I found the explanation of Hertz to be confusing. I was able to find out later (in tutorials and supplements) that Hertz was equal to cycles per second, but the introduction to the concept didn't make that totally apparent. With many of the equations and conversions, the text includes a clearly outlined box or chart that gives a simple view of each equation. Maybe this would be useful to explain Hertz as well. On a similar note, having a list of equations at the end of each chapter/section would be very helpful. I tend to learn best in lists rather than from paragraphs, so if there is a concise list of the equations I might need to tackle supplemental problems, I am much more likely to retain that information.
I found that often concepts are introduced only to be better explained later. For me, that worked fairly well, because I was able to recall the introduction of a term when it is later explained, but if the chapters are broken up into weekly assignments, I wonder if students wouldn't be better off with less information at once if it isn't going to be fully explained.
I also want to raise the question as to the placement of tutorials in the chapters. Do they belong at the beginning of the sections (as they are now), or would it be better for them to fall at the end of each section to reinforce what has just been read? My opinion is that they work well as a simple and concise summary of what has just been read- so I've been completing the flash tutorials after having read the section with which they are associated.
Flash Tutorial 1.1.2- Properties of Sine Waves
I found the flash tutorials, in general, to be very helpful. This tutorial, The Properties of Sine Waves, did a clear job of describing and defining the terminology required to understand how sine waves are analyzed. MY suggestion for this tutorial is that the period of time used on the graph be an easier number to work with at first. Using .001 seconds makes the math slightly more difficult, and doesn't really help with making the equations clearer. Using a comfortable whole number would allow the less-mathy of us to grasp the concept quickly, and later apply it to more difficult amounts of time.
Flash Tutorial 1.1.3- Longitudinal and Transverse Waves/ Video Tutorial 1.1.3- Longitudinal Waves
I thought this tutorial really pulled together the idea of sound moving as a "wave" of energy passing through air molecules to the ear. While the two generally explain the same concept, I thought the variation in ways this information was explained (one via online tutorial, the other via professor video lecture) was helpful to grasp the concept.
Max Demo 1.1.4- Adding Sine Waves
I really enjoyed the max demo. I thought, however, that in this demo as well as the in accompanying text, that certain musical elements could have been introduced. For example, if three notes are being produced (middle C, the E a major third above it and the G a minor third above that), what is being produced is a chord- in this case a major chord. I thought it would have been good to introduce the connection between these three frequencies and a common chord, as those connections will be important in later chapters. Perhaps in these later sections of Chapter 2, as the text begins to deal more and more with sound, certain musical ideas can be introduced simultaneously so that these important connections can be made earlier.
2.1.4.2 Frequency Components
The section that deals with Fourier's proof of sinusoidal functions being formulated as a sum of frequency components was confusing for me. I think perhaps part of this confusion was a result of the use of certain terms being left undefined, such as fundamental frequency and harmonic frequency. The explanation of Fourier's math left me entirely lost- but I also felt that I wouldn't necessarily need this math to enhance my understanding of my digital audio/MIDI skills. Once again, this section says that the math will be better explained in a later chapter, but for now it has left me fairly puzzled. I think if I am able to see the math in a form other than paragraph form I might be able to better understand the logic behind it.
Figure 2.14 Axes of Frequency Analysis and Waveform Views
This graph needs formatting, as now it is fairly unreadable.
Practical Exercise 1.1.5.3: Helmholtz Resonators
This practical exercise helped me to better understand the formulas presented in the chapter. I also felt that the "challenge" at the end of the exercise was very interesting for both computer scientists and musicians alike. Combining all the musical elements necessary for dictation of a well-known piece (Mary Had a Little Lamb) with the math and ear training discussed in the chapter was a very cool bridge between the math and the music.
2.2.1 Max Demo: Ear Training Frequency Drills
This is another situation where musicians would have trouble seeing the practical applications of the exercise. For me, distinguishing PITCHES relatively is much more important than differentiating frequencies, given the challenges I am faced with musically every day. What might help is, again, the addition of musical connections- a chart showing the frequencies of a few Major scales, for instance. That way there is a practical component for musicians as well as for sound designers.
Also, there is a typo on pg. 4, under Advanced Options- the phrase says "consistent about", which should be "consistent amount".
The rest of this chapter dealt with Sound Analysis systems, which was a seriously interesting section of information. The idea of being able to accurately show the levels from various places in a performance space to optimize audience listening is a very practical concept that musicians of any kind would benefit from understanding. I find all mention of acoustics interesting because it allows me to consider the concert halls I've performed in and compare them. Perhaps the class could discuss concerts they've seen/performed and the settings for them, and which sounded better and why.
