Reprint of the original, first published in 1875.

Sound Art offers the first comprehensive introduction to sound art written for undergraduate students. Bridging and blending aspects of the visual and sonic arts, modern sound art first emerged in the early 20th century and has grown into a thriving and varied field. In 13 thematic chapters, this book enables students to clearly grasp both the concepts behind this unique area of art, and its history and practice. Each chapter begins with an exploration of key ideas and theories, followed by an in-depth discussion of selected relevant works, both classic and current. Drawing on a broad, diverse range of examples, and firmly interdisciplinary, this book will be essential reading for anyone studying or teaching the theory, history, appreciation, or practice of sound art.

Featuring an exciting new chapter on several aspects of speech acoustics by Raymond D. Kent, PhD! With a new chapter, the classic textbook, Introduction to Sound: Acoustics for the Hearing and Speech Sciences, is back in a fifth edition and continues its aim to teach fundamental concepts of acoustics to students in communication sciences and disorders and related disciplines. Students of speech-language-hearing science must have a thorough understanding of the elements of acoustics before they can successfully embark on more advanced study of both normal and disordered human communication. The text is known for how acoustical concepts have been made understandable for all students, not just those who are already grounded in mathematics and physics. Coverage includes the nature of sound waves, simple harmonic motion, acoustic impedance, scales of measure, logarithms and antilogarithms, sound intensity and pressure, complex waves, resonance and filtering, distortion, sound transmissions, speech acoustics, and room acoustics. Key Features: * Summaries, Notes, and Practice Problems end each chapter * Bolded key terms throughout with end-of-book glossary * Alphabetical listing of selected equations * The numerous equations are displayed in blue for easier reading New to the Fifth Edition: * A new chapter, Basic Principles of Speech Acoustics, written by Raymond D. Kent, PhD * A special emphasis on editing the content throughout for increased readability and comprehension Please note: Ancillary content such as practice problems and acoustic animations are not included as in the original print version of this work.

Developed by leading science educator and former president of the National Science Teacher's Association, Ed Ortleb, "Heat, Light, and Sound" offers curriculum-oriented worksheets that provide a focused unit of information on each subject. No teacher preparation is required to use the pages. Activities include coloring, cutting, pasting, sequencing, matching, drawing, games, and puzzles. Extension activities and background information included in teacher guide.

Taking into account both the urban soundscape and the impacts of sound on the urban dweller, this book examines sound not as a by-product of urban life, but as a fundamental part of the urban experience that is crucial to understanding the city’s sense of place. Illustrated by case studies from Europe and North America, these range from on-site measurements to the construction of audio tours for local tourism, from media analysis of popular culture audio drama to sound-identity and city branding, and from the classification of noise in city planning to a consideration of the complex relationship between sacred sound and the creation of a sense of place.

This almanac of sound words important to artists and scholars highlights words that expand the way we speak (and write) about sonic experiences. Why write about sound, and how? If sonic philosophy is the attempt "to think about sound by philosophical means," then a metaphilosophical debate appears almost immediately on the horizon: What is called for is an understanding about sound and language, but also about the preconditions of musical understanding. What is at stake is the question of language and sound, as well as expanding how we speak about sonic experience. This almanac tackles these questions from artistic, experimental and personal perspectives. An assemblage of nearly 70 practitioners and theoreticians, artists and scholars offer their favorite 'sound word.' These sound words are onomatopoetical, mythological, practical; words of personal importance to the artists and their craft; words from their memory, related to sound. Many entries are not in English – some are untranslatable – and all are accompanied by a personal, explanatory, poetic entry. These are words that have the potential to change our perspective on listening-musicking-thinking.