The acoustics are musical.

Diabetes Acoustics -

is the science of sound, the name of which comes from the Greek word (akuo) - “I hear”. The task of acoustics is to study the physical nature of sound and the problems associated with its occurrence, propagation and perception.

Sound has a dual nature:

On the one hand, this is an objective process of transferring the energy of mechanical vibrations of particles in an elastic medium (air, liquid, solid);

On the other hand, these are only those types of mechanical vibrations of the environment that are perceived by the auditory system. Sound - This special kind

mechanical vibrations of an elastic medium, capable of causing

- auditory sensations. appearance of sound , which requires studying the physical nature of sound, as well as methods and means of creating it. Acoustics deals with these issues musical instruments

, aku-

- speech statistics, electroacoustics, etc.; determined by vibrations of strings, plates, membranes, air columns and other elements of musical instruments, as well as loudspeaker diaphragms and other elastic bodies; sound transmission

- from source to listener - these are the tasks of architectural acoustics, electroacoustics, etc.; - depends on mechanical vibrations of particles of the medium (air, water, wood, metal, etc.); sound perception auditory system and the connection of auditory sensations with objective sound parameters are the tasks of psychoacoustics. It begins with mechanical vibrations of the eardrum in the hearing aid, and only after this a complex process of information processing occurs in the hearing aid. various departments

auditory system.

A person receives approximately 25% of information about the world around him from auditory analyzers, 60% from visual analyzers, and 15% from the rest.

The human auditory system perceives only a limited class of mechanical vibrations of the environment, which are within certain limits in terms of volume level (sound pressure from 2 x 10 -5 Pa to 20 Pa pain threshold, change in sound pressure level from 0 dB to 120 dB) and height (change frequencies from 20 Hz to 20000 Hz). More than 20,000 Hz – ultrasound. Below 20 Hz – infrasound.

- All surrounding sounds can be conditionally divided according to various criteria, for example: by method of creation

- - natural and artificial (natural noise, speech, music, biosignals, electronic sounds);- sounds to convey semantic (notional) and emotional information (speech, singing and music); to transmit information about the environment (noise, signal sounds, etc.);

- according to physical parameters, such as: frequency range (infrasound, ultrasound, hypersound, etc.); degree of predictability (random signals, such as white noise; deterministic signals; quasi-random signals, including music and speech); time structure (periodic, non-periodic, pulsed, etc.), etc.

General (physical) acoustics- theory of radiation and propagation of sound in different environments, theory of diffraction, interference and scattering of sound waves. Linear and nonlinear processes of sound propagation.

Architectural acoustics- laws of sound propagation in closed (semi-closed, open) rooms, methods of controlling the field structure in a room, etc.

Construction acoustics- protection from building noise, industrial enterprises etc. (calculation of structures and structures, selection of materials, etc.).

Psychoacoustics- basic laws of auditory perception, determination of the relationship between objective and subjective parameters of sound, determination of the laws for deciphering the “sound image”.

Musical acoustics- problems of creation, distribution and perception of musical sounds, more precisely - sounds used in music.

Bioacoustics- theory of perception and emission of sound by biological objects, study of the auditory system of various animal species, etc.

Electroacoustics- theory and practice of designing emitters and receivers that convert electrical energy into acoustic energy and vice versa, as well as all elements of modern audio paths for recording, transmitting and reproducing sound.

Aeroacoustics(aviation acoustics) - radiation and propagation of noise in aircraft structures; methods of sound insulation and sound absorption, theory of propagation of shock sound waves, etc.

Hydroacoustics- propagation, absorption, attenuation of sound in water, theory of hydroacoustic transducers, theory of antennas and hydroacoustic echolocators, recognition of moving objects, etc.

Transport acoustics- noise analysis, development of methods and means of sound absorption and sound insulation in various types of transport (airplanes, trains, cars, etc.).

Medical acoustics- development of medical equipment based on the processing and transmission of sound signals (hearing aids, diagnostic devices, analyzers of heart and lung noises, etc.).

Ultrasonic acoustics- theory of ultrasound, creation of ultrasonic equipment, including ultrasonic transducers for industrial use in hydroacoustics, measurement technology, etc.

Quantum acoustics(acoustoelectronics) - theory of hypersound, creation of filters on surface acoustic waves, etc.

Speech acoustics- theory and speech synthesis, speech extraction against background noise, automatic speech recognition, etc.

Digital acoustics- is actively developing in last years, is gradually emerging as an independent direction in connection with the creation of a new generation of microprocessor (audio processor) and computer equipment.

Musical acoustics(from Greek ἀκούω - hear) is one of the areas of general acoustics, a science that studies the objective physical laws of musical sound: its occurrence and creation (acoustics of musical instruments, acoustics of speech and singing, electroacoustics); distribution (architectural acoustics, sound recording, broadcast); perception (psychoacoustics - acoustics of human hearing). Musical acoustics is also a field musicology. She explores such phenomena as pitch, volume, duration and timbre of musical sounds, consonance and dissonance, musical systems and tunings, musical ear, features of musical instruments and the human voice. Musical acoustics uses data and applies methods of general physical acoustics, which studies the processes of the origin and propagation of sound. Musical acoustics is related to other branches of musicology, such as harmony, music theory, orchestration, instrumentation, music psychology etc. The term “musical acoustics” was introduced into science in 1898 by the Swiss acoustician A. Janquière (“Fundamentals of Musical Acoustics”).

