Persuasive presentation: Source Requirement: For this speech you are required to use at least five (5) credible. If you fail to use the appropriate number of acceptable sources you may be penalized twenty (20) points on your speech grade. Additionally, using websites such as Wikipedia, About.com, AskJeeves, or other such online encyclopedias will result in an automatic zero (0) for the speech grade. Finally, although encouraged, interviews, personal correspondence, atlases, dictionaries and encyclopedias do not count toward your total number of sources—though they must be listed in the bibliography and properly cited within the outline Introduction Gained attention and interest ____ Established credibility and goodwill ____ Introduced topic clearly ____ Previewed body of speech ____ Transition to body ____ Body Adheres to assignment directions ____ Clear organizational pattern ____ Arguments clear ____ Arguments well supported ____ Clear persuasive elements (ethos, pathos, logos) ____ Quality of supporting materials ____ Cite sources properly ____ Related topic to the audience ___ Transitions ____ Conclusion Signaled ending ____ Summary of main points ____ Clincher ____ Physical Delivery Posture (no swaying, moving back and forth, etc.) ____ Eye contact ____ Appearance ____ Appropriate gestures ____ Vocal Delivery Volume ____ Controlled vocalized pauses ____ Language (appropriate, interesting, etc.) ____ Pace/Fluency ____ Vocal Variety (tone, pitch, etc) ____ Extemporaneous delivery style ____ Visual Aid Explained as needed _____ Professionally displayed (aids verbal component, visual appeal)_____ Integrated into presentation _____ Outline Full sentence outline typed and organized in designated format ____ Speaking outline typed and adheres to extemporaneous style ____ Works cited in proper format ____ Attributed sources within outline properly ____ Time: ____________ Time penalty (if applicable): _______ Other comments: Section #:______________ Date: __________________ ____ / 10 ____ / 30 ____ / 10 ____ / 10 ____ / 10 ____ / 10 ____ / 20 Total Grade: _________ / 100 Letter Grade: ________ Acoustics Experiments As part of the course, students will carry out one experiment involving sound and write a report on it. A list of possible experiments is given below. Other experiments may be substituted for those on the list, with the instructor’s approval. Students are encouraged to propose experiments on aspects of sound they are particularly interested in and to modify or improve the experiments described below. You may carry out the experiments in groups of up to three students. Each student is expected to write his/her own report in his/her own words. Identical reports are not acceptable. In your report name the students with whom you worked, describe clearly what you did, and explain and interpret your results, answering the questions posed below in connection your particular experiment. A repor.

1. Persuasive presentation:
Source Requirement: For this speech you are required to use at
least five (5) credible. If you fail to use the appropriate number
of acceptable sources you may be penalized twenty (20) points
on your speech grade. Additionally, using websites such as
Wikipedia, About.com, AskJeeves, or other such online
encyclopedias will result in an automatic zero (0) for the speech
grade. Finally, although encouraged, interviews, personal
correspondence, atlases, dictionaries and encyclopedias do not
count toward your total number of sources—though they must
be listed in the bibliography and properly cited within the
outline
Introduction
Gained attention and interest ____
Established credibility and goodwill ____
Introduced topic clearly ____
Previewed body of speech ____
Transition to body ____
Body
Adheres to assignment directions ____
Clear organizational pattern ____
Arguments clear ____
Arguments well supported ____
Clear persuasive elements (ethos, pathos, logos) ____
Quality of supporting materials ____
Cite sources properly ____
Related topic to the audience ___
Transitions ____
Conclusion
Signaled ending ____
Summary of main points ____

2. Clincher ____
Physical Delivery
Posture (no swaying, moving back and forth, etc.) ____
Eye contact ____
Appearance ____
Appropriate gestures ____
Vocal Delivery
Volume ____
Controlled vocalized pauses ____
Language (appropriate, interesting, etc.) ____ Pace/Fluency
____
Vocal Variety (tone, pitch, etc) ____ Extemporaneous delivery
style ____
Visual Aid
Explained as needed _____
Professionally displayed (aids verbal component, visual
appeal)_____ Integrated into presentation _____
Outline
Full sentence outline typed and organized in designated format
____
Speaking outline typed and adheres to extemporaneous style
____
Works cited in proper format ____
Attributed sources within outline properly ____
Time: ____________ Time penalty (if applicable): _______
Other comments:
Section #:______________ Date: __________________
____ / 10
____ / 30
____ / 10
____ / 10
____ / 10
____ / 10
____ / 20
Total Grade: _________ / 100
Letter Grade: ________

