This is a love song: the physics of music and the music of physics

My wife Theresa represents many things for me – in addition to being my partner, I see her as a 17cm-long quarter-wavelength resonator (which I hope you’ll understand and agree with by the end of this article). Romance, as you’ll have noted by this stage, is most definitely not dead. Theresa is also…

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Music is the language of love – and it exemplifies some principles of science. Roxanne Milward

My wife Theresa represents many things for me – in addition to being my partner, I see her as a 17cm-long quarter-wavelength resonator (which I hope you’ll understand and agree with by the end of this article). Romance, as you’ll have noted by this stage, is most definitely not dead. Theresa is also a noted operatic soprano. In the one person she combines the artistry, feeling and lyrical tones of her craft with some beautiful physics.

For me, physics has an aesthetic beauty of its own, expressed through a small number of universal principles that sweep across a range of apparently unconnected applications. From Theresa, let’s take the principle of resonance which is where we can make large vibrations if we push something at a rate that is the same as its natural frequency.

Imagine you want to push a child’s swing. The swing has a natural frequency or rate of vibration at which it swings. If you push the swing at a rate much faster than its natural frequency not much happens; the same goes if you push at a very slow rate. But, if you push it at a rate that is the same as its natural frequency, then with very little effort you produce very large oscillations. We have resonance.

The general physics principle is that you have resonance whenever an external source vibrates a system at its natural frequency.

You can certainly break a wine-glass using sound, as the video below aptly demonstrates. What matters is not so much the volume of the sound but the precise matching of the sound to the natural frequency of the wine-glass to give resonance. A glass of wine has a natural frequency of 791 Hz.

If the sound from a loudspeaker is 790 Hz or 792 Hz then nothing happens, but 791 Hz produces violent vibrations.

Other areas where we find resonance include: radio tuners, MRI (Magnetic Resonance Imaging), bridge dynamics, road corrugations, and virtually all musical instruments.

This is what I mean by the economical beauty of physics: the same principle is enacted again and again.

The natural frequency of an instrument such as a guitar depends on what are called “standing waves”. The video below illustrates the basics.

Imagine you are standing on a seawall watching the waves roll in, hitting the wall and reflecting back out to sea again. If a reflected wave meets the next incoming wave then the two waves run in to each other, producing a spectacular pile-up of water – we have a standing wave.

The idea of a standing wave is another unifying principle in physics found not only with water waves but also in meteorology, lasers, antennas, quantum mechanics and musical instruments, whether they be strings, woodwinds, brass or percussion.

The standing wave for a vibrating guitar string has no vibration at its ends and maximum vibration at its middle, and so is half a wavelength long.

One complete wavelength goes from a point of no vibration (a node) to a maximum vibration in one direction, through a second node to a maximum vibration in the opposite direction and back to a node; after that the pattern repeats. The frequency of the string depends on the wavelength.

A short string has a short wavelength and a high frequency. A long string has a long wavelength and a low frequency. The same idea applies to columns of air, such as organ pipes.

A very long pipe has a long wavelength set by the length of the pipe and a very low frequency, while the opposite happens for very short pipes. The pipes resonate at a frequency set by their length.

Rubens tube. John Rayner

The picture above shows what’s known as a Rubens tube – a physics apparatus for demonstrating standing waves. I used the one you can see in a recent public lecture because it gives a beautiful demonstration of standing waves.

I made my tube from drainpipe with one end blocked off and a loudspeaker mounted in the other end. I drilled small holes in the top and coupled the tube to a gas bottle. The speaker launched sound waves down the tube that reflected from the far end making a standing wave pattern with alternating regions of high and low pressure as is clearly shown by the height of the flames.

Changing the frequency produced different resonances in the tube. Playing Scotland the Brave on the bagpipes through the speaker produces remarkable dancing flames.

Now let’s come back to my wife, Theresa (see the video above). If you have a pipe that is open at one end and closed at the other you have a maximum at the open end and a node at the closed end. This corresponds to a quarter of a wavelength.