For a long time, the main object of study of musical acoustics was the numerical relationships between the frequencies of sounds that form intervals, modes, musical systems, etc. Later, sections related to the study by objective means of the features of musical instruments and the human voice, the patterns of performing creativity and musical perception were included in musical acoustics.

The history of musical acoustics as a scientific direction originates in the teachings of ancient Greek (Pythagoras and his school, Aristotle), Chinese (Lu Bu-wei) and other philosophers and musicians, who gave a mathematical justification for musical systems, intervals and modes, establishing a connection between pitch and frequency vibrations of strings, as well as the laws of reflection and absorption of sound waves in a room.

The further development of musical acoustics is associated with the activities of scientists and musicians of the 16th-17th centuries L. da Vinci, G. Zarlino, G. Galilei, M. Mercen, J. Sauveur, R. Boyle and others, who accumulated a significant amount of experimental knowledge. The 18th century is the period of development of theoretical musical acoustics in the works of D. Bernoulli, L. Euler, E. Chladni. The discoveries of these scientists made it possible to begin an acoustic analysis of the mechanisms of sound formation in musical instruments, which made it possible to develop and improve the latter.

In the 19th century The outstanding German physicist, mathematician, physiologist and psychologist made a significant contribution to the development of musical acoustics G. Helmholtz, who developed the resonance theory of hearing. Its main provisions are set out by the scientist in the work “The Doctrine of Auditory Sensations as the Physiological Basis of the Theory of Music” (“Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik”, 1863). According to the resonance theory of hearing, the perception of pitch is the result of resonant excitation of the fibers of the organ of Corti tuned to different frequencies. Helmholtz's works became the foundation for development at the end of the 19th century. independent branch of science - psychoacoustics. The development of musical acoustics at the end of the 19th century - beginning of the 19th century. XX centuries continued by German scientists K. Stumpf and W. Köhler, who studied in objective ways the mechanisms of sensation and perception of sound vibrations. In 1891, G.’s work “Acoustics from the point of view of musical science” was published. Thus, by the end of the 19th century. The main directions of musical acoustics were formed, dealing with the problems of creation, propagation and perception of musical sounds.

In the 20th century The field of research in musical acoustics continues to expand: it includes sections related to the study of the objective characteristics of various musical instruments, as well as the acoustics of recording studios, radio and television studios, playback of recorded music, restoration of recordings, stereophonic recording, etc. At the end of the 20th century. In acoustics, a new direction, “auralization” (M. Kleiner’s term), was formed, based on computer technology. The purpose of auralization is to create three-dimensional virtual models of any premises, making it possible to reproduce the sound of music and speech in any halls, including those only being designed. Large centers deal with the problems of musical acoustics: IRCAM (France), Stanford University (USA), Cambridge University (UK), Institute of Musical Acoustics (Austria), Swedish Academy of Music, etc.

Russian scientists made a significant contribution to the development of modern musical acoustics ON THE. Garbuzov(zone concept of musical hearing), A.A. Volodin (theory of pitch perception), L.S. Termen (electroacoustic measurements), A.V. Rimsky-Korsakov, E.V. Nazaykinsky, Yu.N. Rags, V.P. Morozov, I.A. Aldoshina. The development of their theories led to the development of new research methods. Garbuzov's zone concept of musical hearing made it possible to decipher and analyze performance nuances in intonation, dynamics, tempo and rhythm, based on objective data characterizing musical sound and artistic performance. Volodin's theory of pitch perception provided a method for analyzing musical sounds based on isolating partial tones from a complex sound spectrum and measuring their relative intensities. Experiments in the field of electroacoustic measurements have led to new research methods in the acoustics of musical instruments. A significant contribution to the development of musical acoustics was made by the works and activities of I.A. Aldoshina.

New modern trends in musical acoustics are associated with the creation of spectral, acoustic, microtonal and other music using computer technology (Electronic Music Studio and Theremin Center at Moscow State Conservatory named after P.I. Tchaikovsky, computer laboratory NTONYX at the Novosibiosk State Conservatory, etc.)

Literature: Kurysheva T.A. Music journalism and music criticism: tutorial for students studying in the specialty “Musicology”. - M.: VLADOS-PRESS, 2007.

Acustic systems

Today it is impossible to find a person who finds it difficult to answer the question - what is the function of boxes and drawers on the proscenium of concert halls, restaurants, youth clubs, cinemas or in music lovers' rooms? This Acustic systems, converting an electrical signal into a sound of the required volume.

Our online store has a huge selection of specialized acoustic systems. Some of them are intended for home listening to music, others - for individual and ensemble music playing, and others - for entertainment and concert events. Some of this equipment is equipped with additional devices (for example, mixers, equalizers, microphones) and accessories ( racks, coasters, fastener). Here everyone will find what they need.

Any acoustic system is the fruit of complex calculations and creative insight of audio engineers. We will not go into details of designs and electrical circuits. But what do you need to know to make a meaningful choice in the ocean of assortments?

First, let's pay attention to the body (or, as experts say, to acoustic design). This is not a banal stand for fixing emitters, but a full-fledged resonating soundboard. Therefore, the material from which the body is made matters:

plywood (like EUROSOUND FOCUS-1100A-USB) or compressed wood fibers (as in JBL JRX225) saturate the sound with the nobility of the overtones of the lower and middle spectrum;

metal (like products like megaphone PROAUDIO PMD-25) or plastic (at AudioVoice AP212D) highlight the high-frequency spectrum.

