Research Question: How can different methods of listening to music have an effect on the transmission of musical sinusoidal waves? Introduction:
Music is a universal language. It is a part of culture that has been around for thousands of years, dating back to the first recorded German flutist 40,000 years ago during the Stone Age. Lyrics and sounds can be understood and interpreted independently, but it is how humans are able to take in these sounds and interpret them that is often misunderstood. The biological and psychological aspects of this process play an imperative role, including the idea that our hearing systems are based solely on the cerebellum and physical movement, rather than chemical reactions which usually evoke our
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Such efficiency will be determined by measuring the frequencies of songs using sine waves, the volume at which a genre of music should be played can be understood. Efficiency is fully dependent on atmospheric conditions, such as pressure. Using the sine function will help to analyze the frequency in relation to the period, amplitude, and any possible shifts that may have an influence on the production and receiving of music.
First, I will be using an EQu device to measure frequency (dB). This is considered the “original source.” Measurements of the frequencies are represented as sine waves, beginning at the 0 (indicated by the green line):
By doing so, the frequency, amplitude, and pitch can be analyzed. The frequency measures how fast something vibrates, the amplitude measures how much something vibrates, and the pitch shows how high or low the music can be perceived.
Sources: MacBook Air Speaker
3.7V Speaker
Headphones
Frequencies Using Various Sources of Music Production:
Example calculation of average media frequency:
(70.5+68.5+66.9+68.9+73.1+71.8)/2=69.95 dB
Table 1-
Genre Source Media Frequencies Average Frequency (dB)
Rock MacBook Air Speaker 70.5, 68.5, 66.9, 68.9, 73.1, 71.8 69.95
Rap MacBook Air Speaker 64.5, 73.7, 65.6, 69.8, 70.6, 72.1 69.38
Pop MacBook Air Speaker 63.9, 68.1, 68.8, 61.7, 70.3, 66.1 66.48
Classical MacBook Air Speaker 53.6, 55.8, 47.9, 46.1, 45.2, 44.3 48.82
Table
Pinker’s metaphorical expression for music was “auditory cheesecake”, explaining that he considered this function “useless[as a biological adaptation]” (Pinker 1997, p.528). Perhaps avid listeners comfort feed their minds with acoustic cheesecake, but musical knowledge presents the impact of such sweetness goes far beyond just licking the spoon. Extracting Pinker’s perspective, this essay will discuss whether music is valuable in the survival of humans. Arguments will be derived from brain imaging findings to examine its biological predisposition, adaptionist view to seek out its evolutionary status and whether the environment is responsible for demoting music.
When analyzing musical sound there are many factors to pay attention to during the performance. Important things to listen for are the pitch, scale, timbre, tone
Both scientists made the prediction that if wasps were tested at a frequency of 42,000 Hz, the following outcome would be observed.
When I think about pitch the first things come to mind are instruments. This reminds me in middle school if you wanted to a part of the band, you got to test each instrument. I always had a fascinating with a flute, which had high a frequency and high pitch. Another instrument was a trombone; this had a low frequency and low pitch. This helped me understand the difference between pitches.
In this experiment, the signal generator was set so that the frequency meter showed a reading of 1,803 Hz. The microphone was moved to a distance from the speaker so that the oscilloscope displayed a straight diagonal line. This position was of the microphone was recorded as the initial position, or beginning of a wavelength. The microphone was then moved farther in the same direction until the oscilloscope displays the same horizontal line. This position was recorded as final position, or the end of the wavelength. The distance between the two positions represents one wavelength for this frequency. This was repeated for frequencies of 2,402 Hz, 3,002, Hz, 3,602 Hz, and 4,201 Hz.
Sound waves are nothing more than an energy transfer through a medium be it through a liquid, solid, or a gas. Sound pressure or intensity is measured on logarithmic scale in decibels dB which increases on an order of magnitude. For instance a quiet conversation would be around 30 dB and whereas the human pain threshold would be just over 100 dB. While the pitch or frequency of the sound is measured in hertz or Hz, the higher the hertz the higher the pitch of the sound and vice versa (Hildebrand, 2004).
Frequency: the number of cycles per second in a wave; in sound, the primary determinant of pitch
The trial consisted of 40 minutes of continuous West African akan, North Indian raga, or Japanese taiko instrumental music. All music stimuli maintained an identical base tempo of 90 beats per minute regardless the rhythmic structure, the volume of the music was 50dB so that all the music had the same average amplitude. Tempo and amplitude were manipulated using the GarageBand software by
Culture and experience establish some of one's tonal sensitivities also. Hence, somebody like Sacks may perceive the diatonic scale more “natural” and more orienting than the twenty-two-note scales of Hindu music. Yet, there does not appear to be any intrinsic neurological inclination for specific sorts of music, any more than there are for particular languages. The main imperative components of music are discrete tones and rhythmic organization.
The length of five spaces in a scale is known as a perfect fifth (Shah 42). C major and A minor start at the head of the circle (Shah 42). At the head of the circle going clockwise, notes rise at a rate of fifths and do not stop until a limit of seven sharps is made (Shah 42). Going counter-clockwise, the notes go down at a rate for fourths until a limit of seven flats is met (Shah 42). When the very end of the circle is reached, six flats and sharps will have overrun each other (Shah 42). Also on the circle, one will begin at a certain pitch, skip twelve tones, and make it back to the pitch they started with (Shah 43). Pitch is in relation to the wave’s frequency (Petersen 1). The pressure vibrates rapidly wit high notes because of their high frequency (Petersen 1). Volume and pitch are the two attributes that make up sound (Petersen 1). Noise level and volume are in relation to the pressure’s amplitude (Petersen 2). The force per unit area, Pascals, is usually used to calculate pressure (Petersen 3). Frequency is equal to string length (Petersen 3). The rate of a frequency of noise of at least two tones is known as musical interval (Shah 20). A geometric sequence is fashioned from the frequencies of an octave (Petersen 4). An exponential function would be seen if such a sequence was graphed (Petersen 4). An
Musicians know that all vibrating objects make sounds. Frequency measure how many times a string vibrates up and down. If a musician changed the length of the string, it also changed the frequency. High frequency will always equal a high pitch. When an octave is increased the frequency will double. Pythagoras discovered different sounds could be made with different weight and vibrations. Due this discovery, they also realized pitch could be controlled by the length of the string.
It is within this framework that I consider important to study the way in which sound is
The data supports the hypothesis "If the frequency of a sound increases, then the wavelengths of a sound will decrease, because the wavelength is the speed of sound divided by the frequency." The experiment supported the hypothesis because the experiment showed that the relationship between wavelengths and frequencies is as hypothesized. In all cases, as frequency increased the wavelength decreased. When the speed of sound is divided by the frequency the calculated wavelength was not equal to the measured wavelength. This difference is because standing waves were used for measurements and standing waves do not have the same constant as the
Music elicits an emotional and cognitive response in all who listen to it. It is powerful at the individual level because “it can induce multiple responses – physiological, movement, mood, emotional, cognitive, and behavioral” (Francis, 2008,
Whoever starts making the measurement of sound intensity should have basic knowledge of its limitations and errors. Many researchers are focusing more in identifying and studying the errors and limitations of measurement of sound intensity, the study of errors and limitations is attracting the researchers more to look into measurement of sound intensity. This preoccupation with errors and limitations is not the result of a particularly gloomy disposition among the members of the ‘intensity community’; it results from the disturbing observation that the accuracy of sound intensity measurements depends strongly on the sound field under study, in combination with the fact that small