| DCS # | DEMONSTRATION | REFERENCE | ABSTRACT |
|---|
| 3C55.00 | Music Perception and the Voice | | |
| 3C55.20 | pitch of complex tones | PIRA 1000 | |
| 3C55.20 | pitch of complex tones | AJP 50(9),855 | Use an Apple computer to generate complex tones. Students judge the pitch. |
| 3C55.25 | missing fundamental | PIRA 1000 | |
| 3C55.25 | missing fundamental | AJP 52(5),470 | Microcomputers with built-in tone generators are handy for generating "missing fundamental" demonstrations. |
| 3C55.26 | sing/whistle - which octave | AJP 41(8),1010 | Whistle and sing into a three foot pipe and use the resonances to show your whistling range is much higher than your singing range. |
| 3C55.30 | difference tones | PIRA 1000 | |
| 3C55.30 | difference tones | 3C55.30 | |
| 3C55.30 | subjective tones | AJP 42(7),616 | A toy whistle emits tones at 2081, 1896, and 1727 Hz. Subjective difference tones at 169, 185, and 374 Hz are clearly audible. |
| 3C55.31 | combination tones and the ear | AJP 37(7),730 | Explanation of how the nonlinear ear creates difference tones and common examples of the phenomena. Two demonstrations: sweep with a second oscillator to find the difference tone, add 200, 300 and 400 Hz to hear 100 Hz. |
| 3C55.35 | beats vs. difference tones | PIRA 1000 | |
| 3C55.35 | difference tones and beats | AJP 49(7),632 | Two pure tones produce beats or difference tones. Theory and a demonstration that trains our ears to hear and distinguish the two. |
| 3C55.35 | beats on scope, difference tones | AJP 3292),xiii | The usual two oscillators, amplifier, and scope. For difference tones, set one oscillator above the audible range and the difference tone is the only thing the student can hear. |
| 3C55.35 | beats on scope, difference tones | 19-5.4 | Two audio oscillators drive two speakers. A microphone pickup displays the sum on an oscilloscope. ALSO - difference tone. |
| 3C55.40 | chords | PIRA 1000 | |
| 3C55.40 | chords | Sj-5 | Using the three string sonometer to study the structure of chords by varying the bridge location of strings tuned in unison. |
| 3C55.41 | circular glockenspiel | Sk-2 | Mallets can be put in any of twelve holes on a spool to play major, minor, augmented, and diminished cords on a circular glockenspiel. |
| 3C55.42 | consonant musical interals | AJP 49(6),579 | Consonant and dissonant intervals are explained by a relation between the time required to perceive a definite pitch and the period of a complex tone. |
| 3C55.45 | consonance and dissonance | PIRA 1000 | |
| 3C55.45 | harmonious notes | Sj-4 | Using the sonometer to demonstrate the harmonic content of different interval combinations. |
| 3C55.50 | musical scale | PIRA 500 | |
| 3C55.51 | numerical investigation of scales | AJP 55(3),223 | An investigation of why the 12 note scale is the best equal tempered scale. |
| 3C55.51 | quanitiative investigation of scales | AJP 42(7),543 | A quantitative measurement of how well any tuning succeeds in providing just intonation for any specific piece of music. |
| 3C55.51 | scales and algebraic groups | AJP 35(5),441 | On transposing. |
| 3C55.52 | lucky equal temperaments | AJP 56(4),329 | An analysis of how good the fits of 12, 19, 31, and 53 steps per octave are in equally tempered scales. |
| 3C55.55 | tuning forks on resonance boxes | PIRA 1000 | |
| 3C55.55 | piano tuning | AJP 47(6),564 | On making use of instrumentation to help with piano tuning. |
| 3C55.55 | piano tuning | AJP 47(5),475 | A pianist discusses the finer points of piano tuning. |
| 3C55.55 | piano tuning | AJP 46(8),792 | On "stretching" the equally tempered scale. |
| 3C55.55 | tuning forks with resonators | Sf-1 | A set of tuning forks mounted on resonance boxes make the musical scale. |
| 3C55.55 | tuning fork resonance boxes | S-4d.4 | A set of four different tuning forks on resonant boxes. |
| 3C55.55 | tuning forks on resonant boxes | Disc 11-08 | Two tuning forks, two boxes. Show the box needs to be matched to the fork. |
| 3C55.60 | Johnson intonation trainer | Sk-1 | A small organ that is switched between fixed and variable tuning to demonstrate even tempered and just intonation. |
| 3C55.65 | tone quality | S-123 | A series of organ pipes tuned carefully to give the harmonics of a fundamental can be used to show the effect of suppressing various harmonics. |
| 3C55.70 | tone quality | PIRA 1000 | |
| 3C55.70 | microphone and oscilloscope | 3C55.70 | Show the output of a microphone on an oscilloscope. |
| 3C55.71 | sound wave on oscilloscope | S-79 | Show a sound wave on the oscilloscope while listening to it. |
| 3C55.72 | tone quality | S-125 | Using a microphone and oscilloscope, demonstrate that a tuning fork does not produce a pure sine wave but a fork on a resonance box does. |
| 3C55.73 | tone quality of a Boehm flute | AJP 43(8),736 | Harmonic analysis of rich and dull tones from the Boehm flute. |
| 3C55.74 | keyboard and oscilloscope | PIRA 1000 | |
| 3C55.75 | forms of sounds | AJP 44(6),593 | A variant of the circuit produces roulette figures, etc. |
| 3C55.75 | voice display - corridor demo | AJP 43(3),282 | A circuit to advance the horizontal 45 degrees and retard the vertical 45 degrees to give a circular trace when a falsetto "o-o-o" is sung. |
| 3C55.80 | formants | PIRA 1000 | |
| 3C55.80 | formants | 3C55.80 | Sing formants into a HP analog spectrum analyzer. |
| 3C55.80 | vocal formants | Disc 10-16 | Use an computer based real time spectrum analyzer to display vocal formants. |
| 3C55.82 | tone quality | S-124 | Using a phonelescope or oscilloscope, sing the different vowels at the same pitch and the same vowels at different pitches. |
| 3C55.85 | filtered music and speech | PIRA 1000 | |
| 3C55.85 | filtered music and speech | 3C55.85 | |
| 3C55.85 | octave-band filters | AJP 50(11).1050 | Use an octave-band filter (from an audio store) to demonstrate filtered music and speech. |
| 3C55.90 | Book/CD review - piano acoustics | AJP 59(1),94 | Review of a book "Acoustics of the Piano" that comes with a CD that includes examples used in the lectures. |
| 3C55.90 | musical sound records | S-7b | The Science of Sound - Bell Labs, Energy and Motion - Zaret and Singer, Experimental Songs - Dorothy Collins, Space Songs - Tom Glazer & Dottie Evans, Physics Songs - State University of Iowa. |
| 3C55.99 | churchbell guitar | Si-7 | Swing a guitar back and forth as it is plucked to mimic a church bell. |