Secondly, the entire variety of acoustic systems can be reduced to two main types:

A) passive speaker systems transform the electrical signal received from external amplifier. They can make up cabinet from several speaker systems, when in large halls or open spaces it is necessary to achieve powerful sound amplification (for example, MARTIN AUDIO F15+, EUROSOUND PORT-8 or JBL JRX225). Using them, you avoid worries with connecting to the power supply, with grounding each individual system and, accordingly, with wiring harnesses interfering with everything. But it's useful to know that matching an amplifier and speaker system is not an easy engineering task. That's why buy an amplifier And Acustic systems different companies means entering a risk zone: the result may disappoint you;

b) active speaker systems equipped with electronics built into a common housing and coordinated with the emitters. In cases where Acustic systems are installed compactly and there are no special problems with connecting them to the electrical network and grounding, these devices have clear advantages ( EUROSOUND ESM-8Bi, TOPP PRO X 10A, BEHRINGER B215D and etc.).

Thirdly, even a person far from acoustics understands that the spectrum audio frequencies cannot be reproduced qualitatively by one sound source. Acoustic systems are usually equipped with several emitters, each of which is responsible for its own band (range) of sound frequencies. Available for sale two-way(For example, American DJ ELS GO 8BT) And three-way Acustic systems (BiemaFP153AII).

However, the low-frequency spectrum is often assigned to separate devices called subwoofers, which can also be passive ( JBL STX828S) and active ( Behringer VQ1800D) types.

As you, of course, understand, it is important not to miss when choosing speaker systems. Contact our consultants, they will help you select devices that will meet your requirements, room characteristics and operating conditions.

