Fundamental Frequency of Open Pipe;249
23.5;18.5 Higher Modes of Open Pipe;250
23.6;18.6 Fundamental Mode of Closed Pipe;252
23.7;18.7 Higher Modes of Closed Pipe;253
23.8;18.8 Playing Tunes on Wind Instruments: Fingerholes and Overblowing;255
23.9;18.9 Other Shapes;255
23.10;18.10 Acoustic Length;256
23.11;18.11 Questions;256
24;Chapter 19. Fourier Analysis;258
24.1;19.1 The Fourier Theorem;258
24.2;19.2 Sound Spectrum;259
24.3;19.3 Fourier Analyzer (Sound Analyzer);264
24.4;19.4 Fourier Synthesis;266
24.5;19.5 Why Can’t We Synthesize a Stradivari?;267
24.6;19.6 Questions;269
25;Chapter 20. Musical Scales;271
25.1;20.1 Musical Intervals;272
25.2;20.2 Consonance (Harmony): Simple Number Ratios;273
25.3;20.3 The Major Triad;274
25.4;20.4 Constructing a Scale: The Just Scale;275
25.5;20.5 Whole and Half Tone Intervals;278
25.6;20.6 Names of Intervals;279
25.7;20.7 Transposing: Why Black Keys?;281
25.8;20.8 Perfection Sacrificed: The Tempered Scale;282
25.9;20.9 Major and Minor Scales;288
25.10;20.10 The Natural Scale;288
25.11;20.11 Questions;289
26;Chapter 21. Musical Instruments;290
26.1;21.1 Structure of Musical Instruments;290
26.2;21.2 Excitation Mechanism;291
26.3;21.3 Playing a Tune;293
26.4;21.4 Questions;298
27;Chapter 22. Solutions to Problems;299
27.1;Chapter 2;299
27.2;Chapter 3;303
27.3;Chapter 5;307
27.4;Chapter 6;309
27.5;Chapter 7;309
27.6;Chapter 8;311
27.7;Chapter 10;316
27.8;Chapter 11;317
27.9;Chapter 12;317
27.10;Chapter 13;317
27.11;Chapter 14;317
27.12;Chapter 17;318
27.13;Chapter 18;318
27.14;Chapter 19;320
27.15;Chapter 20;321
27.16;Chapter 21;321
28;Index;322