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Books on the topic 'Sound Acoustical materials'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Sound & vibration engineered environments: Manufacturers & fabricators of architectural, building & mechanical system products. LaCrosse, WI, U.S.A: R/T Books, 1988.

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2

Vance, Mary A. Sound absorbent materials: A revision of A 662. Monticello, Ill., USA: Vance Bibliographies, 1988.

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3

Allard, J. Biot theory and acoustical properties of high porosity fibrous materials and plastic foams. [Washington, DC]: National Aeronautics and Space Administration, 1987.

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4

Martin, Paul R. National Voluntary Laboratory Accreditation Program: Acoustical testing services. Gaithersburg, MD: U.S. Dept. of Commerce, Technology Administration, National Institute of Standards and Technology, 1994.

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5

Fuchs, Helmut V. Applied Acoustics: Concepts, Absorbers, and Silencers for Acoustical Comfort and Noise Control: Alternative Solutions - Innovative Tools - Practical Examples. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013.

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6

Deymier, Pierre A. Acoustic Metamaterials and Phononic Crystals. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013.

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7

Craster, Richard V. Acoustic Metamaterials: Negative Refraction, Imaging, Lensing and Cloaking. Dordrecht: Springer Netherlands, 2013.

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8

Allard, J. F. Propagation of sound in porous media: Modelling sound absorbing materials. 2nd ed. Hoboken, N.J: Wiley, 2009.

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9

Allard, J. F. Propagation of sound in porous media: Modelling sound absorbing materials. 2nd ed. Hoboken, N.J: Wiley, 2009.

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10

Noureddine, Atalla, ed. Propagation of sound in porous media: Modelling sound absorbing materials. 2nd ed. Hoboken, N.J: Wiley, 2009.

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11

Propagation of sound in porous media: Modelling sound absorbing materials. London: Elsevier Applied Science, 1993.

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12

1923-, Tolstoy Ivan, ed. Acoustics, elasticity, and thermodynamics of porous media: Twenty-one papers. Woodbury, N.Y: Published by the Acoustical Society of America through the American Institute of Physics, 1992.

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13

Physical acoustics in the solid state. Berlin: Springer, 2005.

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14

Physical acoustics in the solid state. 2nd ed. Berlin: Springer, 2007.

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15

Marinello, Francesco. Acoustic Scanning Probe Microscopy. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013.

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16

Miyoshi, Tetsuhiko. Foundations of the numerical analysis of plasticity. Tokyo: Kinokuniya, 1985.

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17

International Symposium on Flow Modeling and Turbulence Measurements (6th 1996 Tallahassee, Fla.). Flow modeling and turbulence measurements: Proceedings of the 6th International Symposium on Flow Modeling and Turbulence Measurements, Tallahassee, Florida, USA, 8-10 September 1996. Rotterdam: A.A. Balkema, 1996.

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18

How to teach collaborative strategic reading: Classroom-ready materials to create better readers in mixed-ability classrooms. San Francisco: Jossey-Bass, 2012.

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19

Acoustic Metamaterials And Phononic Crystals. Springer, 2012.

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20

Fuchs, Helmut V. Applied Acoustics : Concepts, Absorbers, and Silencers for Acoustical Comfort and Noise Control: Alternative Solutions - Innovative Tools - Practical Examples. Springer, 2013.

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21

Deymier, Pierre A. Acoustic Metamaterials and Phononic Crystals. Springer, 2015.

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22

Fuchs, Helmut V. Schallabsorber und Schalldämpfer: Innovative akustische Konzepte und Bauteile mit praktischen Anwendungen in konkreten Beispielen (VDI-Buch). 2nd ed. Springer, 2006.

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23

Fuchs, Helmut V. Schallabsorber und Schalldämpfer: Innovative Akustik-Prüfstände (VDI-Buch). Springer, 2004.

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24

Craster, Richard V., and Sébastien Guenneau. Acoustic Metamaterials: Negative Refraction, Imaging, Lensing and Cloaking. Springer, 2015.

