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460

Week 11: Sound

11.2: Sound Wave Solutions

Sound waves can be characterized one of two ways: as organized fluctuations in the position of the molecules of the fluid as they oscillate around an equilibrium displacement or as organized fluctuations in the pressure of the fluid as molecules are crammed closer together or are diven farther apart than they are on average in the quiescent fluid.

Sound waves propagate in one direction (out of three) at any given point in space. This means that in the direction perpendicular to propagation, the wave is spread out to form a “wave front”. The wave front can be nearly arbitrary in shape initially; thereafter it evolves according to the mathematics of the wave equation in three dimensions (which is similar to but a bit more complicated than the wave equation in one dimension).

To avoid this complication and focus on general properties that are commonly encountered, we will concentrate on two particular kinds of solutions:

a)Plane Wave solutions. In these solutions, the entire wave moves in one direction (say the x direction) and the wave front is a 2-D plane perpendicular to the direction of propagation. These (displacement) solutions can be written as (e.g.):

s(x, t) = s0 sin(kx − ωt)

(964)

where s0 is the maximum displacement in the travelling wave (which moves in the x direction) and where all molecules in the entire plane at position x are displaced by the same amount.

Waves far away from the sources that created them are best described as plane waves. So are waves propagating down a constrained environment such as a tube that permits waves to only travel in “one direction”.

b)Spherical Wave solutions. Sound is often emitted from a source that is highly localized (such as a hammer hitting a nail, or a loudspeaker). If the sound is emitted equally in all directions from the source, a spherical wavefront is formed. Even if it is not emitted equally in all directions, sound from a localized source will generally form a spherically curved wavefront as it travels away from the point with constant speed. The displacement of a spherical wavefront decreases as one moves further away from the source because the energy in the wavefront is spread out on larger and larger surfaces. Its form is given by:

s(r, t) =

s0

sin(kr − ωt)

(965)

r

where r is the radial distance away from the point-like source.

11.3: Sound Wave Intensity

The energy density of sound waves is given by:

dE

=

1

ρω2s2

(966)

dV

2

 

 

 

(again, very similar in form to the energy density of a wave on a string). However, this energy per unit volume is propagated in a single direction. It is therefore spread out so that it crosses an area, not a single point. Just how much energy an object receives therefore depends on how much area it intersects in the incoming sound wave, not just on the energy density of the sound wave itself.

For this reason the energy carried by sound waves is best measured by intensity: the energy per unit time per unit area perpendicular to the direction of wave propagation. Imagine a box with sides

Week 11: Sound

461

given by A (perpendicular to the direction of the wave’s propagation) and v t (in the direction

of the wave’s propagation. All the energy in this box crosses through A in time

t. That is:

E = (

1

ρω2s2Av t

(967)

2

 

 

 

 

 

 

 

or

E

 

1

 

 

I =

 

=

ρω2s2v

(968)

A

t

 

 

2

 

 

which looks very much like the power carried by a wave on a string. In the case of a plane wave propagating down a narrow tube, it is very similar – the power of the wave is the intensity times the tube’s cross section.

However, consider a spherical wave. For a spherical wave, the intensity looks something like:

I(r, t) =

 

1

ρω2

s02 sin2(kr − ωt)

v

(969)

2

 

 

 

 

 

r2

 

which can be written as:

 

 

 

 

Ptot

 

 

 

I(r, t) =

(970)

 

4πr2

where Ptot is the total power in the wave.

This makes sense from the point of view of energy conservation and symmetry. If a source emits a power Ptot, that energy has to cross each successive spherical surface that surrounds the source. Those surfaces have an area equal to A = 4πr2. Thus the surface at r = 2r0 has 4 times the area of one at r = r0, but the same total power has to go through both surfaces. Consequently, the intensity at the r = 2r0 surface has to be 1/4 the intensity at the r = r0 surface.

It is important to remember this argument, simple as it is. Think back to Newton’s law of gravitation. Remember that gravitational field diminishes as 1/r2 with the distance from the source. Electrostatic field also diminishes as 1/r2. There seems to be a shared connection between symmetric propagation and spherical geometry; this will form the basis for Gauss’s Law in electrostatics and much beautiful math.