3. Acoustics Experiments
As part of the course, students will carry out one experiment
involving sound and
write a report on it. A list of possible experiments is given
below. Other experiments
may be substituted for those on the list, with the instructor’s
approval. Students are
encouraged to propose experiments on aspects of sound they are
particularly interested
in and to modify or improve the experiments described below.
You may carry out the experiments in groups of up to three
students. Each student
is expected to write his/her own report in his/her own words.
Identical reports are not
acceptable. In your report name the students with whom you
worked, describe clearly
what you did, and explain and interpret your results, answering
the questions posed
below in connection your particular experiment. A report of 1-3
pages in length should be
sufficient.
Both the experimental work and the quality of your writing will
be considered in
assigning a grade. Some of the experiments are more difficult,
and extra credit may be
given for a particularly thorough study showing care and
ingenuity.
Note: A great deal of care is required to obtain reliable
experimental results. Make
measurements several times. If the repeated measurements give
quite different results,

4. try to find the source of the variability and improve your
experimental technique. With
some care it should be possible to get within 10 % or 20 % of
the expected result. If your
experimental results are off by far more than this, try to locate
and eliminate the source
of the error. Your experimental technique may be at fault, or
you may be interpreting the
results incorrectly.
List of Possible experiments
1. Echos and the Speed of Sound
Place yourself far enough away from a large building with flat
sides, so that you hear a noticeable echo when you strike a
board loudly with a hammer. A building surrounded by a huge
parking lot with no cars, as in a shopping mall early in the
morning, is ideal. Since the echo returns a fraction of a second
after striking the board, the elapsed time is difficult to measure
accurately with a stopwatch. Here is a procedure for measuring
the travel time of the sound which may give more reliable
results: Strike the block of wood at a steady rate, carefully
adjusting the rate so that midway between each pair of “bangs”
you hear the echo: bang, echo, bang, echo, bang, echo,… Once
you have found the right rhythm, measure the total time for a
convenient number of bangs, and use it to determine the time
between bangs. For example, if you start the stopwatch on bang
1 and stop it on bang 11, the time between bangs is the total
time divided by 10. How is the travel time of the sound to the
wall and back related to the time between bangs? Measure your
distance from the reflecting side of the building. From this
information determine the speed of sound, explaining your
calculation in detail.

5. Note: If there are several nearby buildings, the experiment is
difficult to interpret, since each building contributes an echo.
On the Temple campus, Parking Lot 1 on the west side of Broad
Street, opposite the Baptist Temple, is free of cars, on the
weekend. Standing near the north edge of the parking lot, close
to the Student Pavilion, one can hear a clear echo of a hammer
blow coming mainly from McGonigle Hall to the south. There
are also echoes from sound that travels to the Student Pavilion,
is reflected, and then travels back to the starting point, and from
sound that is first reflected from the Student Pavilion and then
from McGonigle Hall before travelling back to the starting
point. The interpretation of the experimental results is simplest
if one stands right next to the Student Pavilion on the south side
of the building while striking the board or if one stands midway
between McGonigle Hall and the Student Pavilion. Why?
2. Direct Measurement of the Speed of Sound
Two persons, A and B, are required to perform this
experiment. Experimenter A strikes a board loudly with a
hammer, and Experimenter B watches and listens from a
distance of 150 or more meters, large enough so that the sound
arrives with a noticeable delay. Since the delay is only a
fraction of a second, it is difficult to measure accurately with a
stopwatch. Here is a procedure for measuring the travel time of
the sound which may give more reliable results: Experimenter A
strikes the board at a constant rate. Experimenter B then
indicates by making signals to A whether the striking rate
should be speeded up or slowed down in order for B to hear the
sound arrive midway between seeing the strikes. Once the
correct rate has been found so that B sees strike, hears strike,
sees strike, hears strike, etc., separated by equal time intervals,
measure the total time for a convenient number of strikes, and
use it to determine the time between strikes. For example, if you
start the stopwatch on strike 1 and stop it on strike 11, the time
between strikes is the total time divided by 10. How is the
travel time of the sound related to the time between strikes?

