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Chapter 5 starts with the definitions of the note and the acoustics of sound production. Here, I first examine the acoustical underpinnings of the classical Greek writings on the subject and the impact they had on how the musical note was conceptualized. I then demonstrate that scholars of the medieval Islamic world approached their received wisdom with a skeptical eye and occasionally disagreed with their intellectual masters. These disagreements resulted in illuminating conversations about the nature of a musical note, how it should be differentiated from mere sound, and what role do acoustics of sound production play in these discussions.
The introduction provides an outline of the so-called acoustic turn of the late eighteenth and early nineteenth centuries, when emerging scientific constructions of sound and its movement through the material world rendered that world audible in new and exciting ways. It argues that the new acoustic culture of the nineteenth century raised questions as to what lay beyond the limits of the human ear or scientific instrument and pointed to the existence of an inaccessible, intangible space between sound and silence, whose boundaries could not be measured and were always inherently unstable. That space, beyond the limited powers of human sensitivity, was a rich source of scientific, literary, and broader cultural reflection throughout the period. I delineate the volume’s progression through a series of auditory thresholds, each of which was brought to prominent scientific or medical attention in the period while becoming the subject of literary response and experimentation.
We all know what early music is supposed to sound like – or at least we have good reasons to think we do. The modern performance tradition has established a remarkably resilient sonic imaginary that can be indexed as easily as by calling to mind a hooded monk bathed in ethereal light or one of Botticelli’s beflowered maidens. Chapter 16 connects performance instructions from a little-known musical edition of the 1840s with prevailing performance norms today, arguing that we moderns have tended to conceal the musical poetics described in this book by neglecting documentary evidence about tempo, acoustics, timbre, and the somewhat slipperier “intensity.” However scary, resetting our esthetic compasses and engaging more empathetically with the past can have the side benefit of making our present-day sounds more inviting and more inclusive. The book concludes by offering a path out of elitism, anachronism, and inhibition and toward full-blooded engagement.
This exploratory study investigates sibilants in Mixean Low Navarrese, an endangered variety of Basque. This variety has been described with ten different contrastive sibilants: /s̻, s̺, ʃ, t͡s̻, t͡s̺, t͡ʃ, z̻, z̺, ʒ, d͡z̺/. The objective of the paper is to (a) provide a detailed description of the acoustics of Mixean sibilants, and (b) elucidate whether ten categories can be proposed based only on acoustical data, or whether fewer categories should be considered. The study is based on free-conversation data of ten subjects (three females, seven males) aged between 80 and 85 years. We analyze metrics reflecting the place of articulation (spectral moments, and especially the center of gravity (CoG)), including also the temporal dynamics of CoG (using the discrete cosine transform of CoG measurements of nine intervals of each phone). We also explore the acoustic correlates of the contrasts between (a) voiced and voiceless sounds and (b) fricative and affricate sounds. The results show that only seven categories can be proposed based on acoustic measurements. The lamino-alveolar series reliably contrasts with the rest, but the distinction does not hold between the apico-alveolar and the postalveolar series. We found minimal differences in the analysis of dynamic data, and none in the static analysis.
Combustion instabilities in annular systems raise fundamental issues that are also of practical importance to aircraft engines and ground-based gas turbine combustors. Recent studies indicate that the injector plays a significant role in the stability of combustors by defining the flame dynamical response and setting the inlet impedance of the system. The present investigation examines the effects of combinations of injectors of two different types ($U$ and $S$) on thermoacoustic instabilities in a laboratory-scale annular combustor and compares different circumferential staging strategies. The combustor operates in a stable fashion when all injection units belong to the $S$-family, but exhibits large amplitude pressure oscillations when all these units are of the $U$-type. When the system comprises a mix of $U$- and $S$-injectors, it is possible to determine the number of $S$-injectors leading to stable operation. For a fixed proportion of $U$- and $S$-injectors, some arrangements give rise to stable operation while others do not. Results also show that introducing symmetry-breaking elements affects the system's modal dynamics. These experimental observations are interpreted in an acoustic energy balance framework used to derive an expression for the growth rate as a function of the describing functions of the flames formed by the different injectors and their respective azimuthal locations. Growth rates are determined for the different configurations and used to explain the various observations, estimate the system damping rate and predict the location of the nodal line when the standing mode prevails.
