It introduces us to thrilling dreamers from the last century who believed that music could fundamentally – and disruptively – recalibrate our lives. In Mexico, we meet Julián Carrillo, the youngest of an indigenous family of 19, who becomes a composer obsessed with the possibilities of microscopic intervals between tones (in layperson’s terms, the many tiny gradations of sound between two notes on a keyboard). When sound is moving through a medium that does not have constant physical properties, it may be refracted (either dispersed or focused). [5] Spherical compression (longitudinal) waves For instance, vowel combinations like /iu/ and /ai/ occur in words such as 'view' and 'my', while certain consonant clusters are found at the beginning of words like 'train' and 'splendid'.2. Prevent ambiguity: Phonotactic constraints help to avoid confusion and maintain clear word boundaries, ensuring that speech is not misinterpreted by listeners. This is particularly crucial in English, as the language has a large number of homophones. 3. Foreign word adaptation: Phonotactic rules influence the way loanwords are adapted into English, as native speakers tend to modify unfamiliar sound sequences to match those found in their own language. Original (Foreign) Word

Main article: Speed of sound U.S. Navy F/A-18 approaching the speed of sound. The white halo is formed by condensed water droplets thought to result from a drop in air pressure around the aircraft (see Prandtl–Glauert singularity). [12]This is but the sketchiest outline of oustanding lives that Molleson brings to the fore so vividly. Not all of the music that she talks about is easily available to listen to but there is a fairly decent range of material on Spotify to accompany the reading and give you some idea of what these remarkable characters achieved. She portrays a world of exceptional compositional talent that, had it been given rightful prominence, would have enriched and expanded the domain of modern classical music beyond measure. And I would assume that it’s by no means just an historical problem although thankfully, these days, we have scholars and broadcasters like Molleson to continue the work of redressing the balance. Moved more to centre-stage instead of consigned to the margins, who knows what amazing music might develop? Radio Three should give her her own weekly show in which to feature the lives and work of these marginalised and fascinating composers. It might not always make for easy listening but, as she so clearly argues, their story and their work deserve to be heard and integrated into a long-overdue revisionist appraisal of the music of our time. Consonant-vowel (CV) pattern: This pattern begins with a consonant followed by a vowel, creating many different phonotactic combinations. which is also known as the Newton–Laplace equation. In this equation, K is the elastic bulk modulus, c is the velocity of sound, and ρ {\displaystyle \rho } is the density. Thus, the speed of sound is proportional to the square root of the ratio of the bulk modulus of the medium to its density. Applications of acoustics are found in almost all aspects of modern society, subdisciplines include aeroacoustics, audio signal processing, architectural acoustics, bioacoustics, electro-acoustics, environmental noise, musical acoustics, noise control, psychoacoustics, speech, ultrasound, underwater acoustics, and vibration. [3] Definition Kate Molleson is a distinguished teacher, journalist and broadcaster whose New Music Show on Radio 3 is a crucial component of that station’s gradual and, some may say, long overdue policy of embracing a more inclusive, global concept of what could be termed modern classical music. Think jazz, electronic music, improvisational music, folk, classical, experimental, noise, and combinations thereof. Molleson is a passionate advocate for this more expansive definition of classical music and, as this important and engrossing book establishes, she is particularly engaged in extolling the work and telling the stories of the many composers from around the world whose music has been side-lined, undervalued and ommitted from the mainstream histories. Of the ten composers whose work is discussed here, all were born in the first four decades of the twentieth century and seven are no longer with us. Because their work was adventurous, rule-breaking, often extreme and because they weren’t either white, male, privileged, European, American or born in the right place at the right time, they have never been fully accepted as part of the mainstream narrative of contemporary classical music. As such, this is not only an important book but an ear-opener, a revelation and a portal to another world. A world in which music has an anarchic, organic quality that defies categorization, where music has no boundaries and restrictions, stylistically and geographically, both in form and execution, where innovation and complexity and rigorous musical disciplines work together to stretch and embellish our understanding of what music can be.

Coda clusters: Coda clusters are consonant sequences found at the end of a syllable. Some familiar coda clusters include "st" in "lust" or "ft" in "loft". As with onset clusters, certain combinations are not allowed, like "bd" or "gt". Molleson has employed her expert knowledge and refined perspective in selecting which ten artists to include in what, in less discerning hands, could have been an unwieldy, daunting tome. She has chosen ‘ten beautifully messy, confounding, brave, outrageous, original and charismatic composers’. Each one of these elegantly written biographical essays describes a remarkable, singular, creative life, strewn with political, social and domestic obstacles. They describe a fierce commitment to their art, a refusal to compromise and a determination to write whatever music they pleased. They are wonderful characters, if apparently not all easy people to get along with. Onset clusters: These are consonant clusters that occur at the beginning of a syllable. Certain combinations are allowed in English, such as "pr" in "prey" and "tr" in "tree". However, others are not permitted, like "tl" or "zb". I can think of no better way to end than to quote from Molleson’s introduction, an introduction that will surely persuade you to read the book if I haven’t managed to: ‘These composers aren’t alternatives to any others, because the word ‘alternative’ suggests an incontrovertible core. They seek to replace nobody, but they deserve to be heard. And this is only the beginning. There are hundreds of others I could have written about. Seek them out, too, just as soon as you’ve finished reading.’

Classical music, she argues, desperately needs diversity to survive: “Stagnation will be the death of any living art form… healthy musical culture depends on who’s playing, who’s listening, who’s genuinely impacted.” To help this mission along, Sound Within Sound takes us on a whirlwind international tour. The viscosity of the medium. Medium viscosity determines the rate at which sound is attenuated. For many media, such as air or water, attenuation due to viscosity is negligible. Although there are many complexities relating to the transmission of sounds, at the point of reception (i.e. the ears), sound is readily dividable into two simple elements: pressure and time. These fundamental elements form the basis of all sound waves. They can be used to describe, in absolute terms, every sound we hear. The mechanical vibrations that can be interpreted as sound can travel through all forms of matter: gases, liquids, solids, and plasmas. The matter that supports the sound is called the medium. Sound cannot travel through a vacuum. [6] [7] Waves We see a letter Crawford Seeger sent to her brother in 1945: “all during the house-cleaning I was thinking of the books I might be working on”, she writes. She became an internationally respected transcriber and arranger of traditional songs, but didn’t write another modernist piece until 1952; she died a year later of cancer.