Physics and Music: Essential Connections and Illuminating Excursions

Preface
Contents
Part I Physics + Music = .....
1 Introduction
	1.1 Physics & Music - Quiz of the Year
	1.2 What Is the Hybrid Field of Physics & Music?
		1.2.1 Human Activities with Tones and Movements
		1.2.2 Arts or Natural Sciences?
		1.2.3 Sender and Receiver
	1.3 Early History of Musical Notations
		1.3.1 Mesopotamia, Egypt and Greece
		1.3.2 Notation Systems in the Middle Ages
	1.4 Gallery of Historical Instruments
	References
Part II Our Modern Tonal System
2 Notation and Tonal Systems
	2.1 What Is .....?
		2.1.1 Music
		2.1.2 Sound
		2.1.3 Tone
		2.1.4 Noise
		2.1.5 Spectral Characteristics of Sounds
		2.1.6 Standard Pitch
	2.2 What Is Physics, in Close Partnership to Music?
	2.3 Tonal System
		2.3.1 Lines and Notes
		2.3.2 Rest
		2.3.3 Clef
		2.3.4 Bars
		2.3.5 Pitch
		2.3.6 Change of Pitch—Accidentals
		2.3.7 Loudness
		2.3.8 Tempo
		2.3.9 Ornaments
		2.3.10 Note Relationships
		2.3.11 Articulation Marks
		2.3.12 Other Expressions
		2.3.13 An Example—Rondo of Haydn
	References
3 Intervals and Scales
	3.1 Intervals
		3.1.1 Basic Intervals
		3.1.2 Other Frequently Used Intervals and Chords
		3.1.3 Beats
	3.2 Scales
		3.2.1 About Scales
		3.2.2 Pentatonic Scale
		3.2.3 Whole-Tone Scale
		3.2.4 Heptatonics
		3.2.5 Chromatic Scales
		3.2.6 Microtones
	References
4 Tunings—From Pythagoras to Equal Temperament
	4.1 Pythagorean Tuning
	4.2 Some More Intonation Systems
		4.2.1 Just Intonation (or Pure Tuning)
		4.2.2 Meantone Temperament
		4.2.3 Well-Tempered Mood
		4.2.4 Equal Temperament
		4.2.5 The Cent
	4.3 Harmonic Series
		4.3.1 Properties
		4.3.2 Inharmonic Overtones
		4.3.3 About Tonality
	4.4 Timbre (Color of Sound)
	References
5 Comparison with Non-European Systems
	5.1 Introduction
	5.2 Music in Southern Neighborhoods of Europe
		5.2.1 Sinti and Roma Music
		5.2.2 Misheberach Scale
		5.2.3 Ragas in Indian Music
		5.2.4 Arabic Music
	5.3 Music in the Northern Neighborhoods of Europe
		5.3.1 The Sami
		5.3.2 Celtic Music
	5.4 Music in East Asia
		5.4.1 Chinese Music
		5.4.2 Japanese Pentatonics
		5.4.3 More About East Asian Music
	5.5 Music in Austronesia, Australia and New Guinea
		5.5.1 Austronesia
		5.5.2 Australia and New Guinea
	5.6 Music in Sub-Saharan Africa
	5.7 Music in the Americas
		5.7.1 History
		5.7.2 Blues
		5.7.3 Central America
		5.7.4 South America
	References
Part III Physics of Musical Instruments
6 Musical Instruments
	6.1 Systematical Classification of Musical Instruments
		6.1.1 The Idiophones
		6.1.2 The Membranophones
		6.1.3 The Chordophones
		6.1.4 The Aerophones
	6.2 Sound and Acoustic Waves
		6.2.1 Excursion on Sound and Acoustic Waves
		6.2.2 History
		6.2.3 The Physics of Sound
		6.2.4 Important Physical Quantities
		6.2.5 Acoustic Wave
	6.3 From Sound Waves to Sound Frequencies
		6.3.1 Overview of Fourier Series
		6.3.2 Transformation from Sound Waves to Sound Spectra
	References
7 Selected Instruments 1—Aerophones
	7.1 Classification of Aerophones
	7.2 The Flute
		7.2.1 Windway
		7.2.2 The Recorder
		7.2.3 The Transverse Flute
		7.2.4 Flutes from Various Areas
	7.3 Double-Reed Instruments
		7.3.1 The Oboe
		7.3.2 The English Horn (Cor Anglais)
		7.3.3 The Bassoon
		7.3.4 Other Double-Reed Instruments
	7.4 Single-Reed Instruments
		7.4.1 The Clarinet
		7.4.2 The Saxophone
		7.4.3 Other Single-Reed Instruments
	7.5 Brass Instruments
		7.5.1 Physics of Sound Creation
		7.5.2 The Horn
		7.5.3 Trumpet, Trombone, and Tuba
	7.6 The Organ
		7.6.1 The Whistle
		7.6.2 The Organ Pipe
		7.6.3 Wind System
