Integratron and Giant Rock, Mojave Desert, California

If you stand directly under the hole in the center of the room and say something the sound reverberates through your head and body and sounds like peaking to a large outdoor or indoor audience with lots of echoes and large speakers. Very strange no doubt. If you whisper from one side of the room, people on the opposite side can hear you clearly, which Is why I got strange looks when I said my watch was running backwards from the electrical effects. There was a presentation that covered some of the history of the builder and the bulging.

When they got to the part about aliens I sort of lost interest. Everyone was Invited to take a blanket and lay out on the floor for meditation and a sound massage session with sounds provided by vibrations from crystal bowls and goblets. Remember how you can run your finger around the rim of a crystal goblet and get a nice humming sound? Well here in the Integration it really is magnified and enhanced creating a peaceful and relaxing interlude while laying on the blankets. I however sat in a plastic chair. Several fell asleep based on snoring sounds.

Founded in 1954 by aeronautical engineer and biologist George Van Tassel, the Integration offers something called a “sound bath”, and though we were not quite sure what a “sound bath” would entail, we were pleasantly surprised to find that while the energy vortex may not have been subjugating our poor abused livers, the experience was Indeed quite relaxing. For 30 minutes, our host “Torn” played varying tones on a set of quartz crystal slaying bowls as we meditated, listened to each other breathe, cough, and In some cases, nap.

As It turns out, Van Tassel was not your run-of-the-mill OF;chasing desert eccentric. An aeronautical engineer and test pilot who worked for both Lockheed and alongside Howard Hughes at Hughes Aviation, he moved to the Mojave Desert in 1947 to operate an airport and inn. It was there that he claimed to be contacted elliptically by the Venusians, who were entrusting to him the secrets of cell rejuvenation. Acting on these instructions, Van Tassel began building the Integration, a 38 Ft. High dome inspired by Moses’ Tabernacle and the writings of Tests.

While not the rejuvenation center and time machine that Van Tassel had intended, it Is does serve as the only all-wood, acoustically perfect sound chamber in the U. S. According to Van Tassel, the site of the Integration Is actually a magnetic vortex, an Intersection of geometric forces that would amplify energy required for human cell rejuvenation ND healing. All that was needed to harness this great gift to the human race was a parabolic dome was designed to focus that energy, much like it focuses sound, toward the center with it’s spherical shape.

Not meeting the standards of life-saving rejuvenation chamber Just yet, the Integration still serves a purpose as a meditation spot, event location, and unusual desert stop to feel closer to our Venusians friends in the stars. Outside of the dome itself there is a dry garden with a clump of hammocks serving as “Hammock Village”, and tons of interesting folk art and alien-themed knick- knacks such as the “Alien Clings to Rock” piece you see here. To enjoy our sound bath, we found a blanket or yoga mat and claimed a spot in the circle, feet facing out.

Our host described how the sound chamber works, and demonstrated how if we heard someone breathing or coughing as if they were right next to our ear, it was actually the person directly across from us on the other side of the dome. After a unusually long and stern warning regarding snoring during the bath, we closed our eyes as our host played the singing bowls. Bending the sound in ways that made it feel like it was owing in and out of our heads in waves, the intense sound was both soothing and unsettling.

There was surprisingly a lot of snoring, and the earlier warning no longer seemed frivolous. After 30 minutes of hypnotic sound, we felt refreshed and ready to take on the rest of our desert adventure. Recently honored with a dedication and historical monument by the Ancient and Honorable Order of E Clamp’s Vitas, Billy Holcomb Chapter, the Integration today receives many visitors drawn to experience the Integration’s enhanced energy fields. An overnight stay at the Integration is said o result in waves of peace, heightened awareness, and relaxation of the mind and body.

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In what ways were drama techniques and effects used?

We came across many problems with the staging of our production because we had different ideas we wanted to communicate. Firstly we wanted to create the idea of a circus by using Theatre in the round however there were more cons than pros and although this helped create an image of the circus the room was too small which would limit the audience we had. Also, it would be challenging because we would have to perform to both sides which would limit how we acted in the scene.