(from the Greek axoystixos - auditory) - a science that studies the objective physical laws of music in connection with its perception and performance. A. m. explores such phenomena as pitch, volume, timbre and duration of music. sounds, consonance and dissonance, music. systems and structures. She is studying music. hearing, music research. tools and people votes. One of the central problems of A. m. is figuring out how physical. and psychophysiological the laws of music are reflected in specific characteristics. the laws of this claim and influence their evolution. In AM, data and methods of general physical science are widely used. acoustics, which studies the processes of the origin and propagation of sound. It is closely related to architectural acoustics, the psychology of perception, and the physiology of hearing and voice (physiological acoustics). AM is used to explain a number of phenomena in the field of harmony, instrumentation, orchestration, etc.
As a section of music. The theory of AM originated in the teachings of ancient philosophers and musicians. So, for example, mathematical basics of music systems, intervals and formations were known in Alt. Greece (Pythagorean school), in Wed. Asia (Ibn Sina), China (Lu Bu-wei) and other countries. The development of AM is associated with the names of G. Zarlino (Italy), M. Mersenne, J. Sauveur, J. Rameau (France), L. Euler (Russia), E. Chladni, G. Ohm (Germany), and many others. other musicians and scientists. Over a long period of time object of music acoustics were numerical relationships between the frequencies of sounds in music. intervals, formations and systems. Dr. sections appeared much later and were prepared by the practice of making muses. tools, pedagogical research. So, the laws of constructing music. instruments were empirically searched by craftsmen, singer-performers and teachers were interested in the acoustics of the singing voice.
Means. stage in the development of AM is associated with the name of the outstanding German. physicist and physiologist G. Helmholtz. In the book “The Doctrine of Auditory Sensations as the Physiological Basis of the Theory of Music” (“Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik”, 1863), Helmholtz outlined the results of his observations and experiments on music. sounds and their perception. This study provided the first complete concept of the physiology of pitch hearing, known as resonance theory of hearing. She explains the perception of pitch as a result of resonant excitation of those tuned to different. fiber frequencies of the organ of Corti. Helmholtz explained the phenomena of dissonance and consonance by beats. Acoustic Helmholtz's theory has retained its value, although some of its provisions do not correspond to modern times. ideas about the mechanism of hearing.
A great contribution to the development of psychophysiology and acoustics of hearing was made at the end of the 19th century. 20th centuries K. Stumpf and W. Köhler (Germany). The research of these scientists expanded AM as a scientific field. discipline; it included the doctrine of the mechanisms of reflection (sensation and perception) etc. objective aspects of sound vibrations.
In the 20th century, the development of AM is characterized by a further expansion of the scope of research, the inclusion of sections related to the objective characteristics of various types. music tools. This was caused by the growth of the muses. industry, the desire to develop for the production of music. tools strong theoretical basis. In the 20th century, the method of analyzing music developed. sounds, based on isolating partial tones from a complex sound spectrum and measuring them. intensity. Experimental technique. research based on electroacoustic methods. measurements, has acquired great importance in the acoustics of music. tools.
The development of radio and sound recording technology has also contributed to the expansion of research in audiophile music. The focus in this area is the problems of acoustics of radio and recording studios, reproduction of recorded music, restoration of old phonographic records. records. Of great interest are works related to the development of stereophonic. sound recording and stereophonic broadcasting music on the radio.
An important stage in the development of modern technology. A. m. is associated with the research of owls. musicologist and acoustics scientist N. A. Garbuzov. In his works there was also a sign. At least a new understanding of the subject of AM as a section of modern art has taken shape. music theory. Garbuzov developed a coherent theory of auditory perception, in which the center. the place is occupied by the zone concept of music. hearing (see Zone). The development of the zone concept led to the development of methods for decoding and analyzing performance nuances in intonation, dynamics, tempo and rhythm. When researching music. creativity and perception, when studying music. prod. it became possible to rely on objective data characterizing the music. sound, art. execution. This possibility is essential for resolving many musicological problems of our time, for example. to find out the relationships between intonation and mode in real-sounding music. production, relationships between performing and composing components of art. the whole, which is what is sounded, performed, produced.
If earlier A. m. was reduced to Ch. arr. to mathematical explanations arising in music. practice of organizational systems - modes, intervals, tunings, then later the emphasis shifted to the study by objective methods of the patterns of performing creativity and music. perception.
One of the sections of modern A. m. is an acoustics chanter. vote. There are two theories explaining the mechanism for controlling the oscillation frequency vocal cords- classic myoelastic theory and neurochronax. theory put forward by the French. scientist R. Yusson.
The acoustics of electric musical instruments in the USSR are studied by L. S. Termen, A. A. Volodin and others. Based on the method of synthesis of sound spectra, Volodin developed the theory of pitch perception, according to which the pitch of a sound perceived by a person is determined by its complex harmonic. spectrum, and not just the frequency of fundamental vibrations. tones. This theory represents one of the greatest achievements of Soviet scientists in the field of musical instruments. The development of electric musical instruments once again increased the interest of acoustic researchers in questions of structure, temperament, and the ability to control free intonation.
Being a branch of music theory, music theory cannot be considered as a discipline capable of providing a complete explanation of such muses. phenomena such as harmony, structure, harmony, consonance, dissonance, etc. However, acoustic methods and the data obtained with their help allow musicologists to more objectively solve this or that scientific problem. question. Acoustic patterns of music during the centuries-old development of music. cultures have constantly been used to build social significant system music language, which has a specific laws subordinated to artistic-aesthetic. principles.
Sov. AM specialists overcame the one-sided views on the nature of music that were characteristic of scientists of the past, who exaggerated the importance of physical science. sound features. Examples of application of AM data in music. theories are the work of Sov. musicologists Yu. N. Tyulin (“The Doctrine of Harmony”), L. A. Mazel (“On Melody”, etc.), S. S. Skrebkov (“How to interpret tonality?”). The concept of the zonal nature of hearing is reflected in decomp. musicologist works and, in particular, in special research, dedicated performing intonation (works by O. E. Sakhaltueva, Yu. N. Rags, N. K. Pereverzev, etc.).
Among the problems that modern science is called upon to solve. A. m., - an objective substantiation of new phenomena of mode and intonation in the works of modern people. composers, clarifying the role of objective acoustics. factors in the process of music formation. language (pitch, timbre, dynamic, spatial, etc.), further development of the theory of hearing, voice, music. perception, as well as improving methods for studying performing arts and music perception, methods based on the use of electroacoustic. equipment and sound recording techniques.
Literature: Rabinovich A.V., Short course musical acoustics, M., 1930; Musical acoustics, collection. Art. ed. N. A. Garbuzova, M.-L., 1948, M., 1954; Garbuzov N. A., Zone nature of pitch hearing, M.-L., 1948; his, Zone nature of tempo and rhythm, M., 1950; his, Intrazonal intonation hearing and methods of its development, M.-L., 1951; by him, Zone nature of dynamic hearing, M., 1955; by him, Zone nature of timbre hearing, M., 1956; Rimsky-Korsakov A.V., Development of musical acoustics in the USSR, "Izvestia. Academic Sciences of the USSR". Physical series, 1949, vol. XIII, No. 6; Baranovsky P. P., Yutsevich E. E., Sound-pitch analysis of free melodic structure, K., 1956; rags Yu. N., Intonation of a melody in connection with some of its elements, in the collection: Proceedings of the Department of Music Theory of the Moscow State Conservatory. P.I. Tchaikovsky, vol. 1, M., 1960, p. 338-355; Sakhaltueva O. E., On some patterns of intonation in connection with form, dynamics and mode, ibid., p. 356-378; Sherman N.S., Formation of an evenly tempered system, M., 1964; Application of acoustic research methods in musicology, collection. Art., M., 1964; Laboratory of Musical Acoustics, Sat. articles edited by E. V. Nazaikinsky, M., 1966; Pereverzev N.K., Problems of musical intonation, M., 1966; Volodin A. A., The role of the harmonic spectrum in the perception of pitch and timbre of sound, in: Musical Art and Science, vol. 1, M., 1970; his, Electrical synthesis of musical sounds as the basis for the study of their perception, "Questions of Psychology", 1971, No. 6; by him, On the perception of transient processes of musical sounds, in the same place, 1972, No. 4; Nazaikinsky S.V., On the psychology of musical perception, M., 1972; Helmholtz H. von, Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik, Braunschweig, 1863, Hildesheim, 1968, in Russian. lane - The doctrine of auditory sensations as a physiological basis for the theory of music, St. Petersburg, 1875; Stumpf S., Tonpsychologie, Bd 1-2, Lpz., 1883-90; Riemann H., Die Akustik, Lpz., 1891; in Russian per., M., 1898; Helmholtz H. von, Vorlesungen ьber die mathematischen Prinzipien der Akustik, in the book: Vorlesungen ьber theoretische Physik, Bd 3, Lpz., 1879; in Russian lane - St. Petersburg, 1896; Köhler W., Akustische Untersuchungen, Bd 1-3, "Zeitschrift für Psychologie", LIV, 1909, LVIII, 1910, LXIV, 1913; Riemann H., Katechismus der Akustik (Musikwissenschaft), Lpz., 1891, 1921; Schumann A., Die Akustik, Breslau, (1925); Trendelenburg F., Einführung in die Akustik, V., 1939, V.-(a. o.), 1958; Wood A. , Acoustics, L., 1947; by him, The physics of music, L., 1962; Bartholomew W. T., Acoustics of music, N. Y., 1951; Lobachowski S., Drobner M., Akustyka muzyczna, Krakuw, 1953; Culver Ch., Musical acoustics, N.Y., 1956; Acoustique musicale, composée de F. Canac, in the book: Colloques internationaux de Center National de la Recherche scientifique..., LXXXIV, P., 1959; Drobner M., Instrumentoznawstwo i akustyka. Podrecznik dla srednich szkуL muzycznych, Kr., 1963; Reinecke H. P., Experimentelle Beiträge zur Psychologie des musikalischen Hörens, Schriftenreihe des Musikwissenschaftlichen Instituts der Universitöt Hamburg, Hamb., 1964; Taylor S., Sound and music: a non-mathematical treatise on the physical constitution of musical sounds and harmony, including the chief acoustical discoveries of professor Helmholtz, L., 1873, reprint, N. Y.-L., 1967; Backus J., The acoustical foundations of music, N.Y., (1969). E. V. Nazaikinsky.