11.3.1: Sound Displacement and Intensity In Terms of Pressure

The pressure in a sound wave (as noted) oscillates around the mean/baseline ambient pressure of the air (or water, or whatever). The pressure wave in sound is thus the time varying pressure di erence

– the amplitude of the pressure oscillation around the mean of normal atmospheric pressure.

As always, we will be interested in writing the pressure as a harmonic wave (where we can) and hence will use the peak pressure di erence as the amplitude of the wave. We will call this pressure the (peak) “overpressure”:

P0 = Pmax − Pa

(971)

where Pa is the baseline atmospheric pressure. It is easy enough to express the pressure wave in terms of the displacement wave (and vice versa). The amplitudes are related by:

P0 = vaρωs0 = Zωs0

(972)

where Z = vaρ, the product of the speed of sound in air and the air density. The pressure and displacement waves are π/2 out of phase! with the pressure wave leading the displacement wave:

P (t) = P0 cos(kx − ωt)

(973)

(for a one-dimensional “plane wave”, use kr and put it over 1/r to make a spherical wave as before). The displacement wave is (Z times) the time derivative of the pressure wave, note well.

462

Week 11: Sound

The intensity of a sound wave can also be expressed in terms of pressure (rather than displacement). The expression for the intensity is then very simple (although not so simple to derive):

 

P 2

 

P 2

 

I =

0

=

0

(974)

2Z

2vaρ

 

 

 

Week 11: Sound

 

 

463

11.3.2: Sound Pressure and Decibels

 

 

 

 

 

 

 

 

 

 

 

Source of Sound

P (Pa)

I

dB

 

 

 

 

 

 

 

 

Auditory threshold at 1 kHz

2 × 105

1012

0

 

 

Light leaf rustling, calm breathing

6.32 × 105

1011

10

 

 

Very calm room

3.56 × 104

3.16 × 1012

25

 

 

A Whisper

2 × 103

108

40

 

 

Washing machine, dish washer

6.32 × 103

107

50

 

 

Normal conversation at 1 m

2 × 102

106

60

 

 

Normal (Ambient) Sound

6.32 × 102

105

70

 

 

“Loud” Passenger Car at 10 m

2 × 101

104

80

 

 

Hearing Damage Possible

0.356

3.16 × 104

85

 

 

Tra c On Busy Roadway at 10 m

0.356

3.16 × 104

85

 

 

Jack Hammer at 1 m

2

102

100

 

 

Normal Stereo at Max Volume

2

102

100

 

 

Jet Engine at 100 m

6.32-200

101 to 103

110-140

 

 

Hearing Damage Likely

20

1

120

 

 

 

 

 

 

 

 

Vuvuzela Horn

20

1

120

 

 

Rock Concert (“The Who” 1982) at 32 m

20

1

120

 

 

 

 

 

 

 

 

Threshold of Pain

63.2

10

130

 

 

 

 

 

 

 

 

Marching Band (100-200 members, in front)

63.2

10

130

 

 

“Very Loud” Car Stereo

112

31.6

135

 

 

 

 

 

 

 

 

Hearing Damage Immediate, Certain

200

102

140

 

 

Jet Engine at 30 m

632

103

150

 

 

Rock Concert (“The Who” 1982) at speakers

632

103

150

 

 

30-06 Rifle 1 m to side

6,320

105

170

 

 

Stun Grenades

20,000

106

180

 

 

Limit of Undistorted Sound

101,325

2.51 × 107

194.094

 

 

(human eardrums rupture 50% of time)

(1 atm)

 

 

 

Table 5: Table of (approximate) P0 and sound pressure levels in decibels relative to the threshold of human hearing at 1012 watts/m2. Note that ordinary sounds only extend to a peak overpressure of P0 = 1 atmosphere, as one cannot oscillate symmetrically to underpressures pressures less than a vacuum.

