| A | B |
|---|
| Molecules | Submicroscopic units of matter |
| Elasticity | A property of matter whereby, if molecules are forced closer together they fly apart again |
| Compression Wave | The entire series of ripples or waves caused by one disturbance |
| Rarefaction wave | When molecules rush in from outside to fill the partial void created by a compression wave |
| Noise | A series of irregular sound waves |
| Consonants | Noise |
| Musical Tone | A sound wave that forms a pattern that repeats itself regularly |
| Vowels | Tones |
| Pendular tone | A musical tone that has a pattern consisting of compression-rarefaction-compression-rarefaction-etc., at a constant frequency |
| The Law of the Pendulum | The frequency remains the same regardless of the width of the arc through which the pendulum swings |
| Tuning Fork | A pair of pendulums upside down. |
| The Five Essential Properties of Musical Tone | Pitch, Duration, Intensity, Timbre, Sonnance |
| The 5 essential properties of musical tone all have one thing in common. What is it? | They are measurable. |
| Pitch | The frequency with which the waves beat upon the eardrum |
| International Concert Pitch | A on the treble staff. A soundwave hitting your eardrum at a frequency of 440 vibrations per second. |
| Octave | The interval by which a pitch is raised if the number of vibrations per second is doubled. |
| Ultrasonics | Frequencies that are so high they cannot be heard at all. |
| Duration | How long a sound lasts. |
| Why is duration important? | It is necessary in order to achieve rhythm. |
| Intensity | The extent to which equilibrium is disturbed by the sound. |
| Another word for Intensity | Amplitude |
| Timbre | The quality of a musical note or sound or tone that distinguishes different types of sound production. |
| What are interrupted by consonants (noise)? | Vowels (musical tones) |
| Lowest vibration that a human ear can hear | 15 or 16 vibrations per second |
| Highest vibration that a human ear can hear | 20,000 vibrations per second |
| Does a higher tone sound louder or softer than a lower tone? | Louder. |
| Is the ear more sensitive to high or low pitches? | High. |
| Is the efficiency of an instrument improved or reduced when producing a soft sound? | Reduced. |
| When the efficiency of an instrument is reduced when it produces a softer sound, how does it make up for it? | It has to use greater intensity. |
| Is the voice a wind or a string instrument? | Wind instrument. |
| The power for the voice comes from where? | The lungs. |
| What is it about the human voice that makes it unique from other instruments? | Humans can vary the flexibility of their vibrator (vocal chords). |
| The two types of tones | Fundamental tones and overtones |
| The fundamental tone | is the tone we can name, the tone that our ear recognizes, a pure tone |
| The first overtone | one octave above the fundamental tone, is almost always present |
| Other overtones | are almost always present but are interpreted as colour or richness |
| The five properties of a musical tone are | Pitch, Duration, Intensity, Timbre, Sonance |
| Pitch | the frequency with which sound waves beat upon the eardrum |
| Duration | how long a sound lasts |
| Intensity | the extent to which equilibrium is disturbed by the sound |
| Timbre | the quality of a musical note or sound or tone that distinguishes different types of sound production |
| Sonance | fluctuations of intensity, timbre and pitch over time |
| Resonance | a relationship that exists between two vibrating bodies of the same pitch |
| When one vibrator causes another to vibrate in tune with it it's called | resonance |
| The two types of resonance | Sympathetic and Forced |
| Sympathetic resonance | occurs when one vibrating body acts upon another vibrator and causes it to vibrate at the same frequency. The new vibrator is free to vibrate or not. |
| Forced resonance | occurs when one vibrating object bumps up against another object and forces it to vibrate too |
| Human voices have what kind of resonance? | Sympathetic |
| What are the elements of every musical instrument | Actuator, Vibrator and Resonator |
| Actuator | the source of power |
| Actuator for the human voice is | the lungs |
| Vibrator | turns the energy of the actuator into a series of compression and rarefaction waves |
| The Vibrator for the human voice is | the larynx |
| Resonator | takes the product of the vibrator and increases its intensity, or improves its timbre, or both |
| The resonator for the human voice is | the resonating chambers in the body |
| The two types of tones | fundamental tones and overtones |
| The fundamental tone | The tone we can name, the tone our ear recognizes, a pure tone. |
| The first overton | is one octave above the fundamental tone |
| The five properties of a musical tone | pitch, duration, intensity, timbre, sonance |
| Resonance | is a relationship that exists between two vibrating bodies of the same pitch. When one vibrator causes another to vibrate in tune with it, the phenomenon is called resonance. |
| Two types of resonance | sympathetic and forced |
| Sympathetic resonance | occurs when one vibrating body acts upon another vibrator (that wasn't vibrating up until now) and causes it to vibrate at the same frequency without physically touching it |
| Forced resonance | occurs when one vibrating object bumps up against another object and forces it to vibrate too |
| Human voices have what kind of resonance? | sympathetic |
| Three elements of every musical instrument | actuator, vibrator, resonator |
| actuator | source of power |
| vibrator | turns the energy of the actuator into a series of compression and rarefaction waves |
| resonator | takes the product of the vibrator and increases its intensity, or improves its timbre, or both |
| actuator for the human voice | lungs |
| vibrator for the human voice | larynx |
| resonator for the human voice | resonating chambers in the body |