• -, a field of physics that studies elastic vibrations and waves from the lowest frequencies to extremely high frequencies, their interactions with matter and various applications...

  Physical encyclopedia

• - in a broad sense - a branch of physics that studies elastic waves from the lowest to the highest frequencies; V in the narrow sense- the doctrine of sound. General and theoretical...

  Natural science. encyclopedic Dictionary

• - in antiquity times the doctrine of the perception of sound. Dr. questions that now relate to modern times. A., considered. at that time the science of music and harmony. Archytas came to the conclusion that harmony, express. natural attitude...

  Ancient world. encyclopedic Dictionary

• -, in ancient times - the doctrine of the perception of sound. Other questions that now relate to modern times. A., were considered at that time by the science of music and harmony. Archytas came to the conclusion that harmonies, express...

  Dictionary of Antiquity

• - 1) a branch of physics in which sound phenomena are studied 2) sound conditions of the room 1) auto audibility of music in a car 2) in general, all the equipment for...

  Universal additional practical explanatory dictionary by I. Mostitsky

• - in the narrow sense of the word, the study of sound, i.e. elastic vibrations and waves in gases, liquids and solids, audible to the human ear...

  Glossary of military terms

• - in a broad sense - a branch of physics that studies elastic waves from the lowest frequencies to the highest; in a narrow sense - the study of sound. One of the essential elements of the scientific foundations of phonoscopic examination...

  Forensic encyclopedia

• - the science of sound, mainly about the properties of sound waves. Architects take acoustics into account when designing public buildings such as concert halls and lecture halls to ensure...

  Scientific and technical encyclopedic dictionary

• - the study of elastic vibrations and waves in gases, liquids and solids, their interaction with substances and application to solve practical problems. In a narrow sense - the doctrine of sound...

  Marine dictionary

• - the name of the doctrine of sound taken from Greek. Sound is the sensation perceived by our organ of hearing when its sound waves, produced by the vibration of elastic bodies, hit the eardrum...

  Encyclopedic Dictionary of Brockhaus and Euphron

• - in the narrow sense of the word - the doctrine of Sound, i.e. about elastic vibrations and waves in gases, liquids and solids, audible to the human ear...
• - see Musical acoustics...

  Great Soviet Encyclopedia

• Modern encyclopedia

• - in a broad sense - a branch of physics that studies elastic waves from the lowest frequencies to the highest; in a narrow sense - the doctrine of sound...

  Large encyclopedic dictionary

• - ...

  Spelling dictionary of the Russian language

• - female, Greek the science of the nature and laws of sound; part of physics, sound science. An acoustic hall, arranged according to the laws of acoustics, for an echo, or for a voice...

  Dahl's Explanatory Dictionary

"Musical acoustics" in books

Acoustics

From the book Guide to the Orchestra and Its Backyards author Zisman Vladimir Alexandrovich

ROCK ACOUSTICS 12–14.01.90. Cherepovets

author Dyagileva Yana Stanislavovna

ROCK ACOUSTICS 12–14.01.90. Cherepovets from the article: CHEREPOVETS: TRIUMPH, SUCCESS, FAILURE? ...The so-called rock bards did not please with variety. All the more striking against their background were the three who deserved the ovation - Yanka, Andrey Tsybin and Alexey “Colonel” Khrynov. The latter was gifted

ACOUSTICS-90

From the book by Yank Diaghilev. The water will come (Collection of articles) author Dyagileva Yana Stanislavovna

ACOUSTICS-90 Together with the whole country, the advanced rock and roll movement with rearguard pop is moving from collective achievements to individual achievements. Three years ago and later, only

Acoustics. Apex Ltd. (CD)

From the book by Yank Diaghilev. The water will come (Collection of articles) author Dyagileva Yana Stanislavovna

Acoustics. Apex Ltd. (CD) Three times awarded with a responsive club to the faceted head, He continued to persistently knock on the gate until he choked on his own audacity... The recording was made in February 1989 and was given the opportunity to see the light of day thanks to Oleg Kovriga - happy

YANKA. Acoustics

From the book by Yank Diaghilev. The water will come (Collection of articles) author Dyagileva Yana Stanislavovna

YANKA. Acoustics When Yanka Diaghileva gave her main concerts and made her most famous recordings, perestroika was not only in full swing - the rafters were actually burning and smoking, the roof was moving, and chips and sparks were flying all over Ivanovo. And many of those who planed perestroika in