Recently, significant advances have been made in the theory and application of acoustic and electroacoustic spectroscopies for measuring the particle-size distribution (PSD) and zeta potential (ζ potential) of colloidal suspensions, respectively. These techniques extend or replace other techniques, such as light-scattering methods, particularly in concentrated suspensions. In this review, we summarize acoustic and electroacoustic theory and published results on clay mineral suspensions, detail theoretical constraints, and indicate potential applications for the study of environmentally significant clay mineral suspensions. Using commercially available instrumentation and suspension concentrations up to 45 vol.%, acoustic spectroscopy can characterize particle sizes from 10 nm to 10 µm, or greater. Electroacoustic spectroscopy can determine the ζ potential of a suspension with a precision and accuracy in the mV range. Despite the clear potential for their use in environmental settings, to date, acoustic methods have been used mainly on clay mineral colloids with industrial application, typically combined with similar measurements such as isoelectric point (IEP) determined from shear yield stress or ζ potential from electrophoretic mobility measurements. Potential applications in environmentally relevant suspension concentrations are significant, as PSD and ζ potential are important factors influencing the transport of mineral colloids and associated contaminants through porous media. Applications include determining the effects of suspension concentration, surfactants, electrolyte strength, pH and solution composition on soil clay properties and colloidal interactions, and determining changes in PSD, aggregation and ζ potential due to adsorption or variations in the clay mineralogy.
In this paper, we examine the acoustics of vowels in the Imilike [ìmìlìkè] dialect of Igbo (Igboid, Niger-Congo), which has not previously been done. While Standard Igbo has eight vowels, previous auditorily-based research has identified eleven vowels in Imilike. Like Standard Igbo, Imilike contrasts vowels in Advanced/Retracted Tongue Root (ATR vs. RTR). We find that there are eleven vowels, distinguished most reliably by F1, B1, energy (dB) of voiced sound below 500Hz and duration. The results of this study also suggest that RTR vowels in Imilike might involve the laryngeal constriction and movement that accompany pharyngealization. The ATR and RTR schwas have similar phonological distribution and acoustic patterns as the other ATR and RTR vowels in the language.
To evaluate the outcomes of reinnervation techniques for the treatment of adult unilateral vocal fold paralysis and bilateral vocal fold paralysis.
Methods
A literature review was conducted in the Embase and Medline databases in English, with no limitations on the publication date. The outcome parameters of interest included visual, subjective perceptual, acoustic, aerodynamic analysis and electromyography. A meta-analysis with a random-effects model and inverse variance was calculated.
Results
The systematic Preferred Reporting Items for Systematic Reviews and Meta-Analyses approach resulted in 27 studies, totalling 803 patients (747 unilateral cases and 56 bilateral cases). Thyroid cancer and/or surgery had caused unilateral vocal fold paralysis in 74.8 per cent of cases and bilateral vocal fold paralysis in 69.6 per cent of cases. Statistically significant improvements in patients were observed for voice, deglutition and decannulation (bilateral vocal fold paralysis). Meta-analysis of 10 reinnervation techniques was calculated for the maximum phonation time of 184 patients.
Conclusion
Reinnervation was shown to improve voice, swallowing and decannulation, but studies lacked control groups, limiting generalisability. Larger studies with controls are needed.
Mary Somerville (1780–1872) is best known for her importance to debates about popular science and education, her contributions to optics, and her philosophical reflections on astronomy and nature. However, less attention has been paid to her writing on sound. Building upon recent scholarly interest in Somerville, as well as in the intersections between nineteenth-century music and science, this chapter initially homes in on her survey of acoustics, which formed part of her best-selling treatise On the Connexion of the Physical Sciences (1834). It goes on to explore how Somerville’s poetically inflected scientific rhetoric portrays sound as at once material and immaterial, a source of objective knowledge and a metaphor for unknowability. Amid the burgeoning print culture of the 1830s, Somerville’s writing belongs to an expanding tradition of female authorship on scientific and musical knowledge. It also anticipates the efforts of later nineteenth-century intellectuals and educators to disseminate and popularize music theory and the science of sound for a wider public.
Chapter 2 explains the phonetic and phonological background of sibilant analysis.It first establishes a definition of the phoneme and then continues to describe the sounds involved based on an articulatory point of view. These are then connected to acoustic theories of speech production that illustrate how prototypical articulatory gestures create the resulting sound waves that are perceived as phonemes. It specifically explains how source filter theory and turbulence are important to the production of sibilants. It then illustrates how the acoustic output created can be quantified and classified based on characteristics such as spectral mean, skewness, and kurtosis of the speech signal.
The chapter then moves on to suprasegmental theories and fundamentals of /str/-retraction research. It explains how exemplar models of the mental lexicon are suitable to describe the sound change at hand. It then briefly illustrates the uniqueness of triple-consonant clusters in English. As important processes in this sound change, coarticulation and assimilation are then differentiated.