6. You will also need to measure the distance between A and B.
From this information determine the speed of sound, explaining
your calculation in detail.
Suggestion: A convenient place to perform this experiment is
the field with artificial turf on the Temple Campus bordering
15th Street and just north of the track. The distance between the
NW and SE corners of the field is close to 200 yards.
3. Doppler Effect, Single Sound Source
Using an electronic tuner which displays frequency in Hertz
and a loud source of sound which produces a steady tone with a
fixed frequency f0, such as an electronic beeper or a tuning
device, measure the change in frequency (Doppler shift) of the
sound you hear if either you or the source is moving. According
to theory the frequency of the sound you hear increases by
(v’/v)f0 if the source is approaching you with speed v’ or if you
are approaching the source with speed v’. The frequency of the
sound you hear decreases by (v’/v)f0 if the source is traveling
directly away from you with speed v’ or if you are traveling
directly away from the source with speed v’ . Here v is the
speed of sound (344 m/s at room temperature). Compare your
results with these formulas. Calculate the speed of sound from
your measurements.
4. Doppler Effect, Two Sound Sources This is an experiment
involving the Doppler effect, which doesn’t require an
electronic tuner that measures frequency. Take two electric
beepers that produce a steady tone with frequency f0 or two
tuning devices that sound f0 = 440 Hz (available in any music
store). Turn them both on and make sure that the two pitches
are the same. If they are not the same, you will hear beats. Place
the two sound sources about 10 meters apart and walk with
speed v’ from sound source A to sound source B. Since you are
moving toward source B, but away from source A, you will hear
the Doppler shifted frequencies fB = (1+v’/v)f0 and fA = (1-
v’/v)f0. Since the two frequencies fA and fB differ slightly, you

7. will hear beats with beat frequency fb = |fA-fB| = 2(v’/v)f0.
Measure the beat frequency and your speed in meters per
second, using a stop watch and marking one meter intervals on
the ground or the floor. Compare the measured beat frequency
and walking speed with the above formula. Calculate the speed
of sound from your measured values.
5. Interference of Sound
This experiment requires a stereo system with two identical
loudspeakers, a monaural CD recording of rather slow moving
music, and two experimenters – one who listens and one who
changes the electrical connections of the speakers. The listener
should place him/herself equidistant from the two speakers and
then compare the loudness of the sound in the following three
cases: (1) just one speaker connected to the amplifier, (2) both
speakers connected to the amplifier so they vibrate in phase,
and (3) both speakers connected to the amplifier so they vibrate
180 degrees out of phase. How should the speakers be
connected to the amplifier to achieve conditions (2) and (3)? In
which case is the sound loudest, least loud? Can you explain
your findings? Do the results change if the listener is not
equidistant from the two speakers? Explain.
Note: This experiment may also be performed with a stereo CD,
but in this case it is important to connect the speakers so that
only one of the two channels on the CD is heard. To hear only
the right speaker channel, connect both speakers to the “right
speaker” connections of the amplifier.
6. Some Characteristics of Human Hearing Part (a) When sound
reaches your ears from two different directions, the sound
which arrives first determines your sensation of the direction
from which it comes. This is known as the precedence effect.
The human ear is extremely sensitive in detecting small
differences in arrival time. To see this, take a piece of flexible
hose or tubing and hold the ends to your ears with most of tube
behind your back, as shown in Fig. 1 of the pdf file
acoustics_experiments.figures. Have a friend, who is behind

8. your back so that you can’t see what is going on, tap the tube a
few inches to the right of the midpoint of the tube and then a
few inches to the left. How close to the midpoint can you still
hear from which direction the sound arrives first? For this
minimum distance, calculate the difference in arrival time for
the sound coming from the right and from the left.
Part (b) Download the software “Audacity” available free of
charge at http://
audacity.sourceforge.net/. Practice generating sine, square, and
saw tooth waves by
clicking on “Generate”on the tool bar, selecting “Tone”, and
typing in the desired
waveform, frequency, amplitude, and duration. To listen to the
sound, click on the green
arrow on the tool bar just under “Generate.” To view the
waveform in detail, click on the
magnifying glass symbol labeled with a plus on the toolbar.
(b-1) Listening to sine waves of different frequencies and
adjusting the volume as
needed to help you hear, determine the highest and lowest
frequency sine waves your
ears can clearly detect. What are they?
(b-2) Generate a single track containing sine waves of
frequencies 2000 Hz, 2500
Hz, 3000, 3500 Hz, 4000 Hz, 4500 Hz, and 5000 Hz , one after
the other, each with
amplitude 1.0 and each lasting 3.0 s, as follows:
(i) Click on “Generate” on the tool bar and generate a sine wave
with frequency 2000 Hz
and amplitude 1.0 lasting 3.0 seconds. Then click on the symbol
>>| on the tool bar to
move the cursor to the right end of the track.
(ii) Next click on “Generate” ” on the tool bar and generate a
sine wave with frequency

