Resonance |

Resonance Faransiis, laga bilaabo lat. resono - Waxaan u dhawaaqaa jawaabta, waan ka jawaabay

Dhacdo acoustic ah taas oo ka dhalatay saamaynta gariir ee hal jidh, oo loo yaqaan gariir, jidh kale, loo yaqaan resonator, gariir la mid ah inta jeer ee ku dhow ee baaxadda. R. ayaa si buuxda loogu muujiyay xaaladaha saxda ah ee resonator-ka ee inta jeer ee gariirka iyo si fiican (oo leh khasaaro tamar yar) gudbinta gariirka. Marka la heesayo oo lagu jilayo muusiga. R. waxaa loo isticmaalaa qalabka si kor loogu qaado codka (iyada oo lagu daro aag weyn oo jirka resonator ah ee gariirka), si loo beddelo timbre, iyo inta badan si loo kordhiyo muddada codka (tan iyo resonator ee gariir-resonator). Nidaamku uma shaqeeyo oo kaliya sida jirka oo ku tiirsan gariiriyaha, laakiin sidoo kale sida jirka madax-bannaanida ah, oo leh timbre u gaar ah iyo sifooyin kale). Gariir kasta wuxuu u adeegi karaa sidii resonator, si kastaba ha ahaatee, ficil ahaan, kuwa gaar ah ayaa loo qaabeeyey. resonators, ugu fiican ee sifooyinkooda oo u dhiganta shuruudaha music. shuruudaha qalabka (marka la eego dhawaaqa, mugga, timbre, muddada codka). Waxa jira resonators hal ka jawaabaya hal jeer oo soo noqnoqda (resonating tuning fork stand, celesta, vibraphone resonators, iwm.), iyo resonators badan (fp sagxadaha, violins, iwm). G. Helmholtz waxa uu isticmaalay ifafaalaha R. si uu u falanqeeyo timbre dhawaaqyada. Waxa uu ku faahfaahiyay caawinta R. sida ay u shaqeyso xubinta maqalka aadanaha; iyada oo la raacayo malo-awaalkiisa, oo la dareemo isbeddelka dhegta. Dhaqdhaqaaqyada ayaa aad u xamaasadeeya kuwa Corti-ga ah (oo ku yaal dhegta gudaha), galley waxay la jaan qaadayaan inta jeer ee dhawaaqa la bixiyo; sidaas awgeed, marka loo eego aragtida Helmholtz, farqiga u dhexeeya dhawaaqyada gaamurka iyo timbre waxay ku salaysan tahay R. Erayga "R." inta badan si qalad ah loo isticmaalo in lagu garto acoustical sifooyinka dhismaha (halkii ereyada "milicsiga", "nuugista", "reverberation", "kala firdhiyey", iwm. loo isticmaalo acoustics architecture).

Tixraacyo: Acoustics muusiga, M., 1954; Dmitriev LB, Aasaaska farsamada codka, M., 1968; Heimholt “H. v., Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik, Braunschweig, 1863, 1913 ; Schaefer K., Musikalische Akustik, Lpz., 1875, S. 1902-33; Skudrzyk E., Die Grundlagen der Akustik, W., 38 sidoo kale eeg. ilaa maqaalka acoustics Music.

Yu. N. Rags