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| Introduction | p. xi |
| Light and Sound | p. xi |
| Light and Light Waves | p. 01 |
| Speed of Light | p. 05 |
| Electromagnetic Spectrum | p. 06 |
| Polarization | p. 07 |
| Reflection and Refraction | p. 10 |
| Specular Reflection of Light | p. 10 |
| Refraction of Light | p. 14 |
| Total Internal Reflection | p. 17 |
| Reflection and Refra... MORE | p. 21 |
| The Rainbow25 | |
| Questions | p. 27 |
| Lenses | p. 30 |
| The Prism | p. 30 |
| Converging and Diverging Lenses31 | |
| Focal Length | p. 33 |
| Images?Real and Virtual | p. 36 |
| Three Easy Rays | p. 39 |
| The Lens Formula | p. 41 |
| Note on Magnification | p. 45 |
| Lens Aberrations | p. 47 |
| Chromatic Aberrations | p. 48 |
| Spherical Aberration | p. 49 |
| Questions | p. 52 |
| The Eye | p. 56 |
| Accommodation | p. 58 |
| Eyeglasses | p. 60 |
| Nearsighted Eye | p. 61 |
| Farsighted Eye | p. 62 |
| Astigmatic Eye | p. 62 |
| Photography | p. 63 |
| The Camera | p. 63 |
| Focusing the Camera | p. 64 |
| p. 67 | |
| Choosing the Aperture | p. 68 |
| Depth of Field | p. 69 |
| Why the/Number? | p. 70 |
| The Film | p. 71 |
| Digital Photography | p. 75 |
| Putting it AH Together: Taking a Photograph | p. 76 |
| Questions | p. 80 |
| Color and Color Vision | p. 82 |
| Color | p. 82 |
| Color Sensitivity of the Eye | p. 84 |
| Physical and Psychological Color | p. 89 |
| Color: Hue, Saturation, and Brightness | p. 90 |
| Light Interaction with other Objects | p. 92 |
| Scattering or Diffuse Reflection | p. 92 |
| Questions | p. 98 |
| Additive Color Mixing | p. 99 |
| Primary Colors | p. 99 |
| Adding Primary Colors | p. 100 |
| The Color Triangle | p. 103 |
| Low-Brightness Colors | p. 107 |
| Spectral Colors | p. 107 |
| Non-Spectral Colors | p. 112 |
| Summary | p. 113 |
| Additive Color Mixing in Painting | p. 144 |
| Questions | p. 117 |
| Subtractive Color Mixing | p. 118 |
| Filters | p. 118 |
| Subtractive Primary Colors | p. 120 |
| Subtractive primaries | p. 122 |
| Color Photography | p. 124 |
| Pigments | p. 125 |
| Change in Saturation | p. 128 |
| Why Do Blue and Yellow Make Green? | p. 130 |
| Change in Hue | p. 131 |
| Questions | p. 134 |
| Color-Generating Mechanisms | p. 136 |
| Illuminating Light | p. 136 |
| Pigments | p. 136 |
| Structural Color: Iridescence | p. 137 |
| More Color-Generating Mechanisms Due to Iridescence | p. 139 |
| Color in Gemstones | p. 142 |
| Mineral Color Due to Charge Transfer | p. 144 |
| Mineral Color Due to Color Centers | p. 144 |
| Color in Gems Due to Band Gap Absorption of Light | p. 145 |
| Periodic Oscillations | p. 148 |
| Displacement Graph: Positions x Changes with Time t | p. 151 |
| The Period T and the Frequency f | p. 153 |
| Large and Small Numbers | p. 154 |
| Speed of Motio | p. 154 |
| Questions | p. 156 |
| Simple Harmonic Motion | p. 158 |
| The Spring Constant | p. 160 |
| Oscillation Frequency for Simple Harmonic Motion (SHM) | p. 161 |
| Wave Shape of Simple Harmonic Motion | p. 163 |
| Phase Angle | p. 165 |
| Questions | p. 166 |
| Damped Oscillations and Resonance | p. 168 |