When Theresa sings she opens her throat by raising her soft palate and lowering her larynx. She calls it the “yawning” position because a full yawn naturally opens your throat. The effect is to produce a lovely open column of air nearly closed at her vocal folds (a node) and open at her mouth.

She has produced a quarter-wavelength long resonant pipe. Using a tape measure I find that the distance from her open mouth to her vocal folds is about 17cm. I wasn’t just sweet-talking her before: she really is a 17cm-long quarter-wavelength resonator!

It is the power in this resonance – the singer’s “formant” – that allows her to soar above a full orchestra.

As I sit in an audience captured by the beauty of her voice I still marvel at the physics behind it all.


Further reading: Music and physics – the connections aren’t trivial

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26 Comments sorted by

  1. Don Aitkin

    writer, speaker and teacher

    Very nice — and the text is good too!

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  2. Bob Buick

    Retired medical consultant

    Thanks for a lovely explanation. I wish you'd been around when I had to learn those things the hard way as a teen-ager at piano (and musical theory) lessons and high school physics classes. I'll pass your posting around to some friends and family.

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  3. Jonathan Powles

    Educational Consultant

    Lovely article, John. I'm almost moved to write a lengthy response from a musician's perspective. So much about musical meaning comes from ideas that have most resonance in physics. Just off the top of my head:

    - We have the idea of musical "gravitation" - the pull towards a tonic or "home" pitch.
    - Then is the fundamental antecedent/consequent phrase structure of melody, which best exemplieifes a musical principle that "every action has an equal and opposite reaction".
    - We have the…

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    1. Lynne Newington

      Lynne Newington is a Friend of The Conversation.

      Researcher

      In reply to Jonathan Powles

      Having encouraged a younger childs love of music the philosohical level certainly makes a connection.
      We started out with voice (maybe in utero), pot lids, saucepans, bottles, glasses and toy instruments, advancing to violin, keyboard percussions and piano (when I could afford one).
      All those wonderful in between teachers.......musicianship still advancing...
      How sorely missed when finally leaving home, to pursue career, so much so taking lessons myself!
      Sigh~~~~~~~~~~

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  4. Dino Legovich

    Researcher

    Wow John,
    You are one lucky intellectual gunslinger.
    But not that bright.
    Now that I and others have seen this it is only a matter of time before someone steals her away, harmonics and all.

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  5. Alan John Emmerson

    Former chief engineer , Civil Aviation Authority

    Just a couple of quibbles with the physics.
    Firstly, a swing does not have a natural frequency. At best it swings with a frequency which depends only on amplitude.. If the ropes or chains do not remain straight but have a hinge in them, the top section will swing at a different frequency from the bottom section.

    If you impulse the seat, you will in general add or subtract energy and thereby change the amplitude of swing and thence the frequency. You will also change the time taken for the swing.which you impulsed.

    It is not the frequency of the impulse so much as the relative phase that determines what will happen.

    Acoustic coupling, sympathetic vibration, resonance in electrical circuits, the response of mechanical systems and flexible structures to impulsive or other periodic forcing are very similar, but not identical concepts. .

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    1. Linda Hazell

      Casual Lecturer

      In reply to Alan John Emmerson

      Sorry to disagree. A swing has a natural frequency given by the length of the rope/chain/whatever. As you push it harder, it swings higher but completes a cycle in exactly the same time, as it accelerates for longer and achieves a higher maximum speed.

      If you are interested in the period of pendulums the formula is Period in seconds = 2 x pi x square root(length of rope in metres/gravity or 9.81).

      Of course this assumes a simplicity and perfection that doesn't exist in real life systems but its close enough to true to be observable in your local park. Take a stopwatch and a small kid and give it a go. :)

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    2. Alan John Emmerson

      Former chief engineer , Civil Aviation Authority

      In reply to Linda Hazell

      Linda, the formula you cite for the period of a pendulum T=2pi root L/g is a first approximation assuming the bob is a point mass, and the amplitude is small enough that sin theta = theta, and that the chain/istring has no mass. The equation applies only to a free swinging pendulum - one without damping or impulsing.,

      Any of the standard applied maths text books will tell you that.. You will probably need a book on horology to find the rest of the story.
      .
      To observe the effect you need two identical pendulums with heavy bobs (to reduce the effect of damping) started simultaneously but at different amplitudes.