	References
8 Selected Instruments 2—Chordophones, Membranophones, Idiophones and Human Voice
	8.1 String Instruments
		8.1.1 The Monochord
		8.1.2 The Vibrating String
		8.1.3 Playing Techniques
		8.1.4 Bowed String Instruments
		8.1.5 The Modern Violin Family
		8.1.6 The Violin
		8.1.7 Sound and Acoustics of the Violin Family
		8.1.8 Sound of Viola, Cello and Double Bass
	8.2 Percussion Instruments
		8.2.1 Timpani and Drums
		8.2.2 Bells
	8.3 The Human Voice: Singing
		8.3.1 Tonal Range of Singers
		8.3.2 Speech Organs
		8.3.3 Formant
		8.3.4 Singers
	References
Part IV When Musicians Get Together, They…
9 Create Music
	9.1 Introduction
	9.2 Music Forms
		9.2.1 Levels of Musical Units
		9.2.2 More About a Piece
		9.2.3 More About a Cycle
	9.3 Methods
		9.3.1 Counterpoint
		9.3.2 Harmony
	9.4 Combination of Musical Instruments
	References
10 Play Together and Form an Orchestra
	10.1 Introduction
	10.2 Solo and Duo
		10.2.1 Piano
		10.2.2 String Solo Without Accompaniment
		10.2.3 Solo with Accompaniment
		10.2.4 Duo
	10.3 Chamber Music
		10.3.1 Baroque Trio Sonata
		10.3.2 String Instruments and Piano
		10.3.3 String Instruments Only
		10.3.4 Together with Wind Instruments
	10.4 Orchestra
		10.4.1 History
		10.4.2 Types of Orchestras
		10.4.3 Seating Arrangement
		10.4.4 People
	10.5 Acoustics of an Orchestra
		10.5.1 Directional Effects
		10.5.2 Acoustic Radiation of Instruments
	References
Part V Hearing
11 Physiology and Psychoacoustics
	11.1 Hearing—Physiological Aspects
		11.1.1 Structure of the Human Ear
		11.1.2 Function of the Human Ear
		11.1.3 Tonotopic Mapping
	11.2 Hearing Music—Psychoacoustical Aspects
		11.2.1 How Do We Hear Music?
		11.2.2 A Huge Black Box
		11.2.3 We Hear (or Do Not Hear) in Somewhat Different Ways…
	11.3 Absolute Pitch and Relative Pitch
		11.3.1 What Are Absolute Pitch and Relative Pitch?
		11.3.2 Solfège
		11.3.3 How Do Absolute Pitch and Relative Pitch Work?
		11.3.4 Piano Versus Violin, Bells Versus Monochord
	11.4 Auditory Illusion
		11.4.1 Binaural Beats
		11.4.2 Octave Illusion and Scale Illusion
		11.4.3 Pitch Circularity and Tritone Paradox
		11.4.4 Not Illusions, But…
	References
12 Room Acoustics
	12.1 Concert Halls
	12.2 Principles of Room Acoustics
	12.3 Wave Theory
	12.4 Statistical Room Acoustics
		12.4.1 Reverberation
		12.4.2 Absorption Coefficient α
	12.5 Geometrical Room Acoustics
	References
Part VI Music, Mind and Society
13 Music Analysis with Phase Portraits
	13.1 Introduction
	13.2 Trials with Phase Plots
		13.2.1 What Is a Phase Plot?
		13.2.2 Three-Dimensional Expression
		13.2.3 Applying Phase Plots to Musical Pieces
	13.3 Analysis—Some Examples
		13.3.1 Bach and Gounod
		13.3.2 Haydn: String Quartet ``Emperor''
		13.3.3 Rossini: Guillaume Tell Overture
	13.4 Comparison of Various Scales
		13.4.1 Heptatonic Scales
		13.4.2 Pentatonic Scales
		13.4.3 Other Scales
	13.5 Concluding Remarks
	References
14 What Is Music Supposed to Do with Our Mind and For Our Society?
	14.1 Major and Minor
		14.1.1 Introduction
		14.1.2 The Major Triad and the Minor Triad
		14.1.3 Finished or Unfinished
		14.1.4 Comfort or Discomfort
		14.1.5 Happy, Sad or High
		14.1.6 Boléro
		14.1.7 Siegfried Idyll
		14.1.8 Swan Lake
	14.2 Music and Our Society
		14.2.1 Music and Moving
		14.2.2 Musical Expectation and Moving
		14.2.3 Two-Edged Blade
		14.2.4 Music-Related Illness and Therapy
	14.3 Bye Bye, I Must Go
	References
Correction to: Music Analysis with Phase Portraits
	Correction to:  K. Tsuji et al., Physics and Music,  https://doi.org/10.1007/978-3-030-68676-513
Index