1.2. Applied musicology. music journalism and music criticism in the system of applied musicology

author

1.2. Applied musicology. music journalism and music criticism in the system of applied musicology The concept of “musicology”, as well as the designation of specialists in this field by the word “musicologist” (or, in the Western version, “musicologist”), is usually associated with

Music criticism and music science

From the book Music Journalism and Music Criticism: a textbook author Kurysheva Tatyana Aleksandrovna

Music criticism and music science Many scientific fields are engaged in the study of the phenomenon of music: in addition to musicology itself, it attracts the attention of art criticism of various directions, aesthetics, philosophy, history, psychology, cultural studies, semiotics, and

Acoustics

From the book Nautilus Pompilius author Kushnir Alexander

Acoustics Most likely, it is more logical to begin the countdown of the events that happened with “Nautilus” in 1996 with the presentation concert of “Wings” in St. Petersburg, which took place in early February. If you do not take into account subsequent concerts in Krasnoyarsk, Vologda, Ivanovo and

15. Acoustics

From the book Medical Physics author Podkolzina Vera Alexandrovna

15. Acoustics Acoustics is a field of physics that studies elastic vibrations and waves from the lowest frequencies to the extremely high (1012–1013 Hz). Modern acoustics covers a wide range of issues; it has a number of sections: physical acoustics, which studies the features

Acoustics

From the book Encyclopedic Dictionary (A) author Brockhaus F.A.

Acoustics Acoustics is the name of the study of sound taken from Greek. Sound is the sensation perceived by our organ of hearing, when it hits the eardrum, of sound waves (a series of successive condensations and rarefactions of air) produced by the vibration of elastic

Architectural acoustics

From the book Great Soviet Encyclopedia (AR) by the author TSB

Acoustics

TSB

Musical acoustics

From the book Great Soviet Encyclopedia (AK) by the author TSB

Atmospheric acoustics

From the book Great Soviet Encyclopedia (AT) by the author TSB

Musical acoustics

From the book Great Soviet Encyclopedia (MU) by the author TSB

(from the Greek akustikos - auditory, listening), in the narrow sense of the word - the doctrine of sound, i.e. about elastic vibrations and waves in gases, liquids and solids, audible to the human ear (the frequencies of such vibrations are in the range of 16 Hz - 20 kHz); in a broad sense - a field of physics that studies elastic vibrations and waves from the lowest frequencies (conventionally from 0 Hz) to extremely high frequencies 1012-1013 Hz, their interaction with matter and the application of these vibrations (waves).

Acoustic Institute of the USSR Academy of Sciences (AKIN)

a research institution that conducts work in the field of acoustics. Created in Moscow in 1953 on the basis of the Acoustic Laboratory of the Physical Institute named after. P. N. Lebedev Academy of Sciences of the USSR. The main directions of the institute's work (1968): research on the propagation and diffraction of sound, physiological acoustics, nonlinear acoustics, ultrasound, physical acoustics of liquids and gases, acoustics solid and quantum acoustics, ocean acoustics; research for new materials used in acoustic transducers; finding new vibration-absorbing materials and methods to combat noise and vibration. Architectural acoustics is room acoustics, a field of acoustics that studies the propagation of sound waves in a room, their reflection and absorption by surfaces, and the influence of reflected waves on the audibility of speech and music. The purpose of the research is to create methods for designing halls (theater, concert, lecture, radio studios, etc.) with pre-designed good conditions audibility.

Bel

a unit of logarithmic relative quantity (logarithm of the ratio of two physical quantities of the same name), used in electrical engineering, radio engineering, acoustics and other areas of physics; denoted b or B, named after the American inventor of the telephone, A. G. Bell. The number N of bels corresponding to the ratio of two energy quantities P1 and P2 (which include power, energy, energy density, etc.) is expressed by the formula N = log(P1/P2), and for “power” quantities F1 and F2 ( voltage, current, pressure, field strength, etc.) N = 2·log(F1/F2). Usually 0.1 fraction of Bel is used, called a decibel (dB, dB).

White noise

the noise in which sound vibrations different frequencies are represented equally, i.e., on average, the intensities of sound waves of different frequencies are approximately the same, for example the noise of a waterfall. The name "White Noise" is based on analogy with white light. See also Noise.

Perceived sound level (PN dB)

the sound pressure level of random noise in the band from one third of an octave to one octave in the vicinity of a frequency of 1000 Hz, corresponding, according to the assessment of “normal” listeners, to the loudness of the noise in question.

Reverberation time

the period of time after the sound source is turned off, during which the reverberant sound of a given frequency weakens by 60 dB. Typically the time is measured for the first 30 dB of attenuation and the result is extrapolated.

Pitch

a characteristic of auditory perception that allows sounds to be distributed on a scale from low to high sounds. Depends primarily on frequency, but also on sound pressure and waveform.

Sound volume

a quantity characterizing the auditory sensation for a given sound. The loudness of a sound depends in complex ways on sound pressure (or sound intensity), frequency, and vibration shape. With a constant frequency and shape of vibrations, the volume of sound increases with increasing sound pressure. At the same sound pressure, the volume of the sound of pure tones (harmonic vibrations) of different frequencies is different, i.e. different frequencies Sounds of different intensities can have the same volume. The loudness of a sound of a given frequency is estimated by comparing it with the loudness of a simple tone with a frequency of 1000 Hz. The sound pressure level (in dB) of a pure tone with a frequency of 1000 Hz that is as loud (by ear comparison) as the sound being measured is called the loudness level of that sound (in phons). Sound volume for complex sounds is assessed on a conventional scale in sones. Sound volume is an important characteristic of musical sound.