2.2.3 Sound Propagation
1.2.3.1 Comb Filtering Max Demo
I had trouble with the idea of comb filtering. This demo didn't give me a totally clear picture of exactly the concept- I think hearing the effects of comb filtering is helpful, but I think an animation or some sort of visual representation would be very helpful in explaining the concept more fully. Understanding how sound waves cancel each other out at different locations, however, is an interesting and important concept (particularly for members of a performing ensemble), so I think better introducing and explaining this idea is important.
As I continue to read through the chapters, I find myself, as a musician, being somewhat overwhelmed with the amount of information being presented. Having a wealth of information makes the text a great resource, but I'm having trouble determining how this will practically help me complete my final project.
2.2.3.2: The Effects of Temperature
The explanation of how temperature affects sound was quite clear- particularly the section that dealt with the complexities of determining those effects given the changes in temperature throughout a room. The movie theater example- in which it is generally assumed that the human body absorbs a great deal of sound but the amplitude drop is more a result of increased heat in the room- was very helpful in understanding the concept. I was unclear, however, about how to put this information to use. I felt that the complications were well explained, but that the section left out any ways to account for temperature, or adjust accordingly. If I were to design sound for a theater production, for example, how should I adjust for the presence of an audience/air conditioner/stage lights/etc? I think this section needs a list of solutions to the problem of temperature, but I believe it explains the science effectively enough.
2.2.3.3: Resonance in Three-Dimensional Space
Plate Resonance Demonstration Video Tutorial 1.1.5
This video appeals to the need for cool science. In the plate demonstration, we are able to see the resonance visually based on where the sand collected at certain frequencies. This was helpful in that I was able to better understand how sound can change given one's location in a room, but again, as a sound designer, how would I use this information? We can't tell people in the audience not to sit where the amplitude might drop- so how can we adjust for that so that all audience members can hear effectively? While I find the experiment helpful and interesting, I think it lacks a practical application.
On pg. 33 of this chapter, there is a bit of a musical inaccuracy. The chapter states that a reed vibrating on a clarinet mouthpiece makes a soft sound. This is, flatly, untrue. Mouthpieces themselves contain resonant chambers in and of themselves, and a reed on a mouthpiece, when played, creates a loud, raucous squawk. The rest of the instrument ADDS to that resonance and gives the instrument its specific timbre, as well as including keys for ease of pitch control.
In addition, while reading through this section, I found myself confronted with a great deal of math. Had I been reading this section without having seen the video tutorial first, I would have been totally lost on the math. Students should be directed to watch the video section FIRST, then to read the chapter, because the math is much easier to understand after having seen a visual representation.
2.3 Science, Mathematics, and Algorithms
2.3.1 Experimenting with Sound Waves in Max and Pure Data
2.3.1.1 Modeling Sound Waves in Max
The instructions on the software is extremely hard to follow in paragraph form, and nearly impossible to gather any information from if you're not physically doing the work while reading. I feel that this sort of chapter might benefit from lists, in which each step for working with the software is numbered and listed in order. That way, even if the student is not as experienced with this kind of software, they would be able to follow the steps and learn to use them with some guidance. The inclusion of the images of each screen we should see was very helpful in working through the section.
Max Programming Exercise 1.4.1.1: Adding Sine Waves with Phase offsets
As a music major, I had no idea where to start with this exercise. I would have needed substantial guidance in order to get anywhere without the solution. When I read the solution, however, I was pleased to discover that the point of the exercise was made clear. I felt, however, that the result of the exercise was essentially already covered. We have seen sine waves combined in earlier sections, but the addition of phasing and programming made this repeated information more interesting.
2.3.2 Experimenting with sound waves in MATLAB and Octave
2.3.2.1 Modeling Sound waves in MATLAB
I still have questions about angular frequency. While I appreciate the condensed equation boxes, I still don't see the concept of what angular frequency is, and why it is measured in radians rather than Hertz. There were also some formatting issues with these equations that made them difficult to read (2.10 and 2.11).
It is in this section that we dive into programming languages that I do not understand. Learning to create these graphs in MATLAB would take much more than the text has provided me, as I am not familiar with the language used for these commands. With a lot of work, I would have attempted the MATLAB exercise on pg. 46, but the link was broken as well to the "Creating a Triangle Wave" exercise.
2.3.2.2 Modeling Sound Wave in Octave
2.3.3 Experimenting With Sound Waves in C++ Programs under Linux
For music majors, this section is basically impossible to understand. It is another language for us, and we don't' speak it, so it's very hard to grasp the pages and pages of C++ programs. This section left me entirely in the dark. The C++ Programming Exercise: Writing to an Audio Device- was confusing for me as well- again I don't know where to begin to get anything out of these last few exercises.
On the last page of this chapter, there is a musical wording that is not very standard. The text refers to three frequencies producing a "harmonious chord in the key of C". This is a consonant, C Major chord. This chord isn't necessarily in the key of C, as this chord can be found in other scales as well (A minor, G Major, F Major, etc etc). It would be more accurate to call this a consonant, major Triad, or refer to it as a root position C major chord.
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