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25

Craster, Richard V., and Sébastien Guenneau. Acoustic Metamaterials: Negative Refraction, Imaging, Lensing and Cloaking. Springer, 2012.

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26

Craster, Richard V., and Sébastien Guenneau. Acoustic Metamaterials: Negative Refraction, Imaging, Lensing and Cloaking. Springer, 2012.

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27

Potel, Catherine, and Michel Bruneau. Materials and Acoustics Handbook. Wiley & Sons, Incorporated, John, 2013.

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28

Potel, Catherine, and Michel Bruneau. Materials and Acoustics Handbook. Wiley & Sons, Incorporated, John, 2010.

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29

Potel, Catherine, and Michel Bruneau. Materials and Acoustics Handbook. Wiley & Sons, Incorporated, John, 2013.

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30

Sound Materials: Innovative Sound-Absorbing Materials for Architecture and Design. Frame Publishers, 2017.

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31

Tkaczyk, Viktoria, and Stefan Weinzierl. Architectural Acoustics and the Trained Ear in the Arts. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.14.

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This chapter shifts perspective from the history of architectural acoustics (as a branch of physics) to the history of architecture and practices of listening from around 1780 to 1830. In this period, operas, concerts, and spoken theater pieces, traditionally performed in the same venue, were increasingly regarded as separate genres, each related to a specific sonic reverberation time. As this chapter illustrates using acoustic data from major venues, this separation corresponded with ever-diverging concepts of acoustic design and the acoustic properties of new buildings. The shift occurred, first, because of the emergence of a bourgeois theater and music culture and, second, due to a fundamental epistemic shift in acoustic theory when sound reflection began to be thought of as a phenomenon related to energy, time, and building materials. The audience was conceived of as a group of genre-specific listening experts who paid attention to sound dying away over time.

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32

Acoustic emission--beyond the millennium. Amsterdam: Elsevier, 2000.

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33

Ohtsu, M., T. Kishi, and S. Yuyama. Acoustic Emission - Beyond the Millennium. Elsevier Science, 2000.

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34

Propagation of Sound in Porous Media: Modelling Sound Absorbing Materials. Chapman & Hall, 1994.

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35

United States. National Aeronautics and Space Administration., ed. Response of composite plates subjected to acoustic loading. [Washington, DC: National Aeronautics and Space Administration, 1989.

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36

Architectural Acoustics. Wiley & Sons, Limited, John, 2015.

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37

Recasens, Daniel. Phonetic Causes of Sound Change. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198845010.001.0001.

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The present study sheds light on the phonetic causes of sound change and the intermediate stages of the diachronic pathways by studying the palatalization and assibilation of velar stops (referred to commonly as ‘velar softening’, as exemplified by the replacement of Latin /ˈkɛntʊ/ by Tuscan Italian [ˈtʃɛnto] ‘one hundred’), and of labial stops and labiodental fricatives (also known as’ labial softening’, as in the case of the dialectal variant [ˈtʃatɾə] of /ˈpjatɾə/ ‘stone’ in Romanian dialects). To a lesser extent, it also deals with the palatalization and affrication of dentoalveolar stops. The book supports an articulation-based account of those sound-change processes, and holds that, for the most part, the corresponding affricate and fricative outcomes have been issued from intermediate (alveolo)palatal-stop realizations differing in closure fronting degree. Special attention is given to the one-to-many relationship between the input and output consonantal realizations, to the acoustic cues which contribute to the implementation of these sound changes, and to those positional and contextual conditions in which those changes are prone to operate most feasibly. Different sources of evidence are taken into consideration: descriptive data from, for example, Bantu studies and linguistic atlases of Romanian dialects in the case of labial softening; articulatory and acoustic data for velar and (alveolo)palatal stops and front lingual affricates; perceptual results from phoneme identification tests. The universal character of the claims being made derives from the fact that the dialectal material, and to some extent the experimental material as well, belong to a wide range of languages from not only Europe but also all the other continents.