After trying out different styles of staging we decided on having the audience end on this helped increase the size of the audience and made it simple for us the actors because we only had to perform to the front. We also decided on having an apron through the middle because it helped us get on and off and were an extra exit when needed to leave the stage but was also good to get close to the audience and interact with them more.

The set of our production was simple because we had limited equipment but also we wanted to keep it simple because it meant as a group we would have to work harder to create the illusion and let the audience use their imagination. We used basic props as well because there were numerous scenes so it was difficult to take them on and off. We decided on a few scenes were props were necessary e.g. clown scenes and Punch and Judy we found that we needed props in Punch and Judy because they help the storyline and create the characters, props helped make Punch and Judy look more like a cartoon and helped make it humorous because we exaggerated the size of the props e.g. Punch had a huge cigarette. We wanted to put a modern spin on Punch and Judy while sticking to the original storyline and the props are what help the audience to familiarize with it.

In general we used physical theatre techniques meaning most scene had no or very little speech. This meant we had to show messages through symbolic movement. Our body movements and facial expressions helped convey the message to the audience. For example in The Mirror Scene we had to show the difference between two characters without speaking so we used exaggerated faces and movements to express the emotion of the piece.

We used lighting and sound throughout the production to convey the atmosphere and emotion of the piece. In the first scene we wanted to make the audience feel the excitement and thrill that a circus usually gives, so we used lots of different coloured flashing lights to give the idea of a circus and also disorientate the audience. The sound we chose was slightly strange sounding, we wanted to show that this wouldn’t be a typical circus and give the impression something scary was going to happen. Another sound we used was a drumming sound to crate the idea of panic and chase with flashing bright lights to disorientate the audience again.

For the end scenes we wanted to show a contrast between the emotions of the first half of the play were we symbolised in one scene love with soft pink lighting and classical music with the darkness of the second half. During the freaks scene we tried out different sounds however decided that we would make the noises and overlap each other, making it distorted. This meant the noise wouldn’t be clear and keeping the lighting dark and too a minimal with just one single light on helped create an uneasy atmosphere and keep the audience on their toes.

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Fletcher Munson Curve

This means that it requires less energy to hear kHz frequencies Our ears are most sensitive to hearing 3. KHz as this is the resonance frequency of our ear canals Range of frequencies we are sensitive to are between 1 kHz and KHz (this is the frequency range that mobile phones play out) We hear low and high frequencies very poorly The db reference curve is the most flat, meaning that most frequencies appear to be at the same level. This Is why music sounds a lot better and more full when played loudly around this frequency Summary

Equal Loudness Contours show the measure of sound pressure levels in relation to different frequencies. Our ears perceive different frequencies of sound to be louder or quieter than each other even when played at the same reference level of db. Hearing Damage Tinnitus (both temporary and permanent) Tinnitus is a term used to describe the case of being able to hear sounds that are within the person’s body, rather than sounds from an outside source. It often causes a ringing In the ears, but other sounds that can be heard Include humming, buzzing ND whistling.

Tinnitus can either be caused by a bully up of earwax, a mild ear infection, or also very commonly can be caused by damage to the inner ear from loud noises (usually high frequencies). Tinnitus can be prevented by best by avoiding exposure to loud noises completely, however this can prove difficult in a lot of scenarios. A more realistic approach to preventing tinnitus include reducing the time that you are exposed to loud noises, this can be done by either spending less time in sissy environments, or by taking regular breaks about every half hour for ten minutes or so.

Another way to reduce the risk of getting tinnitus is by ensuring that you stay hydrated, as this makes sure that the circulation for the blood in the inner ear is kept topped up’. You can also reduce the risk of getting tinnitus by reducing the Intensity of exposure. Either turning the volume down yourself can do this, or If you don’t have control of the volume, then you can wear earplugs. Noise Induced Hearing loss (NIL) is caused by either very loud noises for either a reef or prolonged time.