In this study, we report an extensive investigation of the structural language and acoustical specificities of the spontaneous speech of ten three- to five-year-old verbal autistic children. The autistic children were compared to a group of ten typically developing children matched pairwise on chronological age, nonverbal IQ and socioeconomic status, and groupwise on verbal IQ and gender on various measures of structural language (phonetic inventory, lexical diversity and morpho-syntactic complexity) and a series of acoustical measures of speech (mean and range fundamental frequency, a formant dispersion index, syllable duration, jitter and shimmer). Results showed that, overall, the structure and acoustics of the verbal autistic children’s speech were highly similar to those of the TD children. Few remaining atypicalities in the speech of autistic children lay in a restricted use of different vocabulary items, a somewhat diminished morpho-syntactic complexity, and a slightly exaggerated syllable duration.
Infant-directed speech (IDS) produced in laboratory settings contains acoustic cues, such as pauses, pitch changes, and vowel-lengthening that could facilitate breaking speech into smaller units, such as syntactically well-formed utterances, and the noun- and verb-phrases within them. It is unclear whether these cues are present in speech produced in more natural contexts outside the lab. We captured LENA recordings of caregiver speech to 12-month-old infants in daylong interactions (N = 49) to address this question. We found that the final positions of syntactically well-formed utterances contained greater vowel lengthening and pitch changes, and were followed by longer pauses, relative to non-final positions. However, we found no evidence that these cues were present at utterance-internal phrase boundaries. Results suggest that acoustic cues marking the boundaries of well-formed utterances are salient in everyday speech to infants and highlight the importance of characterizing IDS in a large sample of naturally-produced speech to infants.
This engaging undergraduate text uses the performance, recording, and enjoyment of music to present basic principles of physics. The narrative lays out specific results from physics, as well as some of the methodology, thought processes, and 'interconnectedness' of physics concepts, results, and ideas. Short chapters start with basic definitions and everyday observations and ultimately work through standard topics, including vibrations, waves, acoustics, and electronics applications. Each chapter includes problems, some of which are suited for longer-term projects, and suggestions for extra reading that guide students toward a deeper understanding of the physics behind music applications. To aid teaching, additional review questions, audio and video clips, and suggestions for class activities are provided online for instructors.
Speech consists of sound waves that propagate in the air from talker to hearer. Sound waves consist of rapidly changing pressure within the medium, normally air in the instance of speech. If the variations of pressure are regular, then the sound has a tonal quality. Most, but not all, speech sounds have this tonal quality. Sound amplitude relates to the amount of energy and is perceived as loudness. The speed of pressure variation is called frequency and is perceived as pitch. Individual sound waves combine additively, creating complex sound waves. Acoustic analysis of speech creates spectrograms, giving a visual representation of the original sound. In certain conditions, such as the interior of the vocal tract, sound reverberates in a self-additive way, giving rise to cavity resonance. The frequencies of this resonance can be modified by adjustments in the position of the speech articulators, creating different speech sounds, which occurs through the source--filter theory.
When two waves interact within a rock sample, the interaction strength depends strongly on the sample’s microstructural properties, including the orientation of the sample layering. The study that established this dependence on layering speculated that the differences were caused by cracks aligned with the layers in the sample. To test this, we applied a uniaxial load to similar samples of Crab Orchard Sandstone and measured the nonlinear interaction as a function of the applied load and layer orientation. We show that the dependence of the nonlinear signal changes on applied load is exponential, with a characteristic load of 11.4–12.5 MPa that is independent of sample orientation and probe wavetype (P or S); this value agrees with results from the literature, but does not support the cracks hypothesis.
The invention of the MP3 and its distribution on the internet affected the South Korean music industry in multifarious ways, instigating a sharp decrease in CD sales but also contributing to K-pop’s shift from audio to visual culture. Because many scholars contend that K-pop is driven by the visual, academic analysis has been dominated by discussions of visual aesthetics; other aspects of K-pop, especially its use of acoustic techniques and vocalization, have largely been neglected. Drawing on R. Murray Schafer’s definition of “soundscape” – where sound is the combination of layers of culture, place, acoustic space, and technology – this chapter provides an overview of K-pop’s soundscapes over the past thirty years. The industry has responded to new recording technologies and new media, which are linked to specific aspects of South Korean time and space. The mediation of sound in studio recording booths, where K-pop singers give literal voice to their self-expression, has become an integral component of the sonic form. In addition to the vocal styles of K-pop artists, the chapter addresses the auditory practices of recording artists ranging from singer-songwriters to K-pop boy bands as well as the interventions of sound engineers and producers in the recording process.