| Damped Oscillations?The Concept of "Damping Time" | p. 168 |
| Resonance | p. 170 |
| Build-up and Decay of Musical Tones | p. 175 |
| Applications in Music | p. 175 |
| Resonators in Musical Instruments | p. 175 |
| Questions | p. 177 |
| Adding Sound Sources: Beats and Harmony | p. 179 |
| Principle of Superposition | p. 179 |
| Two Pure Tones of the Same Frequency | p. 180 |
| Beats | p. 182 |
| Harmony | p. 184 |
| For the Fun of It: Lissajous Figures | p. 185 |
| Questions | p. 188 |
| Sound waves | p. 190 |
| Propagation of a Pulse | p. 190 |
| Longitudinal and Transverse Waves | p. 192 |
| Sound Waves in Air Are Longitudinal Waves | p. 193 |
| Speed of Sound in Air | p. 195 |
| Wavelength and Frequency | p. 196 |
| Relevance to Size of Instruments or Loudspeakers | p. 197 |
| Sound Propagation | p. 198 |
| Interference of Sound Waves | p. 199 |
| Concert Hall Acoustics | p. 201 |
| Questions | p. 205 |
| Sound Perception: Pitch, Loudness, and Timbre | p. 206 |
| Ludness and Amplitude | p. 207 |
| Loudness and Frequency | p. 210 |
| Pitch Discrimination | p. 213 |
| The Ear | p. 214 |
| The Parts of the Ear | p. 214 |
| Place Theory of Pitch Perception | p. 216 |
| What Do the Auditory Nerves Tell the Brain? | p. 217 |
| Vibration of Strings | p. 220 |
| Single Modes | p. 220 |
| Higher Modes | p. 222 |
| Traveling Versus Standing Waves | p. 223 |
| The Voicing Formula225 | |
| How Do Modes Relate to Music? | p. 226 |
| Damping of Higher Partials | p. 227 |
| Plucked Strings: Missing Partials | p. 227 |
| Playing Harmonics | p. 228 |
| Real Strings Have Some Stiffness | p. 228 |
| Questions | p. 229 |
| Pipes | p. 231 |
| Pressure Pulse in a Pipe | p. 231 |
| Reflections in Open and Closed Pipes | p. 232 |
| Boundary Conditions | p. 233 |
| Standing Waves in Open Pipes | p. 233 |
| Fundamental Frequency of Open Pipe | p. 234 |
| Higher Modes of Open Pipe | p. 235 |
| Fundamental Frequency of Closed Pipe | p. 237 |
| Higher Modes of Closed Pipe | p. 238 |
| Playing Tunes on Wind Instruments: Fingerholes and Overblowing | p. 240 |
| Other Shapes | p. 240 |
| Acoustic Length | p. 241 |
| Questions | p. 241 |
| Fourier Analysis | p. 243 |
| The Fourier Theorem | p. 243 |
| Sound Spectrum | p. 244 |
| Fourier Analyzer (Sound Analyzer) | p. 249 |
| Fourier Synthesis | p. 251 |
| Why Can't We Synthesize a Stradivari? | p. 252 |
| Questions | p. 254 |
| Musical Scales | p. 256 |
| Musical Intervals | p. 257 |
| Consonance (Harmony): Simple Number Ratios | p. 257 |
| The Major Triad | p. 259 |
| Constructing a Scale: The Just Scale | p. 260 |
| Whole and Half Tone Intervals | p. 263 |
| Names of Intervals | p. 264 |
| Transposing: Why Black Keys? | p. 266 |
| Perfection Sacrificed: The Tempered Scale | p. 267 |
| Major and Minor Scales | p. 273 |
| The Natural Scale | p. 274 |
| Questions | p. 275 |
| Musical Instruments | p. 275 |
| Structure of Musical Instruments | p. 275 |
| Excitation Mechanism | p. 276 |
| Playing aTune | p. 278 |
| Questions | p. 283 |
| Solutions to Problems | p. 284 |
| Index | p. 307 |
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