The loud sounds can damage sensitive structures in the inner ear and can result in struggling or being unable to hear certain frequencies, or just partially deafening your ear(s). NIL can be prevented in the same ways as tinnitus and most other hearing problems. If you reduce the amount of time you are exposed to loud noises, or reduce the intensity of the noise by wearing ear protection, then you are reducing the risk of damaging your ears either temporarily or permanently.

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The Doppler Effect

Table of contents

Doppler Effect Objectives

Measure the detector frequency for waves emitted from a slowly moving source as that source is approaching the detector. (Exploration 1)

Calculate the detector frequency for waves emitted from a slowly moving source as that source is moving away from the detector. (Exploration 2)

Sketch the wave-front patterns for wave sources with various source speeds. (Exploration 3)

Description of Activity In this activity, you will study waves that travel from a moving source to a detector. You will control the source speed as well as the frequency of waves emitted by that source.

You will observe the wave fronts and measure the frequency at the detector. The Jump Start exercises below will help you review frequency, wavelength, pitch, and the Doppler effect. Jump Start

  1. What type of wave is a sound wave? A sound wave is a longitudinal waves.
  2. Define wave frequency.
  • Wave frequency is the number of crests that pass through at a specified time.
  • What is pitch? A pitch is the sound or sensation of the frequency.
  • Sketch one wavelength of a longitudinal wave.

Exploration

A Wave Source Moving Towards a Detector Procedure

Explore the simulation on your own for several minutes. Attempt to identify relationships among source frequency, detector frequency, wave speed, and source velocity. Set Source speed to 1. 0 cm/s. Move the detector by dragging it from the left side of the screen onto the grid; place it on the right side of the grid, directly opposite the wave source. Set Wave speed to 5. 0 cm/s. Select a Source frequency. Record this frequency in Table 1. The top stopwatch in this Virtual Investigation starts automatically when the first wave front touches the detector.

The second stopwatch does not start until the source has passed the detector. Select Go. Using the top stopwatch, observe the number of waves that pass the detector in 1. 0 s. This is the detector frequency. Record this frequency in Table 1. In addition, sketch the wave-front pattern on a separate sheet of paper. 4. Repeat step 3 for at least two more trials. Keep Source speed, Wave speed, Source frequency, and detector position the same for all three trials. Repeat steps 2 through 4 for at least three more source frequencies Observations and Analysis

For each source frequency, average the detector frequencies. Record these averages in Table 1. 2. Are the source frequencies greater than, less than, or the same as the detector frequencies in this Exploration? The source frequencies were less than the detections.

Exploration 2: A Source Moving Away from a Detector Procedure

Set Source speed to 1. 0 cm/s and Wave speed to 5. 0 cm/s. Place the detector on top of the source. Set Source frequency to any value. Record this source frequency in Table 2. This time, the detector will detect waves as the source moves away from it. Select Go. In Table 2, record the number of wave fronts that pass the detector in 5. 0 s. 4. Repeat steps 2 and 3 for at least three more source frequencies. Observations and Analysis Table 2 (source speed = 1. 0 cm/s; wave speed = 5. 0 cm/s)

Divide the number of times that the detector light flashes in 5. 0 s by 5. 0 for each source frequency in Table 2. This is the detector frequency. In Table 2, record the detector frequency for each source frequency. Are the source frequencies greater than, less than, or the same as the detector frequencies in this Exploration? The detector frequencies are greater than the source frequencies. In Exploration 1, you averaged the results of three trials.

In Exploration 2, you gathered data over a longer period of time. Which approach probably yielded more accurate results? Why? I think Exploration 1 yielded more accurate results because the detector was not sitting above and it gave the detector an accurate reading.

Exploration 3: A Moving Source at Different Velocities Procedure

Set Wave speed to 10. 0 cm/s and Source frequency to 1. 0 Hz. Place the detector anywhere. Set Source speed to 6. 0 cm/s. 3. Select Go. Sketch the resulting wave-front pattern on a separate sheet of paper. Set Source speed to 8. 0 cm/s. 5.

Select Go. Sketch the resulting wave-front pattern on the separate sheet of paper. 6. Repeat steps 4 and 5 for 10. 0 cm/s, 12. 0 cm/s, and 14. 0 cm/s source speeds.