This chapter examines the theoretical and methodological frameworks prevalent in current translation practice in order to propose a method and a classroom pedagogy centred around multilingualism and the language of the source text as the the principal medium of invention that the translator needs to recreate. Rather than aiming for equivalence, the proposed method emphasizes a ‘covalent effect’ to make English assimilate the imbricated layers of style, acoustics, meaning and affect created in and through the language particular to the source text. By examining some of the translation strategies employed in Bilge Karasu’s A Long Day’s Evening, the author illustrates how translating for covalent effect strives for the closest possible synergy between the linguistic codes of the source text and the expressive capacity of the target language. The chapter concludes by addressing how ‘covalent effect’ strategies can be incorporated into the multilingual workshop environment.
Low-order thermoacoustic models are qualitatively correct, but typically, they are quantitatively inaccurate. We propose a time-domain bias-aware method to make qualitatively low-order models quantitatively (more) accurate. First, we develop a Bayesian ensemble data assimilation method for a low-order model to self-adapt and self-correct any time that reference data become available. Second, we apply the methodology to infer the thermoacoustic states and heat-release parameters on the fly without storing data (real time). We perform twin experiments using synthetic acoustic pressure measurements to analyse the performance of data assimilation in all nonlinear thermoacoustic regimes, from limit cycles to chaos, and interpret the results physically. Third, we propose practical rules for thermoacoustic data assimilation. An increase, reject, inflate strategy is proposed to deal with the rich nonlinear behaviour; and physical time scales for assimilation are proposed in non-chaotic regimes (with the Nyquist–Shannon criterion) and in chaotic regimes (with the Lyapunov time). Fourth, we perform data assimilation using data from a higher-fidelity model. We introduce an echo state network to estimate in real time the forecast bias, which is the model error of the low-fidelity model. We show that: (i) the correct acoustic pressure, parameters, and model bias can be inferred accurately; (ii) the learning is robust as it can tackle large uncertainties in the observations (up to 50 % of the mean values); (iii) the uncertainty of the prediction and parameters is naturally part of the output; and (iv) both the time-accurate solution and statistics can be inferred successfully. Data assimilation opens up new possibility for real-time prediction of thermoacoustics by combining physical knowledge and experimental data synergistically.
Studies have challenged the assumption that different types of word-final s in English are homophonous. On the one hand, affixal (e.g. laps) and non-affixal s (e.g. lapse) differ in their duration; on the other hand, variation exists across several types of affixal s (e.g. between the plural (cars) and genitive plural (cars’)). This line of research was recently expanded in a study in which an interesting side effect appeared: the s was longer if followed by a past tense verb (e.g. The pods/odds eventually dropped), in comparison to a following present tense verb (e.g. The old screens/jeans obviously need replacing.). Put differently, the s became longer in the absence of overt morphosyntactic agreement, where it was mostly the sole plurality marker in the sentence. The objective of the present article is to examine whether this effect can be replicated in a more controlled setting. Having considered a large number of potential confounding variables in a reading experiment, we found an effect in the expected direction, one that is compatible with the literature on the impact that predictability has on duration. We interpret this finding against the background of the role of fine acoustic detail in language.
This paper examines thermoacoustic effects on the propagation of non-planar sound in a circular duct subjected to an axial temperature gradient. Of particular concern are thermoviscous diffusive effects, which are taken into account by the boundary-layer approximation in a framework of the linear theory. For disturbances expanded into Fourier and Fourier–Bessel series in the azimuthal and radial directions, respectively, the pressure in each mode is described by a one-dimensional, dispersive wave equation, if non-diffusive propagation is assumed. When the diffusive effects are included, each radial mode is coupled to the other radial modes through the boundary layer. Focusing on a single azimuthal and radial mode only, the dispersion relation for the propagation along an infinite duct of a uniform gas is first derived. Effects of the temperature gradient are then examined by solving boundary-value problems for a duct of finite length in four typical cases. Assuming that the wall temperature increases exponentially along the duct, eigenfrequencies and decay rates in the lowest axial mode are obtained as well as axial distributions of the sound pressure and the axial velocity in the duct. The frequency and the decay rate increase as the temperature ratio at both ends becomes higher. It is found from the acoustic energy equation that the dispersion combined with the diffusion acts to reduce the damping and that the temperature gradient makes little contribution to the production of the energy. However, it is unveiled that the non-uniformity in temperature yields thermoacoustic sound confinement in the vicinity of the cold end.