9. 2500 Hz and amplitude 1.0 lasting 3.0 seconds. Then click on
the symbol >>| on the tool
bar to move the cursor to the right end of the track.
(iii) Continue this until all 7 sine waves, from 2000 Hz, 2500
Hz, … , up to 5000 Hz have
been added to the track, one after the other, so that the track is
21 seconds long. Then
click on the symbol |<< on the tool bar to move the cursor to the
left end or start of the
track.
Now listen to the track by pressing on the green arrow on the
tool bar just
below “Generate.” You should hear all 7 sine waves, one after
the other. Listen to the
track several times, comparing the loudness. Which frequency
sine wave sounds loudest?
(b-3) Following the procedure outlined in the preceding
paragraph, generate a 200 Hz
sine wave with amplitude 1.0 and duration 3.0 s followed by a
200 Hz sawtooth wave of
the same amplitude and duration. Listen to the track several
times. Compare the loudness
and the tone color of the two sounds, and explain the difference
as best you can.
(b-4) Now generate a 1 Hz sawtooth wave with amplitude 1.0 s
and duration 3.0 s
followed by a 1 Hz square wave of the same amplitude and
duration. Listen to the track
several times. Compare the two sounds, and explain the
difference as best you can. (Hint:
To help you answer this question, view the two waveforms by
clicking the magnifying
glass symbol labeled with a plus sign on the Audacity toolbar as
many times as needed.)7. Tuning Fork Take a tuning fork (buy

10. one at a music store or borrow one) and (a) strike it against the
edge of a table. While it is vibrating, touch the bottom end to a
variety of surfaces. Explain what you hear. (b) Hold the fork
close to your ear while it is vibrating and slowly rotate the
tuning fork. Describe and explain what you hear.(d) In a piece
of cardboard or construction paper, cut a strip out about half an
inch wide and approximately the length of a tine of the tuning
fork. Strike the tuning fork again and hold it near the hole in the
cardboard. The sound becomes louder. Why?
8. Frequency of Air Vibrations in a Tube - I
Take a narrow tube at least a foot and a half long, such as a
metal or plastic pipe or a piece of garden hose, open at both
ends, and measure the lowest resonant frequency by blowing air
from your mouth over one end and using an electronic tuner or
by comparing the pitch with a reasonably well-tuned piano or
keyboard. Use this information to calculate the speed of sound,
using the formula by f1 =v/(2L) from Chapter 12, where v is the
speed of sound and L is the length of the tube. Repeat the
experiment, blowing over one end with the other end of the tube
closed by your hand. How does closing one end of the tube with
your hand affect the resonant frequency?
Compare the resonant frequency before and after holding the
tube under hot water, so it becomes almost too hot too hold, and
explain your results. Can you change the pitch by as much as a
semitone this way? What causes the change in pitch?
9. Frequency of Air Vibrations in a Tube - II
Take a straight narrow tube, such as a metal or plastic pipe or
a piece of garden hose, open at both ends, and hold it vertically
with the lower end in a bucket of water, as shown in Fig. 2 of
the pdf file acoustics_experiments.figures . While holding a
vibrating tuning fork over the upper end, raise and lower the
tube vertically, changing the portion of the tube which is under
water, until the sound is enhanced, due to resonance vibrations
of the air in the tube excited by the tuning fork. When you find
the resonance position, measure the distance from the upper end

11. of the tube to the water level in the tube. According to Chapter
12 of the textbook, the lowest resonance frequency for air in a
narrow tube of length L, which is open at one end and closed at
the other, is given by f1 =v/(4L), where v is the speed of sound.
Are your results reasonably consistent with this formula?
Calculate the speed of sound from your results.
10. Fundamental Frequency of a Stretched String
Attach one end of a long piece of thin string (monofilament
fishing line works well) to a nail in a board, pass the string over
a wedge shaped block or bridge, and suspend a heavy weight
(such as a bag containing one or more bricks) from the other
end, as shown in Fig. 3 of the pdf file
acoustics_experiments.figures, so that the string produces a
musical tone when plucked between the nail and the bridge.
According to Chapter 10 of the textbook, the fundamental
frequency of vibration of the string is given by f1 =
(1/2L)(W/), where L is the length of the vibrating portion of the
string, W is the suspended weight (same as the tension T in the
string) and is the mass per unit length of the string. According
to this formula, doubling the suspended weight without
changing L or multiplies the frequency by 2 = 1.414.
Similarly, quadrupling the suspended weight multiples the
frequency by 4 = 2. By how many semitones is the pitch
increased, according to the formula, in these two cases?
Now do the experiment: Double the suspended weight. By
how many semitones in the pitch raised? (Use an electric tuner
or compare with a well-tuned musical instrument to determine
this.) Next quadruple the suspended weight. By how many
semitones is the pitch raised? Are your findings in agreement
with the above predictions?
Now repeat the experiment with the string replaced by a
rubber band. By how many semitones is the pitch raised if the
weight is doubled, quadrupled? If the rubber band yields
different results from the string or wire, try to find an
explanation. Hint: In the case of the rubber band the formula f1

