He was chairman of the Technical Committee on Musical Acoustics from 1980 to 1984. Hartmann has been a fellow of the Acoustical Society of America since 1983. He subsequently served at IRCAM as acting director of acoustics (1982-1983) and, supported by a NSF-CNRS grant, as consultant (1983-1987).ĭr. Hartmann took a leave of absence to work as a visiting scientist at the Institute for Research on Acoustics and Music (IRCAM) in Paris. His research focuses on psychoacoustics and sound perception, and he first taught his course on musical acoustics for undergraduates in 1974. William Hartmann is Professor of Physics at Michigan State University. Trigonometric functions, logarithms and powers also appear in the book, but computational techniques are included as these concepts are introduced, and there is further technical help in appendices.
The mathematical level of this book assumes that the reader is familiar with elementary algebra. It ends with chapters on the traditional musical instruments, organized by family. The book treats in turn, the topics of room acoustics, audio both analog and digital, broadcasting, and speech. With these two pillars in place, it is possible to go in a variety of directions.
The perceptual topics include loudness, pitch, tone color, and localization of sound. The second pillar is the human element, the physiological and psychological aspects of acoustical science.
These topics constitute the basic physical properties of sound, one of two pillars supporting the science of musical acoustics. The book begins with a study of vibrations and waves, in that order. Musical examples and specific musical instruments demonstrate the principles. Principles of Musical Acoustics focuses on the basic principles in the science and technology of music.
0 kommentar(er)