Observations and Analysis

What happens to the wave-front pattern as the source speed is increased to equal the wave speed? The amount of waves seen in a given time seems to increase and reach the detector much faster. What happens to the wave-front pattern as the source speed is increased beyond the wave speed? When the source speed is increased beyond the wave speed the waves frequency is extremely high. Conclusions

Describe how the motion and frequency of a wave source affects the waves that source produces. When the frequency and motion are both set at high rates, the waves that are produced and their frequency is increased. When the motion and frequency are decreased the waves decrease as well. Inquiry Extension Luisa is swinging on a playground swing at school. A teacher facing her blows a whistle to let the children know recess is over. As Luisa swings, what does she hear? When does she hear the highest pitch? As Luisa swings she hears the whistle, but she hears the highest pitch when she is swinging away from the teacher.

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Acoustical Recording

In the early 1900s, a process known as acoustical recording was being implemented. Acoustical recording consisted of artists/musician assembling nearby a cone that confined a diaphragm joined to a cutting needle that, in turn, rested on the recording medium. As the diaphragm reacted to the reverberations produced by the instruments, the needle cut followed an equivalent rhythm into the type of device it recorded on.

In order for the cone to capture the sound, it was crucial for each instrument and/or artist to be in close range at the suitable time it needed to be recorded. This provided difficulties for those bands with large amounts of musicians. If a certain musician and/or instrument were to be highlighted for a specific moment in the recording, this required other musicians to quickly rearrange their seating (or standings) so that the sound from the intended instrument were at a respectable range to the cone with its diaphragm.

According to Encyclopedia Britannica, during the early 1920s, technology developments provided circuits for sine-, square-, and sawtooth-wave generators which designed amplifiers, filter circuits, microphones, and loudspeakers. By 1925, technology developments improved the functions of the microphone. Their usage to capture the sounds for recordings provided musicians with new views on the microphone capabilities.

They realized that the microphones provided them with a clearer and lively sound during recordings and performances while amplifying and learning to modulate their sound. The acoustic recording process, aka “mechanical recording process”, had difficulties capturing high amplitude and rapid arrivals of percussion notes during lower frequencies recordings, which caused complications in the mechanical acoustic process.

From a listeners prospective, an acoustic sound seems to provide an entirely different mood compared to electric. The electric sound seems to bring the listeners to a much livelier experience with the music and to the artist(s). The sounds from the instruments provided by the electronic recording brings listeners clarity, drawing us closer to the music while submerging us in the playing. Almost as if we were in the recording sessions with the artist(s)/band.

A great example to listen and compare certain differences in acoustic and electric recording is Bennie Moten Band’s ” Sugar” and ” The Moten Swing”. During the listen of ” Sugar”, a track released during 1927, we hear many different instruments. Trumpets, saxophones, banjos, and flutes amongst other instruments can easily be detected while this work of art is being played. “The Moten Swing”, which was released in 1932, listener can point out instruments like vibraphone, pianos, trumpets, and saxophones.

Although both listens provide us with similar and different instruments, one thing that also becomes clearer is the quality in the recording. “The Moten Swing”, recorded electronic, provided listener with an undeniably clearer, smoother paced, and modern (at the time) sound. While Bennie Moten Band’s “Sugar” recording, recorded acoustic, provided listeners with a more clouded sounded. It was easy to notice what seemed to be a far distance in the instruments being played.

“The Moten Swing”, gave off a faster, high-energy vibe that seemed more playful and made for fast paced dancing while keeping a prominent upbeat rhythm and artistry with many mixtures of instruments being played. On the other hand, “Sugar” gave off a more structured (maybe even traditional) form of dancing feel. Although, it did give a steady sound loop with an arguable upbeat sound, it was noticeably slower than “The Moten Swing” with its music melody.