      You cannot illustrate this effect with a stopwatch in the lab or in the park becaue damping quickly reduces the amplitude to the point where "circular error" is undetectable...

      The relevance to this thread is that a pendulum is not a resonator.because the period of the swing varies with the amplitude of swing...

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    3. Alan John Emmerson

      Former chief engineer , Civil Aviation Authority

      In reply to Linda Hazell

      I see no one has given you an answer on relationships beween natural frequency of vibration and phiysical dimensions. Linda.
      There are relationships . They are deceptively simple. The algebraic notation needed to express these relationships is too complicated to be carried by this sort of email but let me have a go at the most simple.. For a string of length L vibrating laterally with both ends fixed, under a tension T with a unifrom load w per unit area including own weight, the natural frequencies are equal to

      Kn/2pi root Tg/wl^2 where Kn = pi 2pi 3pi etc.

      You will find these formulae tabulated in Roark and Young, Formulas for Stress and Strain ISBN 0-07--053031-9.

      Other than in simple cases, these frequencies will be determined now a days by modelling using a finite element package. Try a serch for LISA.

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    4. John Rayner

      Visiting Fellow in Science Communication at Australian National University

      In reply to Alan John Emmerson

      Armed with a stopwatch, tape measure and bucket of sand I headed off to the local playground and with the help of a grandmother and her three grandchildren made some measurements on one of the swings. These were our results: Swing: steel chains, bucket seat, length from pivot to centre of mass: 1.6 m. We measured the initial angle using the horizontal distance that we pulled the swing back to,the length of the chains and the inverse sine. I have written our results in the form (angle in degrees…

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    5. Alan John Emmerson

      Former chief engineer , Civil Aviation Authority

      In reply to John Rayner

      Alll of which is exactly as I told Linda it would be. You cannot practically observe circular error with a single pendulum.. The amplitude decays too quickly. But, with two pendulums swinging simultaneously you can see the relative change of phase quite clearly

      Horologists have been trying to make the pendulum isochronous since 1658
      Only one man achieved it.

      None of that has much to do with the original remark that a pendulum does not have a natural frequency of the sort asssociated with a resonator.

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    6. John Rayner

      Visiting Fellow in Science Communication at Australian National University

      In reply to Alan John Emmerson

      Thinking about it more what I think it comes down to is this: For a given situation what is the most appropriate model to use? For example we have relativistic dynamics which we use when dealing with speeds close to the velocity of light. However at low speeds Newtonian mechnaics provides an entirely adequate descrition of what is going on. Similarly with pendulums, when we don't use the small angle approximation the full solution (sans damping) can be expressed in terms of elliptic integrals…

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    7. Alan John Emmerson

      Former chief engineer , Civil Aviation Authority

      In reply to John Rayner

      Last night I ran your experimental results together and plotted them. I then drew a least squares quadratic through them. The change in period with amplitude showed up straight away. I then drew the theoretical derived relationship on the same axes. Surprisingly the theoretical curve lay directly over the experimental results. The expression I used was , in the usual notation T=To (1+A^2/16) . This is the usual approximaton used instead of the full series expansion.

      The point of all this…

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    8. Fred Pribac

      logged in via email @internode.on.net

      In reply to Alan John Emmerson

      Aha - swing is a function of amplitude. That's why it's not cool to play too loud!

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    9. Mandy Lupton

      Lecturer in education

      In reply to Fred Pribac

      It don't mean a thing if it ain't got no swing! (with apologies to Duke Ellington!)

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    10. Sean Manning

      Physicist

      In reply to Alan John Emmerson

      Wait, you fitted a quadratic to 4 data points, got a good fit and that is enough for you? There are no error bars. There is insufficient data. No physical justification for the particular fitting function. Where is the physical justification for chosing a quadratic? Did you simply choose a quadratic because it gave you the best fit?

      Polynomials are frequently used for interpolants because of their ability to 'lay directly over the experimental results'. But this does not imply the existance of a relationship.

