TERM PAPER OF WAVE ELECTRICITY & MAGNETISM

TOPIC:ACOUSTIC
SUBMITTED TOMR.NIRAJ KUMAR SUBMITTED BYANKIT SINGH REG-NO.-10901672 ROLL-NO.-A34 SECTION:-M4901

ACKNOWLEDGEMENT
History of all great works is to witness that no great work has ever done with others. The active or passive support of a person surrounding and one close quarter. Thus it is not hard to conclude how active assistance from senior could positively impact the execution of my term paper project. I am highly thankful to specially PHYSICS teacher NIRAJ KUMAR for the active guidance throughout the completion of project.

ANKIT SINGH LIT PHAGWARA

Contents:Introduction

Acoustic music Musical acoustics Acoustic guitar Acoustic impedance Acoustic wave equation
Derivation Reference

Introduction:Acoustics, a branch of physics that studies sound, musical acoustics, the branch of acoustics that studies the physics of music. External acoustic meatus, another name for the ear canal. Acoustic recording, a pre-microphone method of recording used, for instance, on the Graphophone In music: Acoustic music, music that solely or primarily uses acoustic instruments An instrument used in acoustic music (see link above), such as: Acoustic guitar, as opposed to electric guitar Acoustic bass guitar, as opposed to electric bass guitar Acoustic was released in 1995, and is the second live album to be released by the group Deine Lakaien. This live album was recorded during the sold-out 1995 Acoustic Tour. The songs were performed unplugged, with Alexander Veljanov's vocals backed by Ernst Horn on a prepared piano.

Acoustic music

An acoustic guitar Acoustic music comprises music that is great or primarily uses instruments which produce sound through entirely acoustic means, as opposed to electric or electronic means. The retronym "acoustic music" appeared after the advent of electric instruments, such as the electric guitar, bass guitar, electric organ and synthesizer.

Performers of acoustic music often increase the volume of their output using electronic amplifiers. However, these amplification devices remain separate from the amplified instrument and reproduce its natural sound accurately. Often a condenser microphone is placed in front of an acoustic instument which is then wired up to an amp. This is the most effective way of amplifying an acoustic instrument.

Following the increasing popularity of the television show MTV Unplugged during the 1990s, acoustic (though in most cases still electrically-amplified) performances by musical artists who usually rely on electronic instruments became colloquially referred to as "unplugged" performances. Writing for Splendid, music reviewer Craig Conley suggests, "When music is labeled acoustic, unplugged, or unwired, the assumption seems to be that other types of music are cluttered by technology and overproduction and therefore aren't as pure."[2]

Musical acoustics
Musical acoustics or music acoustics is the branch of acoustics concerned with researching and describing the physics of music how sounds employed as music work. Examples of areas of study are the function of musical instruments, the human voice (the physics of speech and singing), computer analysis of melody, and in the clinical use of music in music therapy.

Harmonics, partials, and overtones

Scale of harmonics
The fundamental is the frequency at which the entire wave vibrates. Overtones are other sinusoidal components present at frequencies above the fundamental. All of the frequency components that make up the total waveform, including the fundamental and the overtones, are called partials. Together they form the harmonic series. Overtones which are perfect integer multiples of the fundamental are called harmonics. When an overtone is near to being harmonic, but not exact, it is sometimes called a harmonic partial, although they are often referred to simply as harmonics. Sometimes overtones are created that are not anywhere near a harmonic, and are just called partials or inharmonic overtones. The fundamental frequency is considered the first harmonic and the first partial. The numbering of the partials and harmonics is then usually the same; the second partial is the second harmonic, etc. But if there are inharmonic partials, the numbering no longer coincides. Overtones are numbered as they appear above the fundamental. So strictly speaking, the first overtone is the second partial (and usually the second harmonic). As this can result in confusion, only harmonics are usually referred to by their numbers, and overtones and partials are described by their relationships to those harmonics. Harmonics and non-linearities

A half-wave symmetric and asymmetric waveform. The red contains only the fundamental and odd harmonics, the green contains the fundamental, odd, and even harmonics.

200 and 300 Hz waves and their sum, showing the periods of each.

A spectrogram of a violin playing a note and then a perfect fifth above it. The shared partials are highlighted by the white dashes. When a periodic wave is composed of a fundamental and only odd harmonics (f, 3f, 5f, 7f, ...), the summed wave is half-wave .

Harmony
If two notes are simultaneously played, with frequency ratios that are simple fractions (e.g. 2/1, 3/2 or 5/4), then the composite wave will still be periodic with a short period, and the combination will sound consonant. For instance, a note vibrating at 200 Hz and a note vibrating at 300 Hz (a perfect fifth, or 3/2 ratio, above 200 Hz) will add together to make a wave that repeats at 100 Hz: every 1/100 of a second, the 300 Hz wave will repeat thrice and the 200 Hz wave will repeat twice. Note that the total wave repeats at 100 Hz, but there is not actually a 100 Hz sinusoidal component present. Additionally, the two notes will have many of the same partials. For instance, a note with a fundamental frequency of 200 Hz will have harmonics at: (200,) 400, 600, 800, 1000, 1200, A note with fundamental frequency of 300 Hz will have harmonics at: (300,) 600, 900, 1200, 1500, The two notes have the harmonics 600 and 1200 in common, and more will coincide further up the series. The combination of composite waves with short fundamental frequencies and shared or closely related partials is what causes the sensation of harmony. When two frequencies are near to a simple fraction, but not exact, the composite wave cycles slowly enough to hear the cancellation of the waves as a steady pulsing instead of a tone. This is called beating, and is considered to be unpleasant, or dissonant. The frequency of beating is calculated as the difference between the frequencies of the two notes. For the example above, |200 Hz - 300 Hz| = 100 Hz. As another example, a combination of 3425 Hz and 3426 Hz would beat once per second (| 3425 Hz - 3426 Hz| = 1 Hz). This follows from modulation theory.

