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1.
(Choose all that are true):
Our experience of color is most closely related to the _____. |
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Definition
*color=hue, saturation, brightness (amp of light)*
-amplitude of the light waves
-wavelength of the waves |
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2.
A frequency of 200 Hz corresponds to a period of_____: |
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| 1/200 of a second per cycle |
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3.
T/F:
Simple harmonic motion is generally what happens when an object is supported by something that is "springy" |
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4.
T/F:
The unexpected independence of amplitude and frequency in simple harmonic motion is the reason that acoustical musical instruments provide almost completely separate control of pitch and loudness |
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5.
T/F
Specular and diffuse mean the same thing |
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False
Specular=Ray of light
Diffuse=Scatter light in all directions |
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6.
T/F
Rays are lines with arrows that indicate light paths |
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7.
T/F
A spring-mass system has a natural frequency |
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True
NF=frequency of oscillation w/o an external driving force |
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8.
T/F
A projectable image occurs where rays cross |
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9.
T/F
The focal length of a lens depends on how strongly curved its surfaces are |
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10.
T/F
Accommodation means you will need glasses |
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False
*accomodation is what the human eye does automatically* |
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11.
T/F
Rod and cone cells are distributed uniformly on the retina, much like the pixels in an electronic camera |
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12. T/F Sound waves in air travel at the same speed no matter what the frequency is
T/F
Frequency does not affect the speed of sound |
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13.
To properly focus a camera____: |
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Definition
| The lens-to-film distance must equal the [image distance] |
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14.
The human experience of pitch is mainly associated with____: |
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15.
The human experience of loudness is mainly associated with_____: |
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16.
The human experience of timbre (i.e., tone quality) is mainly associated with____: |
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Spectral profile
(i.e., wave shape) |
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17.
T/F
If we perceive light to be yellow, the spectrum of the light absolutely must have significant intensity at the rainbow wavelengths we perceive as yellow |
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18.
T/F
Place theory refers to the mechanism humans use to determine the locations of sound sources |
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19.
T/F
Human ears function just like microphones, in that they generate and transmit neural signals that are essentially copies of the sound to the brain for interpretation |
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Definition
False
*the cochlea analyzes sound by using a frequency spectrum (the frequency spectrum translates for the brain) |
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20.
Additive color mixing refers to situations in which____: |
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| -Different colored lights shine on the same area of a white surface |
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21.
The RGB color triangle is a tool for predicting and describing____: |
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-The [perception (i.e., the hue)] that results when we mix two light sources
-NOT the [spectrum of light (i.e., the wavelength)] that results |
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22.
The horse-shoe-shaped area outside the RGB color triangle______: |
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-is necessary b/c there are colors that humans can perceive that cannot be produced by mixing R, G, and B light
-is bounded along the curved line around the left, top, and right by the spectral colors, and along the slanted line across the bottom by the magentas, which are mixtures of red and blue |
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23.
T/F
"Mode" refers to an oddly stable pattern of motion in which all the parts of a string oscillate at a single frequency |
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24.
T/F
Strings can, and most often do, oscillate at many frequencies at once, but these frequencies can only be those associated with the modes of the string |
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25.
Subtractive color mixing refers to situations in which______: |
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-we stir various combinations of different colored paints together
-we shine light through one or more filters |
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26.
The effect of a subtractive filter______: |
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-is really multiplicative (it subtracts a fixed fraction of the light)
-is described by the transmittance spectrum |
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27.
T/F
"Mode" refers to an oddly stable pattern of motion in which all the parts of the air in a pipe oscillate at a single frequency |
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28.
T/F
Air in pipes can, and most often does, oscillate at many frequencies at once, but these frequencies can only be those associated with the modes of the air in the pipe |
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29.
T/F
If the color we perceive changes, the spectrum of the light we are receiving also has to have changed |
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| 30. T/F If two colors look the same, the spectra of light from the two colors have to be the same |
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False
*can have additive mixing* |
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31.
T/F
If the spectra of light from two colors are the same, the colors will look the same |
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Definition
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| 32. T/F If the spectrum of the light we are observing changes, the color we perceive will always change |
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Definition
False
Could have additive color mixing
(i.e., could perceive the color yellow from 'yellow' spectra; but if the spectra change to a combo of 'red' and 'green' spectra, the perceive color could still look the same) |
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33.
Which of the following can affect the spectrum of light reflected from an object: |
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-the spectrum of the incident light
-absorption of light by pigment molecules
-absorption of light by the material the object is made of
-reflection of different light wavelengths in different directions
-structures in a material that are about the same size as the wavelengths of light |
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34.
T/F
A periodic waveform will contain oscillations at frequencies that are integer multiples of its fundamental frequency |
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35.
Frequency analyzer software____: |
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-calculates an amplitude spectrum for a selected section of a recorded or synthesized waveform
-can help us identify what oscillation frequencies are active in a waveform and how active these oscillations are
-is based on Fourier's theorem |
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36.
Our perception of musical intervals correlates best with: |
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Definition
| -ratios of frequencies, i.e., f2/f1 |
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| 37. Our perception of "harmony" or "in-tune-ness" correlates with________: |
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| -differences between frequencies, i.e., f2 - f1, being integers -ratios of frequencies, i.e., f2/f1, being ratios of integers |
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38.
T/F
Pitch control in musical instruments almost always involves adjustment of the resonator by the player |
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39.
In string, wind, and brass instruments, the mathematical relationship between the length of the resonator and the pitch produced by the instrument is________: |
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-anti-correlated: increase length, pitch decreases
-multiplicative: 10% increases in length always produce the same changes in pitch |
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| I. Very short duration with no discernible pitch |
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| III. One fixed relatively high pitch of longer duration with no overtones |
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| IV. One relatively low pitch of moderate duration with several strong overtones |
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| SS fricative (higher pitch) |
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| SH fricative (lower pitch) |
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| A. Has strength in frequency bands centered near 500 and 3000 Hz |
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| B. relatively low pitched sound with strength in bands near 500 and 2000 Hz |
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| C. Relatively low pitched sound with no timbral structure (tone quality) |
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| D. Relatively high pitched sound with strength in bands near 500 and 2000 Hz |
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| E. Relatively high-pitched sound with no particular timbral structure (tone quality) |
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| F. Has strength in frequency bands centered near 500 and 1500 Hz |
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| G. White noise-ish, but only has strength in bands centered near 500 and 2500 Hz |
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| Relatively high pitched sound with strength in bands near 500 and 2000 Hz |
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| Has strength in frequency bands centered near 500 and 3000 Hz |
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