Decibel

(from deci... and bel) - a submultiple unit from bel - a unit of logarithmic relative value (decimal logarithm of the ratio of two physical quantities of the same name - energies, powers, sound pressures, etc.); equal to 0.1 bel. Designations: Russian dB, international dB. The decibel is more often used in practice than the basic unit - bel.

Sound pressure

pressure additionally arising during the passage sound wave in liquid and gaseous media. Propagating in a medium, a sound wave forms condensations and rarefactions, which create additional changes in pressure relative to the average pressure in the medium. Thus, sound pressure is the variable part of pressure, that is, pressure fluctuations around the average value, the frequency of which corresponds to the frequency of the sound wave. Sound pressure is the main quantitative characteristic of sound. The unit of measurement of Sound pressure in the SI system is newton per m2 (previously the unit bar was used: 1 bar = 10-1 n/m2). Sometimes, to characterize sound, the sound pressure level is used - the ratio of the value of a given sound pressure to the threshold value of Z. d. ro = 2-10-5 n/m2, expressed in dB. In this case, the number of decibels N = 20 lg (p/po). Sound pressure in the air varies widely - from 10-5 n/m2 near the hearing threshold to 103 n/m2 at the highest loud sounds, such as the noise of jet aircraft. In water at ultrasonic frequencies of the order of several MHz, with the help of focusing emitters, a value of up to 107 n/m2 is obtained. At significant sound pressure, the phenomenon of discontinuity of liquid continuity - cavitation - is observed. Sound pressure should be distinguished from sound pressure.

Sound insulation of building envelopes

attenuation of sound as it penetrates through the fences of buildings in a broader sense - a set of measures to reduce the level of noise penetrating into premises from the outside. The quantitative measure of sound insulation of building envelopes, expressed in decibels (dB), is called sound insulation capacity. Sound insulation is distinguished from airborne and impact sounds. Sound insulation from airborne sound is characterized by a decrease in the level of this sound (speech, singing, radio broadcasts) when it passes through the fence and is assessed by the frequency response of sound insulation in the frequency range 100-3200 Hz, taking into account the influence of sound absorption of the insulated room. Sound insulation from impact sound (people's steps, moving furniture, etc.) depends on the sound level occurring under the ceiling, and is assessed by the frequency response of the reduced sound pressure level in the same frequency range when working on the ceiling of a standard impact machine, also taking into account sound absorption isolated room.

Sound-absorbing structures

devices for absorbing sound waves incident on them. Sound-absorbing structures include sound-absorbing materials, means of strengthening them, and sometimes decorative coatings. The most common types of sound-absorbing structures are sound-absorbing linings of internal surfaces (ceilings, walls, ventilation ducts, elevator shafts, etc.), piece sound absorbers, elements of active noise suppressors.

Acoustic impedance

complex resistance, which is introduced when considering vibrations of acoustic systems (emitters, horns, pipes, etc.). Acoustic impedance is the ratio of the complex amplitudes of sound pressure and the volumetric vibrational velocity of particles of the medium (the latter is equal to the product of the vibrational velocity averaged over the area and the area for which the vibrational velocity is determined). The complex expression “Acoustic impedance” has the form Za = Ra + i Xa, where i is the imaginary unit. By dividing the complex acoustic impedance into real and imaginary parts, the active Ra and reactive Xa components are obtained. Acoustic impedance is the active and reactive acoustic impedance. The first is associated with friction and energy losses due to sound emission by the acoustic system, and the second is associated with the reaction of inertial forces (mass) or elastic forces (flexibility). In accordance with this, reactance can be inertial or elastic.

Absorption coefficient (α)

if the surface is in a sound field, then "α" is the ratio of the sound energy absorbed by the surface to the energy incident on it. If 60% of the incident energy is absorbed, then the absorption coefficient is 0.6.

Musical acoustics

a science that studies the objective physical laws of music in connection with its perception and performance. Explores such phenomena as pitch, sound volume, timbre and duration of musical sounds, consonance and dissonance, musical systems and tunings. He studies musical hearing, researches musical instruments and human voices. Finds out how the physical and psychophysiological laws of music are reflected in the specific laws of this art and affect their evolution. Musical acoustics uses data and methods from general physical acoustics, which studies the processes of the origin and propagation of sound. It is closely related to architectural acoustics, the psychology of perception, and the physiology of hearing and voice. Musical acoustics is used to explain a number of phenomena in the field of harmony, musical instruments, instrumentation, etc. Enclosing structures of buildings and structures, building structures (walls, floors, coverings, filling openings, partitions, etc.), limiting the volume of a building (structure) and dividing it into separate rooms. The main purpose of enclosing structures is to protect (fence) premises from temperature influences, wind, moisture, noise, radiation, etc., what is their difference from load-bearing structures that perceive power loads; This difference is conditional, because often enclosing and load-bearing functions are combined in one structure (walls, partitions, floor and covering slabs, etc.). Enclosing structures are divided into external (or external) and internal. External ones serve mainly for protection from atmospheric influences, internal ones) mainly for dividing the internal space of the building and sound insulation.

Sound absorption

conversion of sound wave energy into other types of energy, and in particular heat; characterized by the absorption coefficient a, which is defined as the reciprocal of the distance at which the amplitude of the sound wave decreases by e = 2.718 times. a is expressed in cm-1 i.e. in nepers per cm or in decibels per m (1 dB/m = 1.15·10-3 cm-1).