Despite the limited equipment available during this time, musicians were able to create trendsetting sounds that not only impacted Jazz but all genres of music across the world. The wide assortment of musical equipment that we are familiarized with today were influenced by these early developments. Musicians uplifted and redefined the music through the revolutionary opportunities presented by these newly developments. Technology has impacted the way musicians and their listeners understand, receive and analyze the sounds and styles of music.

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The Harm and Causes of Noise Pollution

As a Kansas local, I am lucky to live in the country, where exposure to noise is usually under my own control. On a normal day, the average decibel rating on my front porch is 37 decibels. Even on a day when farm equipment can be heard off in the distance, the top decibel reading I have taken at my home is 47 decibels.

This is not the case in Lawrence, Kansas. Lawrence is affected by noise pollution, just like all cities. The main sources of noise pollution are cars and trucks, construction sites, entertainment spots, and other industrial noise. These sources of noise effect different people in different ways. They also effect animals, that live in Lawrence, and other cities. This is due to how close we are to the noise, and how long we are exposed. Due to this, Lawrence has created noise ordinances in order to help lessen the issue.

Living in a family with several hearing professionals, I learned at an early age about hearing protection, and how sound is measured. The term decibel (dB) is used to a measure and explain the intensity of a sound. It is measured on a logarithmic scale starting at 0 dB. Zero decibels is nearly complete silence.

The way sound is measured is sometimes difficult to understand because a sound 10 times more powerful than silence is rated at 10 dB; and a sound 100 times more powerful than silence is rated at 20 dB. This continues as a sound 1000 times more powerful is rated at 30 decibels and the follows the same pattern. I find the best way to explain it is using real world examples.

I took the following decibel readings as examples:

  • 20 dB – Wind through the trees
  • 33 dB – Water moving is a stream
  • 52 dB – A truck passing on a gravel road
  • 57 dB – People talking indoors
  • 69 dB – A running shower
  • 92 dB – Lawn tractor
  • 114 db – Full size farm tractor
  • 126 dB – Kansas Men’s Basketball Game at Allen Field House
  • 157 dB – 20 gauge shotgun

The biggest problem with noise pollution is that it is part of almost everything we do, and it can’t be eliminated entirely. Industrial machines, construction equipment, items used for music and entertainment, and even children’s toys are part the overall level of noise pollution. Noise can be lessened in most instances, or can be isolated to places where the distractions and impact are minimal. This is why most areas have zoning laws that make industrial plants locate outside of areas where populations typically live.

The National Institute on Deafness and Other Communication Disorders, a website sponsored by the U.S. Department of Health ; Human Services, lists 70 decibels as the noise level where sound becomes damaging to humans and other living things. The immediate volume of noise does not always matter, as damage can also happen from prolonged, or accrued, exposure. Karl Kryter, a noted author on the subject of noise induced hearing loss, reports that “exposure exceeding eight hours of noise exceeding eighty-five decibels is hazardous and can result in the loss of hearing”.

At my home outside the city in more rural Douglas County, I am approximately 11 miles from the KU campus. The sounds I hear when I am at home are completely different from those I hear when I go to school, or when I visit Lawrence. Our family home is a ranch style so it is all on one level. To get to the front door you have to step up onto a very large covered deck, and at one end, past the front door, is a white porch swing.

I sit in that porch swing to relax and study any day when the weather permits. I close my eyes as I rock back and forth, and I listen to the wind moving through the trees that line our driveway. I can hear the chickens in our chicken coop right around the corner from where I sit. They coo and talk to each other, sometimes flapping their wings to get up on top of the coop. I also hear Sophie and Sally, our two Nigerian Pygmy goats playing.

They love to climb on the wooden structure my dad built for them, and I can hear their hooves hitting the wooden deck as they jump on and off chasing each other. Their bleating as they communicate with each other truly makes me smile. I cannot imagine not being able to hear the sounds than I love.

When I go into Lawrence, I am faced with completely different sounds than at home. As an example, downtown Lawrence averages a decibel reading of about 70 decibels during an average workday. I measured a low of 42 dB and a high of 91 dB when delivery trucks were nearby. These are generally lower than what would be expected for an “urban environment” as Lawrence is not a large city.

