Harmonic 33

[Shameka Cretsinger]

Inphysics, acoustics, and telecommunications, a harmonic is a sinusoidal wave with a frequency that is a positive integer multiple of the fundamental frequency of a periodic signal. The fundamental frequency is also called the 1st harmonic; the other harmonics are known as higher harmonics. As all harmonics are periodic at the fundamental frequency, the sum of harmonics is also periodic at that frequency. The set of harmonics forms a harmonic series.

The term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields. For example, if the fundamental frequency is 50 Hz, a common AC power supply frequency, the frequencies of the first three higher harmonics are 100 Hz (2nd harmonic), 150 Hz (3rd harmonic), 200 Hz (4th harmonic) and any addition of waves with these frequencies is periodic at 50 Hz.

In music, harmonics are used on string instruments and wind instruments as a way of producing sound on the instrument, particularly to play higher notes and, with strings, obtain notes that have a unique sound quality or "tone colour". On strings, bowed harmonics have a "glassy", pure tone. On stringed instruments, harmonics are played by touching (but not fully pressing down the string) at an exact point on the string while sounding the string (plucking, bowing, etc.); this allows the harmonic to sound, a pitch which is always higher than the fundamental frequency of the string.

Harmonics may be called "overtones", "partials", or "upper partials", and in some music contexts, the terms "harmonic", "overtone" and "partial" are used fairly interchangeably. But more precisely, the term "harmonic" includes all pitches in a harmonic series (including the fundamental frequency) while the term "overtone" only includes pitches above the fundamental.

A whizzing, whistling tonal character, distinguishes all the harmonics both natural and artificial from the firmly stopped intervals; therefore their application in connection with the latter must always be carefully considered.[citation needed]

Partials whose frequencies are not integer multiples of the fundamental are referred to as inharmonic partials. Some acoustic instruments emit a mix of harmonic and inharmonic partials but still produce an effect on the ear of having a definite fundamental pitch, such as pianos, strings plucked pizzicato, vibraphones, marimbas, and certain pure-sounding bells or chimes. Antique singing bowls are known for producing multiple harmonic partials or multiphonics.[3][4]Other oscillators, such as cymbals, drum heads, and most percussion instruments, naturally produce an abundance of inharmonic partials and do not imply any particular pitch, and therefore cannot be used melodically or harmonically in the same way other instruments can.

Building on of Sethares (2004),[5] dynamic tonality introduces the notion of pseudo-harmonic partials, in which the frequency of each partial is aligned to match the pitch of a corresponding note in a pseudo-just tuning, thereby maximizing the consonance of that pseudo-harmonic timbre with notes of that pseudo-just tuning.[6][7][8][9]

An overtone is any partial higher than the lowest partial in a compound tone. The relative strengths and frequency relationships of the component partials determine the timbre of an instrument. The similarity between the terms overtone and partial sometimes leads to their being loosely used interchangeably in a musical context, but they are counted differently, leading to some possible confusion. In the special case of instrumental timbres whose component partials closely match a harmonic series (such as with most strings and winds) rather than being inharmonic partials (such as with most pitched percussion instruments), it is also convenient to call the component partials "harmonics", but not strictly correct, because harmonics are numbered the same even when missing, while partials and overtones are only counted when present. This chart demonstrates how the three types of names (partial, overtone, and harmonic) are counted (assuming that the harmonics are present):

While it is true that electronically produced periodic tones (e.g. square waves or other non-sinusoidal waves) have "harmonics" that are whole number multiples of the fundamental frequency, practical instruments do not all have this characteristic. For example, higher "harmonics" of piano notes are not true harmonics but are "overtones" and can be very sharp, i.e. a higher frequency than given by a pure harmonic series. This is especially true of instruments other than strings, brass, or woodwinds. Examples of these "other" instruments are xylophones, drums, bells, chimes, etc.; not all of their overtone frequencies make a simple whole number ratio with the fundamental frequency. (The fundamental frequency is the reciprocal of the longest time period of the collection of vibrations in some single periodic phenomenon.[10])

