biological and medical physics, biomedical engineering

ELIAS GREENBAUM- OAK RIDGE NATIONAL LABORATORY – SPRINGER 2005

BIOLOGICAL AND MEDICAL PHYSICS, BIOMEDICAL ENGINEERING

Contents

1 Elements of the Description

1.1 Sound

1.1.1 AMetaphor

1.1.2 Getting Serious

1.1.3 SoundasaPhysicalPhenomenon

1.1.4 SoundWaves

1.1.5 DetectingSound

1.2 Frequencyandamplitude

1.2.1 PeriodicSignalsvs. Noise

1.2.2 IntensityofSound

1.3 Harmonics and Superposition

1.3.1 Beyond Frequency and Amplitude: Timbre

1.3.2 AddingupWaves

1.4 Sonograms

1.4.1 Onomatopoeias

1.4.2 Building a Sonogram

2 Sources and Filters

2.1 SourcesofSound

2.1.1 Flow, Air Density and Pressure

2.1.2 Mechanisms forGeneratingSound

2.2 Filters and Resonances

2.2.1 Same Source, Diﬀerent Sounds

2.2.2 Traveling Waves

2.2.3 Resonances

2.2.4 Modes and Natural Frequencies

2.2.5 Standing Waves

2.3 Filtering a Signal

2.3.1 Conceptual Filtering

2.3.2 Actual Filtering

2.3.3 TheEmissionfromaTube

3 Anatomy of the Vocal Organ

3.1 MorphologyandFunction

3.1.1 GeneralMechanismofSoundProduction

3.1.2 MorphologicalDiversity

3.1.3 TheRichnessofBirdsong

3.2 TheoscineSyrinx

3.2.1 TheSourceofSound

3.2.2 TheRoleof theMuscles

3.2.3 Vocal Learners and Intrinsic Musculature

3.3 TheNonoscineSyrinx

3.3.1 TheExampleof thePigeons

3.4 Respiration

4 The Sources of Sound in Birdsong

4.1 Linear Oscillators

4.1.1 ASpringandaSwing

4.1.2 Energy Losses

4.2 Nonlinear Oscillators

4.2.1 Bounding Motions

4.2.2 An Additional Dissipation

4.2.3 Nonlinear Forces and Nonlinear Oscillators

4.3 Oscillations in the Syrinx

4.3.1 ForcesactingontheLabia

4.3.2 Self-Sustained Oscillations

4.3.3 Controlling the Oscillations

4.4 Filtering the Signal

5 The Instructions for the Syrinx

5.1 TheStructureofaSong

5.1.1 Syllables

5.1.2 Bifurcations

5.2 The Construction of Syllables

5.2.1 CyclicGestures

5.2.2 Paths inParameterSpace

5.3 The Active Control of the Airﬂow: A Prediction

5.4 Experimental Support

5.5 Lateralization

6 Complex Oscillations

6.1 Complex Sounds

6.1.1 Instructions vs. Mechanics

6.1.2 Subharmonics

6.2 AcousticFeedback

6.2.1 Source–Filter Separation

6.2.2 ATime-DelayedSystem

6.2.3 Coupling Between Source and Vocal Tract

6.3 LabiawithStructure

6.3.1 TheRoleof theDynamics

6.3.2 TheTwo-MassModel

6.3.3 Asymmetries

6.4 ChoosingBetweenTwoModels

6.4.1 Signatures of Interaction Between Sources

6.4.2 Modeling Two Acoustically Interacting Sources

6.4.3 Interact, Don’t Interact

7 Synthesizing Birdsong

7.1 Numerical IntegrationandSound

7.1.1 Euler’sMethod

7.1.2 Runge–KuttaMethods

7.1.3 ListeningtoNumericalSolutions

7.2 Analogintegration

7.2.1 Operational Ampliﬁers: Adding and Integrating

7.2.2 An Electronic Syrinx

7.3 PlaybackExperiments

7.4 WhyNumericalWork?

7.4.1 Deﬁnition of Impedance

7.4.2 ImpedanceofaPipe

8 From the Syrinx to the Brain

8.1 TheMotorPathway

8.2 TheAFPPathway

8.3 Models for theMotorPathway: What for?

8.3.1 Building Blocks for Modeling Brain Activity

8.4 Conceptual Models and Computational Models

8.4.1 Simulating the Activity of HVC Neurons

8.4.2 Simulating the Activity of RA Neurons

8.4.3 Qualitative Predictions

8.5 Sensorimotor Control of Singing

8.6 ComputationalModelsandLearning

8.7 RateModels

8.8 Lights and Shadows of Modeling Brain Activity

9 Complex Rhythms

9.1 Linear vs. Nonlinear Forced Oscillators

9.2 Duets

9.2.1 HorneroDuets

9.2.2 A Devil’s Staircase

9.2.3 TestDuets

9.3 Nonlinear Dynamics

9.3.1 A Toy Nonlinear Oscillator

9.3.2 PeriodicForcing

9.3.3 Stable Periodic Solutions

9.3.4 Locking Organization

9.4 Respiration

9.4.1 Periodic Stimulation for Respiratory Patterns

9.4.2 AModel

9.5 BodyandBrain

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