Noise can have several negative effects on human beings, and other animals. Of all the possible impacts, permanent hearing loss is the biggest. This could be partial or even total hearing loss. In her 2017 article “Healthy Hearing,” Brandy Plotnick reported, “an estimated sixteen million workers in the US factories miss work every year due to complications resulting from noise pollution, and estimates place the impact at a four billion dollar loss to the U.S. economy”. Interestingly enough, noise receives the least attention of environmental pollutants. Noise pollution is invisible, and this fact contributes to the lack of understanding to the dangers.

Noise pollution negatively impacts the quality of life for people living in urban environments at a higher degree, due to their proximity to industries, transportation, airplanes overhead, and the larger number of entertainment venues. Worldwide, these large population centers usually have a large number of people living in close proximity to each other. Several countries, however, have taken noise pollution as a serious matter and taken action to try and control noise pollution.

The United States Government, for example, created the Occupational Safety ; Health Administration (OSHA) to protect workers from job related safety issues, including those that can cause noise induced hearing loss due to exposure. The European Union requires noise maps for cities in order to control the exposure of the population to excessive noise. The Netherlands does not allow construction of houses for human inhabitation in areas where the average noise in every twenty-four hours goes above 50 decibels.

The Noise Act of Great Britain empowers law enforcement and local authorities to confiscate all noisy equipment and charge fines to people making too much noise at night. The Noise Act of the Great Britain also requires developers to install porous asphalt technology with the capacity to lower traffic noise by up to five decibels (Stansfield et al).

One of the largest negative impact of noise pollution is noise induced hearing loss (NIDL). In order to understand how noise induced hearing loss happens, we first need to understand how we hear. The shape of our outer ear funnels sound into the ear canal and towards the eardrum. The eardrum (tympanic membrane) vibrates due to the sound and sends vibrations to the three tiny bones in the middle ear.

These three bones are called the hammer (malleus), the anvil (incus) and the stirrup (stapes); and theyamplify the vibrations and send them to the inner ear (cochlea). Inside the cochlea are tiny hair-like cells. These cells react to the vibrations by releasing neurochemical messengers that turn the sound waves into electrical signals. The auditory nerve then carries the electrical signals to the brain, where they are translated into sound.

When we are exposed to single loud noises, or when we are exposed to noise levels of 70 dB or above for an extended period of time, the hair-like cells inside our inner ear are damaged. Over time, they can die, and our body does not have the ability to regenerate these cells. This noise induced hearing loss can cause loss of hearing in certain frequency ranges, or our ability to hear altogether. (Kryter)

Noise pollution has also been proven to cause negative psychological effects on humans and other animals. Among these is anxiety and nervous tension, loss of appetite, headaches, and issues with the pituitary gland. Increased exposure to noise pollution also can affect muscles and other internal organs by increasing inflammation of the nerve cells. The negative effects noise exposure can have on individuals has caused increased interest in noise pollution and ideas meant to protect the populations from excessive noise pollution (Atamca et al.).

The City of Lawrence, Kansas has made several attempts to lessen the effects of noise pollution on the local residents. Among these measures is the Lawrence noise ordinance, “Loud and Unnecessary Noise Prohibition of the Nuisance Act.” According to the noise ordinance, “it is unlawful for any person to make, allow or continue to make any unnecessary, excessive, loud and unusual noise which endangers the comfort of others, creates a nuisance, injuries, repose or affects the safety of other people.

Noise interfering with the enjoyment of property of any person of reasonable sensibilities residing in or occupying the area is prohibited, unless the making or continuation in the making of such noise is necessary for the protection and preservation of the said property or the health and safety of an individual”. The act specifically declares certain activities as nuisance noise, and a violation of this section, making them unlawful.

These items are, “the playing of any radio device, musical instrument sound amplifier and a similar device that amplifies sound in such a manner or intensity to annoy, cause distress, disturb the quiet, repose and comfort of a person of reasonable sensibilities within the vicinity or hearing range of the said noise. Steam whistles, the blowing of steam whistles attached to any stationary boiler except when being used to give notice of the opening and closing of an institution or establishment, or indicating initiation and end of work or give warning” (Noise Ordinance).

