Provides acoustical background necessary to understand the role of sound in speech communication. Analyzes constraints imposed by the properties of sound and human anatomy on speech production (sound production from airflow and filtering by the vocal tract); auditory physiology (transformation of acoustical waves in the air to mechanical vibrations of cochlear structures); and sound perception (spatial hearing, masking, and auditory frequency selectivity). The Acoustics of Speech and Hearing is an H-Level graduate course that reviews the physical processes involved in the production, propagation and reception of human speech. Particular attention is paid to how the acoustics and mechanics of the speech and auditory system define what sounds we are capable of producing and what sounds we can sense. Areas of discussion include: 1. the acoustic cues used in determining the direction of a sound source, 2. the acoustic and mechanical mechanisms involved in speech production and 3. the acoustic and mechanical mechanism used to transduce and analyze sounds in the ear

Biology is designed for multi-semester biology courses for science majors. It is grounded on an evolutionary basis and includes exciting features that highlight careers in the biological sciences and everyday applications of the concepts at hand. To meet the needs of today’s instructors and students, some content has been strategically condensed while maintaining the overall scope and coverage of traditional texts for this course. Instructors can customize the book, adapting it to the approach that works best in their classroom. Biology also includes an innovative art program that incorporates critical thinking and clicker questions to help students understand—and apply—key concepts.

By the end of this section, you will be able to:Describe the relationship of amplitude and frequency of a sound wave to attributes of soundTrace the path of sound through the auditory system to the site of transduction of soundIdentify the structures of the vestibular system that respond to gravity

A series of progressive composition projects, culminating in a large final projecting, using various types of music hardware and software. Instruction in recording, editing, synthesis, sampling, digital sound processing, sequencing, and interactive systems. Close listening to computer and electronic music from various genres including Varese, Cage, Schaeffer, Xenakis, Lansky, Stockhausen, Tcherepnin, Barlow, Gunter, and Eno. Subject focuses on using the computer as a means of musical creativity and intuition.

This course includes an introduction to the craft of writing for the theater. Through weekly exercises and work on a sustained piece, students explore the problems of scene structure, action, and their relation to the dialogue. Class meetings include examination of produced playscripts and discussion of student work.

Psychology is designed to meet scope and sequence requirements for the single-semester introduction to psychology course. The book offers a comprehensive treatment of core concepts, grounded in both classic studies and current and emerging research. The text also includes coverage of the DSM-5 in examinations of psychological disorders. Psychology incorporates discussions that reflect the diversity within the discipline, as well as the diversity of cultures and communities across the globe.Senior Contributing AuthorsRose M. Spielman, Formerly of Quinnipiac UniversityContributing AuthorsKathryn Dumper, Bainbridge State CollegeWilliam Jenkins, Mercer UniversityArlene Lacombe, Saint Joseph's UniversityMarilyn Lovett, Livingstone CollegeMarion Perlmutter, University of Michigan

By the end of this section, you will be able to:Describe the basic anatomy and function of the auditory systemExplain how we encode and perceive pitchDiscuss how we localize sound

""Reading Poetry" has several aims: primarily, to increase the ways you can become more engaged and curious readers of poetry; to increase your confidence as writers thinking about literary texts; and to provide you with the language for literary description. The course is not designed as a historical survey course but rather as an introductory approach to poetry from various directions -- as public or private utterances; as arranged imaginative shapes; and as psychological worlds, for example. One perspective offered is that poetry offers intellectual, moral and linguistic pleasures as well as difficulties to our private lives as readers and to our public lives as writers. Expect to hear and read poems aloud and to memorize lines; the class format will be group discussion, occasional lecture."

How do you read a poem? Intuition is not the only answer. In this class, we will investigate some of the formal tools poets use—meter, sound, syntax, word-choice, and other properties of language—as well as exploring a range of approaches to reading poetry, from the old (memorization and reading out loud) to the new (digitally enabled visualization and annotation). We will use readings available online via the generosity of the Poetry Foundation and the Academy of American Poets. We will also think collectively about how to approach difficult poems.

This simulation lets you see sound waves. Adjust the frequency or volume and you can see and hear how the wave changes. Move the listener around and hear what she hears.

This simulation lets you see sound waves. Adjust the frequency or volume and you can see and hear how the wave changes. Move the listener around and hear what she hears.

Extensive reading of works by a few major poets. Emphasizes the evolution of each poet's work and the questions of poetic influence and literary tradition. Instruction and practice in oral and written communication. Topic for Fall: Does Poetry Matter? Topic for Spring: Gender and Lyric Poetry. The core of this seminar will be the great sequences of English love sonnets written by William Shakespeare, Philip Sidney, Edmund Spenser, and Mary Wroth. These poems cover an enormous amount of aesthetic and psychological ground: ranging from the utterly subjective to the entirely public or conventional, from licit to forbidden desires, they might also serve as a manual of experimentation with the resources of sound, rhythm, and figuration in poetry. Around these sequences, we will develop several other contexts, using both Renaissance texts and modern accounts: the Petrarchan literary tradition (poems by Francis Petrarch and Sir Thomas Wyatt); the social, political, and ethical uses of love poetry (seduction, getting famous, influencing policy, elevating morals, compensating for failure); other accounts of ideal masculinity and femininity (conduct manuals, theories of gender and anatomy); and the other limits of the late sixteenth century vogue for love poetry: narrative poems, pornographic poems, poems that don't work.

University Physics is a three-volume collection that meets the scope and sequence requirements for two- and three-semester calculus-based physics courses. Volume 1 covers mechanics, sound, oscillations, and waves. This textbook emphasizes connections between between theory and application, making physics concepts interesting and accessible to students while maintaining the mathematical rigor inherent in the subject. Frequent, strong examples focus on how to approach a problem, how to work with the equations, and how to check and generalize the result.

The ability to recognize sounds and identify their location is possible thanks to the auditory system. That’s comprised of two main parts: the ear, and the brain. The ear’s task is to convert sound energy into neural signals; the brain’s is to receive and process the information those signals contain. To understand how that works, Douglas L. Oliver follows a sound on its journey into the ear.
Duration: 5:16.

Make waves with a dripping faucet, audio speaker, or laser! Add a second source or a pair of slits to create an interference pattern.