Harmonics may be singly produced [on stringed instruments] (1) by varying the point of contact with the bow, or (2) by slightly pressing the string at the nodes, or divisions of its aliquot parts ( 1 2 \displaystyle \tfrac \ 1\ 2 , 1 3 \displaystyle \tfrac \ 1\ 3 , 1 4 \displaystyle \tfrac \ 1\ 4 , etc.). (1) In the first case, advancing the bow from the usual place where the fundamental note is produced, towards the bridge, the whole scale of harmonics may be produced in succession, on an old and highly resonant instrument. The employment of this means produces the effect called 'sul ponticello.' (2) The production of harmonics by the slight pressure of the finger on the open string is more useful. When produced by pressing slightly on the various nodes of the open strings they are called 'natural harmonics'. ... Violinists are well aware that the longer the string in proportion to its thickness, the greater the number of upper harmonics it can be made to yield.

The following table displays the stop points on a stringed instrument at which gentle touching of a string will force it into a harmonic mode when vibrated. String harmonics (flageolet tones) are described as having a "flutelike, silvery quality" that can be highly effective as a special color or tone color (timbre) when used and heard in orchestration.[12] It is unusual to encounter natural harmonics higher than the fifth partial on any stringed instrument except the double bass, on account of its much longer strings.[12]

Occasionally a score will call for an artificial harmonic, produced by playing an overtone on an already stopped string. As a performance technique, it is accomplished by using two fingers on the fingerboard, the first to shorten the string to the desired fundamental, with the second touching the node corresponding to the appropriate harmonic.

Harmonics may be either used in or considered as the basis of just intonation systems. Composer Arnold Dreyblatt is able to bring out different harmonics on the single string of his modified double bass by slightly altering his unique bowing technique halfway between hitting and bowing the strings. Composer Lawrence Ball uses harmonics to generate music electronically.

For my finals, I am digging through the book by Varadarajan An introduction to harmonic analysis on semisimple Lie groups. I find it a rather hard read and I feel it's a bit outdated now. Any recommendation of a more modern (and/or) introductory treatment to the topics covered by this book would be greatly appreciated.

I am more interested in the representation theory, although I find the connection to harmonic analysis intriguing. Having learned finite-dimensional representation theory I wanted to move on to the infinite-dimensional one. From harmonic analysis I know only the classical Pontryagin duality, which I thought is enough to get me started, but I've found Varadarajan's approach based on examples difficult to follow.

Speaking as a nonexpert, I'd emphasize that the subject as a whole is deep and difficult. Even leaving aside the recent developments for $p$-adic groups, the representation theory of semisimple Lie groups has been studied for generations in the spirit of harmonic analysis. So there is a lot of literature and a fair number of books (not all still in print). Having heard many of Harish-Chandra's lectures years ago, I know that the subject requires enormous dedication and plenty of background knowledge including classical special cases. Some books are certainly more accessible for self-study than others, but a lot depends on what you already know and what you think you want to learn.

Access to MathSciNet is helpful for tracking books and other literature, as well as some insightful reviews. Without attempting my own assessment, here are the most likely books to be aware of besides the corrected paperback reprint of Varadarajan's 1989 Cambridge book (I have the original but not the corrected printing, so don't know how many changes were made):

This old book by Wallach as well as another by him on Lie group representations are presumably out of print. In any case, textbooks at an introductory level which emphasize both Lie group representations and harmonic analysis (often in the direction of symmetric spaces) are relatively few and far between. That probably reflects the practical fact that graduate courses aren't often attempted and are inevitably rather advanced. On the other hand, there are some modern graduate-level texts on compact Lie groups and related harmonic analysis as well as books on Lie groups and their representations with less coverage of harmonic analysis and symmetric spaces.

The first thing one should keep in mind is that harmonic analysis on semisimple Lie groups is very different from the "abstract harmonic analysis" a la Loomis or Hewitt and Ross dealing with locally compact abelian groups. The semisimple case was developed in the large part by Harish-Chandra and his papers (reprinted in his 4 volume Collected papers), while considerably older than Varadarajan's book, are still a good source of results and inspiration for many of us.

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