Hearing threshold

the minimum value of sound pressure at which a sound of a given frequency can still be perceived by the human ear. The value of the “threshold of hearing” is usually expressed in decibels, taking the zero sound pressure level to be 2·10-5 n/m2 or 2·10-4 n/m2 at a frequency of 1 kHz (for a plane sound wave). The hearing threshold depends on the frequency of the sound. Under the influence of noise and other sound irritations, P. s. for a given sound increases, and the increased value of the hearing threshold remains for some time after the cessation of the interfering factor, and then gradually returns to the original level. U different people and for the same persons at different times, the hearing threshold may vary depending on age, physiological state, and training. Hearing threshold measurements are usually made using audiometric methods.

Reverberation

(Late Lat. reverberatio - reflection, from Lat. reverbero - discard), the process of gradual attenuation of sound in enclosed spaces after its source is turned off. The air volume of the room is an oscillatory system with a very large number of natural frequencies. Each of the natural oscillations is characterized by its own attenuation coefficient, which depends on the absorption of sound during its reflection from bounding surfaces and during its propagation. Therefore, the natural oscillations of different frequencies excited by the source decay non-simultaneously. Reverberation has a significant impact on the audibility of speech and music in a room, because... listeners perceive direct sound against the background of previously excited oscillations of the air volume, the spectra of which change over time as a result of the gradual attenuation of the components of their own oscillations. The effect of reverberation is more significant the slower they decay. In rooms whose dimensions are large compared to the wavelengths, the spectrum of natural oscillations can be considered continuous and reverberation can be represented as the result of the addition of direct sound and a series of delayed and decreasing amplitude repetitions, caused by reflection from bounding surfaces.

Construction acoustics

a scientific discipline that studies the issues of protecting premises, buildings and territories of populated areas from noise using architectural-planning and construction-acoustic (constructive) methods. Building acoustics is considered both as a branch of applied acoustics and as a branch of building physics. Architectural and planning methods of building acoustics include: rational (from the point of view of noise protection) space-planning solutions for buildings and premises; removal of noise sources from protected objects; optimal planning of microdistricts, residential areas, as well as territories of industrial enterprises.

Background

(from the Greek phone - sound) - a unit of sound volume level. Due to the fact that sounds of different intensities (differing in sound pressure) can have the same loudness at different frequencies, the loudness of the sound is assessed by comparing it with the loudness of a standard pure tone (usually with a frequency of 1000 Hz). 1 Background - the difference in volume levels of two sounds of a given frequency, for which sounds of equal volume with a frequency of 1000 Hz differ in intensity (sound pressure level) by 1 decibel. For a pure tone with a frequency of 1000 Hz, the Von scale is the same as the decibel scale.

Noise

random oscillations of various physical natures, characterized by the complexity of their temporal and spectral structure. In everyday life, noise refers to various kinds of unwanted acoustic interference in the perception of speech, music, as well as any sounds that interfere with rest or work. Noise plays a significant role in many areas of science and technology: acoustics, radio engineering, radar, radio astronomy, information theory, computer technology, optics, medicine, etc. Noise, regardless of its physical nature, differs from periodic oscillations by the random change in instantaneous values ​​of quantities characterizing a given process. Often the noise is a mixture of random and periodic vibrations. To describe noise, various mathematical models are used in accordance with their temporal, spectral and spatial structure. To quantify noise, averaged parameters are used, determined on the basis of statistical laws that take into account the structure of noise at the source and the properties of the medium in which the noise propagates.

Noise protection

a set of measures (technical, architectural-planning, construction-acoustic, etc.) carried out to protect against noise and limit its level in premises, buildings and populated areas in accordance with the requirements sanitary standards. Effective noise protection significantly contributes to increasing the level of improvement of populated areas, improving the living, working and recreational conditions of the population. See also Sound insulation of building envelopes, Sound-absorbing structures, Building acoustics.

Sound level meter

a device for objectively measuring the volume level of sound (noise). The sound level meter contains an omnidirectional measuring microphone, an amplifier, correction filters, a detector and a pointer device - indicator. General scheme The sound level meter is chosen so that its properties approach those of the human ear. The sensitivity of the ear depends on the frequency of sound, and the type of this dependence changes with changes in the intensity of the measured noise (sound). Therefore, the sound level meter has 3 sets of filters that provide the desired shape of the frequency response at low volume ~40 von (used in the range 20-55 von), B - medium volume ~70 von (55-85 von) and C - high volume (85- 140 background). The characteristic at high volume is uniform in the frequency band 30-8000 Hz. The A scale is also used to measure the volume level, expressed in units - decibel marked A, i.e. dB (A), at any volume. The sound level in dB (A) is used to standardize noise volume in industry, residential buildings and transport. Filters are switched manually depending on the volume of the measured sound (noise). The signal rectified by a quadratic detector is averaged over a time corresponding to the ear time constant of 50-60 ms (the period of time during which the ear, due to its inertia, perceives two separate sound signals as one merged one). The scale of the output device is calibrated in decibels relative to the root-mean-square sound pressure level (2·10-5 n/m2) according to one of 3 scales - A, B or C. A modern sound level meter is a compact portable device, powered by dry batteries inside . The microphone, electronic circuit and sound level meter indicator must be extremely resistant to changes in temperature, humidity, barometric pressure, and also stable over time.

ECHO

reflected sound that reaches the listener so late that it produces a sensation separate from that of the direct sound.