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    13 views4 pages

    Apfel

    Uploaded by

    Rizwn

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    © All Rights Reserved
    Download as DOCX, PDF or read online from Scribd
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    of 4
    LINTRODUCTION ‘There hasbeen along history of fruitful research iavols- ing waves in sxisyrametrical geometries. Tis research has been even more enjoyable when the axisymmetric geome- try has been a wineglas, Is sad that Gellileo proved that the musical consonance associated with what we call an ‘octave was truly a doubling of frequency. He did this by ‘observing twice as many waves per unit length on the su- face of water in glass' when the pitch was changed from thelower pitch tothe higher consonant one. [would actbe surprised if his glass were actualy filled with wine, not ater, tthe time of his initial observation! Faraday called the transverse waves he cbserved onthe surface of liquids including the whit of an egg) “erspations,” and described their properties for a number of geometries and exciting conditions Rayleigh? and Lamb are two other 19th century sien- tists who observe and explain the behavior of waves on & liquid surface in an axisymmetric geometry. ‘My frst observations of the phenomenon on which this papers bated occurred sometime during December 1982, While my wife discassed with a guest some aspect of child psychology, her fed, Iflled my winegless a second time and then began rubbing a moistened finger around the im, producing the familiar tone. This might have been consid- «red discourtsous, except that my field is acoustics. There, ‘onthe wine surface near the glass rim, were large number of “erisptions.” asin Fig. Ia) and fh). There were two fortuitous features of this informal observation: (I)I played this game with a ncerly oll winegless. thas been my obses- vation that most people have drunk mos, if not al, their wine before rubbing their finger on the glass rim: (2) the wineglases were ahem) cheap—about $1 SOeach. This, of course, is not the approach for achieving a ive and eadus- ‘ng sound, as employed by those artists who play beautiful music on sts of these glasses or as some are called, gloss harmonicas. However, I wanted to observe a visual wave Phenomena on the liquid sutfacs, and this is seen to be partaly obscured if the wall of the glssvibcates too ac- tively. ‘The eres tocrest spacing ofthe “scepations” was litle Jess than I mm inthis informal experiment fora frequency estimated tobe 880 Hz (or, I determined i, close t0 A, ‘one octave above concert A.on my piano). TI SOME BASIC THEORY ‘The next dey I decided to look at the problem a little ‘ore carefully. There are two primary phenomena occur- ring: (1) the glass vibration ata given frequency due to the Properties ofthe glass and the contained liquid and (2) the surface wave generation atthe Frequency ofthe glass r0s0- nance, which depends on gravity and te ratio of surface 1070 Am 3 Pay. 83 (11), November 1985, tension to Liguid density. The former problem has been ‘treated nicely in arecent article by French.” But,so some of the basic parameters are displayed, Iwill ake you through «an oversimplified analysis which preserves the basic depen- ddences ofthe glass resonance frequency on the glass radius and thickness. (For the time being, let us forget the wine.) A bending wave of frequency f propagates along an inf- nite, two-dimensional plate of thickness ata velocity Vy, given by® Vy = (eh ABH = Ash, 0 where Vis the longitudinal wave velocity inthe solid and Ay isthe wavelength ofthe bending wave. For glass, Fis bout $200 m/s Fig I) Sich ftp vw fobsered sefice waves in wine Flash peo of apy navs ina wings pabted black. Thespong in the pot exe the resonance a aural ote the gia, © 1085 Asercan Awecinion of Physi Taschen, 1070 Now, let ws wrap this plate around on it

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