Although the ordinance was most recently published in 2017, it is clear from the items included that it has not been updated for many years. Brian Jimenez, Code Enforcement Manager for the City of Lawrence Kansas stated to me “the regulations have not kept up with population changes or advancements in technology”. Instead of references to decibel readings, the ordinance classifies any noise from a stationary source as either loud, unnecessary or unusual as unlawful “as prohibited by the ordinance”.

In doing some research for this speech, I took average decibel readings in several locations in Lawrence. These readings were taken Downtown (9th and New Hampshire), South (31st ; Iowa), Northwest (6th and Wakarusa) and on campus outside of Allen Fieldhouse. Each location was measured over a 3-hour period using an electronic dosimeter loaned to me by my father. The dosimeter measured levels constantly and provided data:

Downtown South Northwest Campus

  1. High dB Rdg. 102 91 87 92
  2. Low dB Rdg 67 58 55 51
  3. Avg dB for 3 hrs 83 79 72 71

Observations Construction and traffic Siren, traffic Traffic noise Police sirens. Overall lowest

Due primarily to traffic and construction noise, each of the four locations demonstrated an average decibel rating over 70 decibels. While it takes a higher level to cause immediate damage, constant exposure at these levels can become an issue. The high readings in each location were enough to cause damage, and the construction noise in downtown Lawrence is reaching dangerous levels at the peak measurements.
While the City of Lawrence has made positive strives, in working to control noise pollution, there is still a lot that could be done.

A big one is controlling of noise from construction activities. Construction, not like industrial activities, is not confined to specific locations. Construction takes places in commercial, industrial and even residential areas depending on the job. Construction can also involves the use of large machinery, resulting in noise pollution whose intensity changes based on the type of machinery used and the activity. Workers inside construction sites are usually protected using OSHA mandated personal hearing protection like earplugs or ear muffs, however, people living near the construction site are exposed to the high noise levels.

While taking readings on the sidewalk across the street from a construction site in downtown Lawrence recently, over a 30- minute period, decibel levels reached a high of 91 decibels with an average of 83 decibels. This tells me that the city could protect its residents better by creating an ordinance regulating noise from construction sites. Contractors could be required to take decibel measurements and lessen the noise that comes from machinery they use. Sound dampening technology is available today and there are cities where the requirements already exist.

Another area where the City of Lawrence can intervene is by regulating the level of noise coming from entertainment businesses. Over the last few years, Lawrence has allowed the building of quite a few downtown apartment buildings. Many are on New Hampshire Street where there are quite a few bars and restaurants featuring live music. These businesses add to the character and personality of Lawrence, but noise coming from them puts the hearing health of the people living in the neighborhood at risk.

As an example, on a recent Friday evening I took decibel readings outside of the “Bottleneck,” a local bar with live music. Normal readings with the doors closed were just under 65 decibels, but the decibel levels jumped to over 100 decibels (averaged 102 dB) every time the doors opened. This is an unknown danger for the people living or even just walking nearby. Even across the street, the decibel level was higher than 85 decibels at times.

The most important thing we can do to reduce the damage of noise pollution is to educate the population. While most of us understand that very loud noises can harm us, the majority don’t realize that lower noises over a period of time can actually be more harmful. There are several apps available for both Apple and Android phones, which measure decibel levels and provide the information for our own personal protection. I would encourage each of you to download one and look at the sounds you are exposed to in your own life. By measuring your own personal exposure, and understanding when hearing protection is beneficial, we can all reduce the chance of noise induced hearing loss.

