Waves and ripples in water, air, and æther : $b Being a course of Christmas lectures delivered at the Royal Institution of Great BritainFleming, J. A. (John Ambrose), Sir
Science
Waves and ripples in water, air, and æther : $b Being a course of Christmas lectures delivered at the Royal Institution of Great Britain
Fleming, J. A. (John Ambrose), Sir
Electric waves; Sound; Waves
Let us consider next the process of production of a very simple sound,
such as an explosion. Suppose a small quantity of gun-cotton to be
detonated. It causes a sound, and therefore an air wave. The process by
which this wave is made is as follows: The explosion of the gun-cotton
suddenly creates a large quantity of gas, which administers to the air
a very violent outward push or blow. In consequence of the inertia of
the air, it cannot respond everywhere instantly to this force. Hence
a certain spherical layer of air is compressed into a smaller volume.
This layer, however, almost immediately expands again, and in so doing
it compresses the next outer layer of air and rarefies itself. Then,
again, the second layer in expanding compresses a third, and so on.
Accordingly, a state of compression is handed on from layer to layer,
and each state of compression is followed by one of rarefaction. The
individual air-particles are caused to move to and fro in the direction
of the radii of the sphere of which the source of explosion is the
centre. Hence we have what is called a spherical longitudinal wave
produced.
Each air-particle swings backwards and forwards in the line of
propagation of the wave. The actual motion of each air-particle is
exceedingly small.
The speed with which this zone of compression travels outwards, is
called the velocity of the sound wave, and the extent to which each
air-particle moves backwards and forwards is called the amplitude of
the wave.
Suppose, in the next place, that instead of a merely transitory sound
like an explosion, we have a continuous musical sound, we have to
inquire what then will be the description of air-movement executed. The
experiments shown already will have convinced you that, in the case of
a musical sound, each air-particle must repeat the same kind of motion
again and again.
The precise nature of the displacement can be best illustrated by the
use of two models. Before you is placed a frame to which are slung a
series of golf-balls suspended by threads (see Fig. 4, Chapter I.).
Between each pair of balls there is a spiral brass spring, which
elastically resists both compression and extension. You will see that
the row of balls and springs, therefore, has similar properties to the
air. In virtue of the springs it resists compression and expansion, and
in virtue of the mass or inertia of the balls any ball, if displaced
and allowed to move back, overshoots its position of equilibrium
because it persists in motion. The row of balls, therefore, resists
extension and compression in consequence of the elasticity of the
springs, and each ball persists in movement in consequence of the
inertia of the ball.
Public-domain text, read in full here on John Shaqi.
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