12. =(1/2L)(W/) still applies, and adding extra weight not only
changes W, but also .
Suggestion: If you have a tuning device which measures the
frequency, you don’t have to limit yourself to the cases of
doubling and quadrupling the weight. You can change the
weight by smaller amounts. According to the above formula, if
you change the weight from W to W’ without changing L or ,
the frequency is multiplied by (W’/W) .
11. Fourier Analysis
Download the latest version of the software “Audacity”
available free of charge at
http://audacity.sourceforge.net/. Practice generating sine,
square, and saw tooth waves
by clicking on “Generate”on the tool bar, selecting “Tone”, and
typing in the desired
waveform, frequency, amplitude, and duration. To listen to the
sound, click on the green
arrow on the tool bar just under “Generate.” To view the
waveform in detail, click on
the magnifying glass symbol labeled with a plus on the toolbar.
To view the Fourier
spectrum or recipe, select “Analyze” on the tool bar and then
“Plot Spectrum.”
(a) Generate a 1000 Hz sine wave and then plot the Fourier
spectrum. Describe the
spectrum. Is it what you expect? Include a copy of the spectrum
with your report.
Then repeat all of these steps for both a 1000 Hz square wave
and a 1000 Hz sawtooth
wave.
(b) As discussed in class, one may build up a 1000 Hz square
wave by adding a 1000

13. Hz sine wave with amplitude 1, a 3000 Hz wave with amplitude
1/3, a 5000 Hz sine
wave with amplitude 1/5, a 7000 Hz sine wave with amplitude
1/7, a 9000 Hz sine wave
with amplitude 1/9, an 11,000 Hz wave with amplitude 1/11,
and so on. To obtain a
truly square wave one must sum an infinite number of terms, but
only including the
frequencies up to 11,000 Hz already gives a good approximation
to the square wave.
One may sum the sine waves with Audacity as follows. First
generate a 1000 Hz sine
wave with amplitude 1.0 lasting 3.0 seconds. Then click on
“Tracks” on the toolbar and
select “Add New Audio Track.” Now generate a sine wave with
frequency 3000 Hz and
amplitude 1/3 = 0.333 lasting 3.0 seconds on the new track. To
sum the two sine waves,
click on “Tracks” and then “Mix and Render” twice, so that
only one track remains
and has the sum of the 1000 and 3000 Hz sine waves on it. Next
add a new audio track,
generate a 5000 Hz sine wave with amplitude 1/5 =0.200 on this
track, and using Mix
and Render add it to the sum of the preceding two sine waves.
Continue in this way
until all the sine waves up to and including 11,000 Hz have
been added. Magnify the
resulting waveform until it can be seen in detail and plot the
Fourier spectrum. Describe
the waveform and the Fourier spectrum. Are they what you
expect? Print copies of the
waveform and the Fourier spectrum and include them with your
report.
(c) Download the oboe sound sample at

14. http://www.hillsboroschools.net/schools/hhs/activities/
music2/music2/oboe.wav onto your computer. By using an
electronic tuner or comparing
with the online tuning fork at
http://www.seventhstring.com/tuningfork/tuningfork.html,
determine the note in the musical scale to which it corresponds.
Then import the sound
sample to Audacity by selecting “File” on the toolbar and then
“Import Audio.” Magnify
the waveform and, after selecting a portion of the signal where
it is quite steady and
periodic with the mouse of your computer, plot the Fourier
spectrum. Describe the
waveform and the Fourier spectrum. Are they quantitatively
consistent with your
identification of the note the oboe is playing? Explain. Print
copies of the waveform and
the Fourier spectrum and include them with your report.