      Incidentally, only one of the curves 'lay directly over the experimental results'.

      Just FYI, this is NOT how physics is done.

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    11. Alan John Emmerson

      Former chief engineer , Civil Aviation Authority

      In reply to Sean Manning

      No Sean. That is certainly not good enough for me and it is not what I did..

      .I do have some idea of how physics is done - including the reduction of test results...

      An important point here is that I was not trying to determine a law for the simple pendulum. That has already been done.. I was trying to use all of John Rayner's twenty four observations in a better way to see if his experiment in the park conformed with the existing widely accepted theory..

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    12. Sean Manning

      Physicist

      In reply to Alan John Emmerson

      I had a closer look at things last night.
      Two of the four data points in each data set are very close in amplitude and time. As the amplitude increases the damping is more pronounced and so the time values begin to diverge. Essentially there are only three unique points, as far as the fitting goes (in particular for the first data set).

      Now, you can fit a quadratic very nicely through any three points (in the same way that a straight line will go perfectly through two points).

      I again wish to point out that your analysis achieves nothing in the way of demonstrating any dependence of period on amplitude. As such there is no way to say whether or not the 'widely accepted theory' is upheld or not.
      However, given that the 'widely accepted theory' is based on rigorus mathematical analysis of mechanical systems it stands on firm ground. Any criticim of this theory would necessarily require an equivalent level of analysis.

      3 or 4 data points and a fit does not suffice.

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    13. Alan John Emmerson

      Former chief engineer , Civil Aviation Authority

      In reply to Sean Manning

      Sean,
      I was not trying to use John's data to demonstrate any dependence of of period on amplitude, or to say whether the theory is upheld or not..

      If I must spell it out, the tone of John's contribution caused me to check whether John may have fudged his results..

      An experiment to measure the period of a pendulum with a heavy chain consisting of rigid elements and with a rigid bob, etc produced results that were in aggregate so close to the theory for a simple pendulum.?. And no cofg calculations to be seen.

      Incidentally, the period of a pendulum is increased only minutely by increasing the damping.. The principal effect of damping is to reduce the amplitude. and the period then decreases correspopndingly .

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    14. John Rayner

      Visiting Fellow in Science Communication at Australian National University

      In reply to Alan John Emmerson

      Dear Alan,
      As with any of my other experimental work I made a permanent record of the observations in my log book, in the park at the time when I was making the measurements My earlier posting is an accurate reflection of these results. The length of the pendulum was measured to the centre of mass of the bucket of sand. It seems a pity that what was intended as a somwhat light-hearted response has been accorded such attention.
      John

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    15. Alan John Emmerson

      Former chief engineer , Civil Aviation Authority

      In reply to John Rayner

      John,
      Well. yes,light hearted and perhaps a little disparaging, that is the way I took it at the time, and in the light hearted spirit it would have raised a a chuckle if you had been pulling our collective leg.

      Accorded attention ? What the heck. A bit of banter is fine.

      Perhaps I could ask you to confirm that the observed periods are the average of 10 swings for the smaller amplitudes and of two swings for the larger amplitudes.

      Alan

      .

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    16. John Rayner

      Visiting Fellow in Science Communication at Australian National University

      In reply to Alan John Emmerson

      Dear Alan,
      The measurements where there were only two oscillations were for the larger amplitudes without the bucket of sand where there was quite significant curvature in the chains and somewhat erratic motion. The small amplitude unloaded case and all measurements with the bucket of sand employed 10 oscillations with recorded times ~ 25 seconds
      Regards
      John

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  6. Linda Hazell

    Casual Lecturer

    Thanks John, A lovely tour through some basics of music and physics. Could you do another (part two) with some more depth? I'm fascinated by home-made instruments but often struggle to apply the physics. A guitar strings frequency/pitch is a combination of length and tension; I've made a wooden tone box and the pitch is affected by the length of the tongues of wood and the thickness and density of the wood, which influences the "tension"/flexibility. Are there simple relationships between tension/flexibility/elasticity and period/pitch or should I leave well enough alone?

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