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38

(Editor), Christian U. Grosse, and Masayasu Ohtsu (Editor), eds. Acoustic Emission Testing: Basics for Research - Applications in Civil Engineering. Springer, 2008.

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39

Pitozzi, Enrico. Body Soundscape. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.43.

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Starting from an interdisciplinary perspective of methodological integration of the concepts of body and sound in the contemporary dance scene, this chapter addresses the general aesthetic notion ofsonorous body. Through a survey of some key practices and pieces by Wayne McGregor, Ginette Laurin, Angelin Preljocaj, Cindy Van Acker and others, the author analyzes the audiovisual dimension of these works, developed with digital technologies and in a collaboration of choreographers with electronic musician and sound artists such as Scanner, Kasper T. Toeplitz, Granular Synthesis, and Mika Vainio. This audiovisual tension, defined as the sonorous body, can be read through two interpretations. In the first, thesound is a body, which means the electronic sound of the scene is an acoustic material. In the second, the body is a sound, which means the body of the dancers produces the soundscape of a scene.

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40

Savio, Enrico, Francesco Marinello, and Daniele Passeri. Acoustic Scanning Probe Microscopy. Springer, 2012.

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41

Fink, Robert, Melinda Latour, and Zachary Wallmark, eds. The Relentless Pursuit of Tone. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.001.0001.

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The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith.

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42

Duncan, Templeton, ed. Acoustics in the built environment: Advice for the design team. 2nd ed. Boston, Mass: Architectural Press, 1997.

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43

Mapp, Peter, Peter Sacre, and David Saunders. Acoustics in the Built Environment: Advice for the Design Team. 2nd ed. Architectural Press, 1998.

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44

Foundations of the Numerical Analysis of Plasticity: Lecture Notes in Numerical & Applied Analysis (Foundations of the Numerical Analysis of Plasticity). Elsevier Science Publishing Company, 1987.

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45

Kieffer, Alexandra. Debussy's Critics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847241.001.0001.

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Around the turn of the twentieth century, the work of Claude Debussy spurred a reimagining of music and musical listening in which Parisian musicians and intellectuals, informed by recent scientific discourse on affect, perception, and cognition, attempted to articulate a music aesthetics appropriate to the fully embodied, material self of psychological modernism. Important themes in debussyste music criticism are prefigured in the Symbolist wagnérisme of the late 1880s, which elaborated a model of affect and cognition drawn from the empirical psychology of Théodule Ribot. Following the premiere of Debussy’s opera Pelléas et Mélisande in 1902, Debussy’s supporters, attempting to explain the opera’s novelty, turned away from a music aesthetics that gave primacy to inner emotion and toward an aesthetics oriented instead toward listening, sensation, and the materiality of sound. Over the following decade, critics Jean Marnold and Louis Laloy, drawing from a wide swath of early-twentieth-century intellectual culture that included empirical psychology and post-Helmholtzian acoustics, were particularly influential as defenders of the ostensibly scientifically valid nature of Debussy’s innovations as well as his historical importance. After 1910, however, the cultural relevance of debussysme quickly declined as standards of aesthetic value shifted toward the abstract and universal (as opposed to the fleeting ephemerality of sensation) and as the deepening divide between scientific methods and humanistic ones made the intellectual culture of debussysme untenable.

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46

Flow Modelling & Turbulence Measurements. Taylor & Francis, 1996.

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47

Car Stereo Speaker Projects Illustrated (TAB Electronics Technical Library). McGraw-Hill/TAB Electronics, 2000.

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48

Ferguson, Daniel. Car Stereo Speaker Projects Illustrated (TAB Electronics Technical Library). McGraw-Hill/TAB Electronics, 2000.

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49

P, Chassaing, ed. Variable density fluid turbulence. Dordrecht: Kluwer Academic Publishers, 2002.

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50

Chassaing, P. Variable Density Fluid Turbulence. Chassaing P Antonia R a Anselmet Fabien, 2011.

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