Works Cited

  • Atmaca, E, et al. “Industrial Noise and Its Effects on Humans.” Journal of Environmental Studies, vol. 14.6, 2005.
    Jimenez, Brian. Personal Interview. November 17, 2017
  • “Kansas Noise Ordinance 2017.” City of Lawrence, KS, City of Lawrence, KS, 2017, lawrenceks.org/police/noise-problems/.
    Kryter, Karl D. The Effects of Noise on Man. Elsevier, 2013.
  • “Noise Induced Hearing Loss.” National Institute on Deafness and Other Communication Disorders (NIDCD), U.S. Department of Health & Human Services, 2017, www.nidcd.nih.gov/health/noise-induced-hearing-loss.
  • “Noise Induced Hearing Loss.” National Institute on Deafness and Other Communication Disorders (NIDCD), U.S. Department of Health & Human Services, 2017, Web www.nidcd.nih.gov/health/noise-induced-hearing-loss.
  • Plotnick, Brande. “Noise-Induced Hearing Loss (NIHL).” Healthy Hearing, Healthy Hearing, 11 May 2017, www.healthyhearing.com/help/hearing-loss/noise.
  • Stansfield, Stephen A, and Mark P Matheson. “Noise Pollution: Non-Auditory Effects on Health.” British Medical Bulletin, vol. 68.0, 2003, pp. 243–257.

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Bela Bartok

Research Paper on Bela Bartok…………. By Jibin Parayil Thomas (2011B4A7628G) Introduction Bela Bartok (1881-1945) is regarded as a key innovator of the twentieth-century music. He is widely known for compositions strongly influenced by his folk music studies, and for his activities as a concert pianist, music editor and teacher. The works of Bela Bartok are generally approached from either of two theoretical premises.

The first being an extension of traditional western art music that has preceded him (particularly the expanded harmonic resources which emerged during the ‘Romantic’ musical period), the other being from Bartok’s own research into the folk music of Europe. It has been said that through this research, Bartok was able to free himself from the tyrannical rule of the major and minor keys, leading eventually to a new conception of the chromatic scale, every tone of which came to be considered of equal value and could be used freely and independently.

Bartok was not noted for his use of 12-tone concepts per se, but his search for harmonic freedom did parallel the concepts of the 12-tone composers of his time. His music rarely displays the consistent vocabulary that would prove a set-theory approach to be worthwhile. There are certain pitch collections that do appear consistently in his work. Bartok achieved something that no one had before his time, the symbolic handshake between East and West: synthesis, a seamless blending of two sources into a single style.

Bartok was a knowledgeable ethnomusicologist who wrote and lectured on his areas of research into the cultural music of Europe in general, and of Hungary in particular. (Ethnomusicology is defined as “the study of social and cultural aspects of music and dance in local and global contexts). The research paper comprises three sections: the first explores Bartok’s general philosophy on life, as it evolved within the turbulent political and cultural environment in which he grew up.

Focusing on his major works the second section identifies the innovative characteristics of his musical style within the context of the diverse genres in which he composed. The third section examines the wide variety of critical and analytical responses to his compositions and his performances. 1-Bartok’s background and development Bartok’s family reflected some of the ethnic diversity of the country. His mother Paula Voit Bartok ,was ethnically German,though she spoke Hungarian fluently, his father,Bela Sr. considered himself thoroughly Hungarian,though his mother was from a Serbian family. Although Bartok’s musical upbringing was purely German ,parts of his background leaned towards Hungarian nationalism. Some of Bartok’s most important musical colleagues were the members of the Waldbauer-Kerpely String Quartet,who came together in 1909 specifically to perform Bartok’s and Kodaly’s first string quartets,and the composers and musicians of the New Hungarian Music Society.

The turn of the twentieth century,which marks the beginning of Bela Bartok’s musical career,witnessed a Hungarian society divided from the point of view of its musical taste into three distinct layers:the upper classes which included the nobility,the urban financiers,industrialists and bourgeoisie turned to the west for their musical needs;the gentry and the urban middle class found satisfaction I the music of gypsy bands and in popular art songs;t was only the agrarian folk who lived with its folksongs and musical customs,solated from the rest of society.

Bartok obtained his childhood impressions of Hungarian music from his provincial urban environment. At the age of four he could play with one finger on the piano the folk tunes familiar to him, about forty of them. When Bartok entered the Academy of Music in Budapest in 1899,he had no better knowledge of his country’s folksongsthan that of the general public.

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