Acoustic guitar

A modern acoustic guitar.

An acoustic guitar is a guitar that uses only acoustic methods to project the sound produced by its strings. The term is a retronym, coined after the advent of electric guitars, which rely on electronic amplification to make their sound audible.

Types
Historical and modern acoustic guitars are extremely varied in their design and construction, far more so than electric guitars. Some of the most important varieties are the classical guitar (nylon-stringed), steel-string acoustic guitar and lap steel guitar. A more complete list is given below, refer to the individual articles for more specific detail.

Nylon/gut stringed guitars: o Renaissance guitar

o o o

Baroque guitar Romantic guitar Classical guitar, the modern version of the original guitar, with nylon strings Flamenco guitar

Extended-range classical guitar

A steel strung Yamaha APX700 electric-acoustic guitar

Acoustic impedance
The acoustic impedance Z (or sound impedance) is a frequency (f) dependent parameter is very useful, for example, for describing the behaviour of musical wind instruments. Mathematically, it is the sound pressure p divided by the particle velocity v and the surface area S, through which an acoustic wave of frequency f propagates. If the impedance is calculated for a range of excitation frequencies the result is an impedance curve. Plane, single-frequency traveling waves have acoustic impedance equal to the characteristic impedance divided by the surface area, where the characteristic impedance is the product of longitudinal wave velocity and density of the medium. Acoustic impedance can be expressed in either its constituent units (pressure per velocity per area) or in rayls.

Note that sometimes vS is referred to as the volume velocity.

The specific acoustic impedance z is the ratio of sound pressure p to particle velocity v at a single frequency. Therefore

Distinction has to be made between:

the characteristic acoustic impedance Z0 of a medium, usually air (compare with characteristic impedance in transmission lines). the impedance Z of an acoustic component, like a wave conductor, a resonance chamber, a muffler or an organ pipe.

Acoustic wave equation

In physics, the acoustic wave equation governs the propagation of acoustic waves through a material medium. The form of the equation is a second order partial differential equation. The equation describes the evolution of acoustic pressure p or particle velocity as a function of position and time t. A simplified form of the equation describes acoustic waves in only one spatial dimension (position x), while a more general form describes waves in three dimensions (displacement vector ).

In one dimension
Equation

where p is the acoustic pressure (the local deviation from the ambient pressure), and where c is the speed of sound.

Solution Provided that the speed c is a constant, not dependent on frequency (the dispersionless case), then the most general solution is p = f(ct x) + g(ct + x) where f and g are any two twice-differentiable functions. This may be pictured as the superposition of two waveforms of arbitrary profile, one (f) travelling up the xaxis and the other (g) down the x-axis at the speed c. The particular case of a sinusoidal wave travelling in one direction is obtained by choosing either f or g to be a sinusoid, and the other to be zero, giving . where is the angular frequency of the wave and k is its wave number.

Derivation
The wave equation can be developed from the linearized one-dimensional continuity equation, the linearized one-dimensional force equation and the equation of state. The equation of state (ideal gas law) PV = nRT In an adiabatic process, pressure P as a function of density can be linearized to

where C is some constant. Breaking the pressure and density into their mean and total components and noting that :

. The adiabatic bulk modulus for a fluid is defined as

which gives the result

. Condensation, s, is defined as the change in density for a given ambient fluid density.

The linearized equation of state becomes where p is the acoustic pressure(P P0). The continuity equation (conservation of mass) in one dimension is . Again the equation must be linearized and the variables split into mean and variable components.

Rearranging and noting that ambient density does not change with time or position and that the condensation multiplied by the velocity is a very small number:

Euler's Force equation (conservation of momentum) is the last needed component. In one dimension the equation is:

, where D / Dt represents the convective, substantial or material derivative, which is the derivative at a point moving with medium rather than at a fixed point. Linearizing the variables:

. Rearranging and neglecting small terms, the resultant equation is: . Taking the time derivative of the continuity equation and the spatial derivative of the force equation results in:

. Multiplying the first by 0, subtracting the two, and substituting the linearized equation of state, . The final result is

where

is the speed of propagation.

In three dimensions
Equation

where is the Laplace operator, p is the acoustic pressure (the local deviation from the ambient pressure), and where c is the speed of sound. Solution The following solutions are obtained by separation of variables in different coordinate systems. They are phasor solutions, that is they have an implicit timedependence factor of eit where = 2f is the angular frequency. The explicit time dependence is given by

Here

is the wave number.

Cartesian coordinates . Cylindrical coordinates . where the asymptotic approximations to the Hankel functions, when , are

Spherical coordinates . Depending on the chosen Fourier convention, one of these represents on outward travelling wave and the other an unphysical inward travelling wave.

Reference

www.google.in www.wikkipedia.com foundation of physics