The one real problem with the very simple description of sound intensity given above is one of scale. The human ear is routinely exposed to and sensitive to sounds that vary by twenty orders of magnitude – from sounds so faint that they barely can move our eardrums to sounds so very loud that they immediately rupture them! Even this isn’t the full range of sounds out there

– microphones and amplifiers allow us to detect even weaker sounds – as much as eight orders of magnitude weaker – and much stronger “sounds” called shock waves, produced by supersonic events such as explosions. The strongest supersonic “sounds” are some 32 orders of magnitude “louder” than the weakest sounds the human ear can detect, although even the weakest shock waves are almost strong enough to kill people.

It is very inconvenient to have to describe sound intensity in scientific notion across this wide a range – basically 40 orders of magnitude if not more (the limits of technology not being well defined at the low end of the scale). Also the human mind does not respond to sounds linearly. We do not psychologically perceive of sounds twice as intense as being twice as loud – in fact, a doubling of intensity is barely perceptible. Both of these motivate our using a di erent scale to represent sound intensities a relative logarithmic scale, called decibels203 .

203Wikipedia: http://www.wikipedia.org/wiki/Decibel. Note well that the term “decibel” is not restricted to sound

464

 

 

 

Week 11: Sound

The definition of a sound decibel is:

 

 

 

 

β = 10 log10

µ

I

dB

(975)

 

I0

where “dB” is the abbreviation for decibels (tenths of “bels”, the same unit without the factor of 10). Note that log10 is log base 10, not the natural log, in this expression. Also in this expression,

I0 = 1012 watts/meter2

(976)

is the reference intensity, called the threshold of hearing. It is, by definition, the “faintest sound the human ear can hear” although naturally Your Mileage May Vary here – the faintest sound my relatively old and deaf ears is very likely much louder than the faintest sound a young child can hear, and there obviously some normal variation (a few dB) from person to person at any given age.

The smallest increments of sound that the human ear can di erentiate as being “louder” are typically two decibel increases – more likely 3. Let’s see what a doubling the intensity does to the decibel level of the sound.

β =

10 µlog10 µ I0

log10

µ I0

¶¶

 

 

 

 

2I

 

 

 

I

 

=

10 log10

µ I0

 

I0

 

 

 

 

 

 

2I

 

I

 

 

 

 

 

=

10 log10

(2)

 

 

 

 

 

 

 

 

=

3.01dB

 

 

 

 

 

 

 

 

 

(977)

In other words, doubling the sound intensity from any value corresponds to an increase in sound intensity level of 3 dB! This is such a simple rule that it is religiously learned as a rule of thumb by engineers, physicists and others who have reason to need to work with intensities of any sort on a log (decibel) scale. 3 dB per factor of two in intensity can carry you a long, long way! Note well that we used one of the magic properties of logarithms/exponentials in this algebra (in case you are confused):

A

 

log(A) log(B) = log µ B

(978)

You should remember this; it will be very useful next year.

Table 5 presents a number of fairly common sounds, sounds you are likely to have directly or indirectly heard (if only from far away). Each sound is cross-referenced with the approximate peak overpressure P0 in the sound pressure wave (in pascals), the sound intensity (in watts/meter2), and the sound intensity level relative to the threshold of hearing in decibels.

The overpressure is the pressure over the background of (a presumed) 1 atm in the sinusoidal pressure wave. The actual peak pressure would then be Pmax = Pa + P0 while the minimum pressure would be Pmin = Pa − P0. Pmin, however, cannot be negative as the lowest possible pressure is a vacuum, P = 0! At overpressures greater than 1 atm, then, it is no longer possible to have a pure sinusoidal sound wave. Waves in this category are a train of highly compressed peak amplitudes that drop o to (near) vacuum troughs in between, and are given their own special name: shock waves. Shock waves are typically generated by very powerful phenomena and often travel faster than the speed of sound in a medium. Examples of shock waves are the sonic boom of a jet that has broken the sound barrier and the compression waves produced by su ciently powerful explosives (close to the site of the explosion).

Shock waves as table 6 below clearly indicates, are capable of tearing the human body apart and accompany some of the most destructive phenomena in nature and human a airs – exploding volcanoes and colliding asteroids, conventional and nuclear bombs.

– it is rather a way of transforming any quantity that varies over a very large (many orders of magnitude) range into a log scale. Other logarithmic scales you are likely to encounter include, for example, the Richter scale (for earthquakes) and the F-scale for tornadoes.