Introduction to Acoustics / 1: |
Fundamental Physical Principles / 1.1: |
Sound Pressure / 1.1.1: |
Particle Velocity / 1.1.2: |
Sound Power / 1.1.3: |
Frequency / 1.1.4: |
The Speed of Sound / 1.1.5: |
Wavelength / 1.1.6: |
Characteristics of the Auditory System / 1.2: |
The Sensation of Loudness / 1.2.1: |
Masking / 1.2.2: |
Directional Characteristics / 1.2.3: |
Directional Hearing / 1.2.4: |
The Cocktail Party Effect / 1.2.5: |
Masking for the Musician / 1.2.6: |
Sensitivity to Changes in Frequency and Sound Pressure Level / 1.2.7: |
Structure of Musical Sound / 2: |
Introducing the Model / 2.1: |
Frequency-and Level: Structures / 2.2: |
The Harmonic Tone Structure of Sound Spectra / 2.2.1: |
The Frequency Range of Sound Spectra / 2.2.2: |
Formants / 2.2.3: |
The Effect of Individual Partials / 2.2.4: |
Frequency Width of Partials / 2.2.5: |
Noise Contributions / 2.2.6: |
Dynamics and the Sound Spectrum / 2.2.7: |
Dynamic Range and Sound Power / 2.2.8: |
Time Structures / 2.3: |
Deviations from a Steady Vibration Process / 2.3.1: |
The Starting Transient / 2.3.2: |
Inharmonic Components / 2.3.3: |
Decay of Resonating Systems / 2.3.4: |
Decay Time and Reverberation Time / 2.3.5: |
Fluctuations in the Quasistationary Part / 2.3.6: |
Tonal Characteristics of Musical Instruments / 3: |
Brass Instruments / 3.1: |
The French Horn / 3.1.1: |
The Trumpet / 3.1.2: |
The Trombone / 3.1.3: |
The Tuba / 3.1.4: |
Woodwind Instruments / 3.2: |
The Flute / 3.2.1: |
The Oboe / 3.2.2: |
The Clarinet / 3.2.3: |
The Bassoon / 3.2.4: |
String Instruments / 3.3: |
The Violin / 3.3.1: |
The Viola / 3.3.2: |
The Cello / 3.3.3: |
Double Bass / 3.3.4: |
The Piano / 3.4: |
Sound Spectra / 3.4.1: |
Dynamics / 3.4.2: |
Time Structure / 3.4.3: |
The Harpsichord / 3.5: |
The Harp / 3.5.1: |
Percussion Instruments / 3.6.1: |
Timpani / 3.7.1: |
The Bass Drum / 3.7.2: |
Snare Drum / 3.7.3: |
Gong / 3.7.4: |
Cymbals / 3.7.5: |
The Triangle / 3.7.6: |
The Singing Voice / 3.8: |
Choral Singing / 3.8.1: |
Foundations of Directional Sound Radiation / 4: |
Directional Effects and Polar Diagrams / 4.1.1: |
Evaluation and Representation / 4.1.2: |
General Considerations / 4.2: |
The Double Bass / 4.4.2: |
The Grand Piano / 4.5: |
Lid Open / 4.5.1: |
Lid Closed / 4.5.2: |
Lid Half Open / 4.5.3: |
Lid Removed / 4.5.4: |
The Timpani / 4.5.5: |
The Drum / 4.7.2: |
Gongs / 4.7.3: |
Color Plates Following Page / 4.8: |
Foundations of Room Acoustics / 5: |
Reflection and Refraction / 5.1: |
Reflection from a Flat Surface / 5.1.1: |
Reflection from Curved Surfaces / 5.1.2: |
Influence of the Wavelength / 5.1.3: |
Absorption / 5.2: |
Reverberation / 5.3: |
Direct Sound and Diffuse Field / 5.4: |
The Energy Density / 5.4.1: |
The Direct Sound / 5.4.2: |
Diffuse-Field Distance / 5.4.3: |
Temporal Structure of the Sound Field / 5.5: |
Acoustical Properties of Old and New Performance Spaces / 6: |
Concert Halls / 6.1: |
Tonal Requirements / 6.1.1: |
Reverberation Time and Hall Size / 6.1.2: |
Sound Field and Hall Shape / 6.1.3: |
Acoustic Conditions on the Stage / 6.1.4: |
The Location of the Conductor / 6.1.5: |
Opera Houses / 6.2: |
Reverberation Time and Room Size / 6.2.1: |
Direct Sound and Early Reflections / 6.2.2: |
Churches / 6.3: |
Chamber Music Halls / 6.4: |
Studios / 6.5: |
Special Purpose Rooms / 6.6: |
Open Air Stages / 6.7: |
Seating Arrangement in the Concert Hall / 7: |
Customary Positioning of Instrument Groups / 7.1: |
The Tonal Effect in the Hall / 7.2: |
Grand Pianos / 7.2.1: |
Harps / 7.2.6: |
Combined Sound of the Orchestra / 7.2.7: |
Singing Voices / 7.2.8: |
Acoustic Considerations for Instrumentation and Playing Technique / 8: |
Strength of Ensembles / 8.1: |
Historical Development / 8.1.1: |
Adapting to the Hall / 8.1.2: |
Performance Technique / 8.2: |
Articulation and Tone Presentation / 8.3.1: |
Vibrato / 8.3.2: |
Playing Positions of Wind Instruments / 8.3.3: |
Tempo and Room Acoustics / 8.4: |
Acoustical Problems in the Opera House / 9: |
Strength of the Orchestra / 9.1: |
Sound Level in the Hall / 9.1.1: |
Sound Level in the Orchestra Pit / 9.1.3: |
Seating Arrangement in the Orchestra Pit / 9.2: |
Customary Arrangements of Instrument Groups / 9.2.1: |
Balance between Singers and Orchestra / 9.2.2: |
Arrangement of Choirs and Music on Stage / 9.4: |
Musicians in the Scene / 9.4.1: |
Musicians behind the Scene / 9.4.2: |
Appendix Table for Angular Dependence of the Statistical Directivity Factor |
References |
Subject Index |
Author, Composer, and Composition Index |
Introduction to Acoustics / 1: |
Fundamental Physical Principles / 1.1: |
Sound Pressure / 1.1.1: |