In this section, we discuss the initial boundary value problems (IBVPs for short) for wave equation. Although these problems can be solved using the reflection principle or the unified transform method, the main tool in our presentation is the separation of variables, also known as the Fourier method.
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Introduction to Linear Algebra with Mathematica
Strings that are used in musical instruments (guitar, piano, violin, arpha, and so on) are typical examples of incompressible elastic strings. Since displacements of these strings are small compared to the total length, we can assume that musical strings vibrate within a plane, for which we use the Cartesian coordinate system. Let us consider a taut string of length ℓ that is stretched between two fixed points. Let the abscissa is chosen to lie along the string and let x = 0 and x = ℓ denote the ends of the string that are assumed to be fixed. Let u(x, t) denote the vertical displacement experienced by the string at the point x at time t. If damping effects, such as air resistance, are neglected, and if the amplitude of the motion is small compared to the string length, then
u(x, t) satisfies the partial differential equation, known as the wave equation
We are now in a position to solve the general initial boundary value problem
for the wave equation subject to homogeneous boundary conditions of the first
type (Dirichlet's conditions are chosen for simplicity):
The given initial boundary value problem \eqref{EqIBVP.1} models transverse vibrations of an elastic string of length ℓ with two endpoints fixed. Here d(x) and v(x) are initial vertical displacement and velocity of the string, respectively. Alternatively, it can be considered as a boundary value problem in the semi-infinite strip 0 < x < ℓ, t > 0 of the xt-plane. One condition (boundary) is imposed at each point on the semi-infinite sides, and two (initial conditions) are imposed at each point on the finite horizontal base.
We are going to solve the given problem \eqref{EqIBVP.1} using separation of variables method. As usual in this case, we consider an auxiliary problem that consists of the wave equation and homogeneous boundary conditions:
Similarly to the previous sections (see Example 2 in section 2.5i and section on boundary value problems for the heat equation), we substitute \( u(x,t)
= X(x)\,T(t) \) into the boundary conditions to obtain X(0) = 0
and X(ℓ) = 0. The differential equation together with these boundary
conditions constitute the Sturm--Liouville problem:
Of the usual three possibilities for the parameter, λ = 0, λ =
-α² < 0, and λ = α² > 0, only the last
choice leads to nontrivial solutions. Corresponding to λ =
α² > 0, with α > 0, the general solution to the
differential equation \( X'' (x) + \alpha^2 \,X(x) =0
\) is
\[
X(x) = c_1 \cos \alpha x + c_2 \sin \alpha x .
\]
The boundary conditions X(0) = 0
and X(ℓ) = 0 dictate that c1 = 0 and
\( c_2 \sin \alpha \ell =0 . \) The latter equation
implies that \( \sin \alpha \ell =0 \) because
otherwise c2 = 0 forces to obtain a trivial solution. Since
we cannot affort vanishing c2, we have to choose α to
be
Since the eigenfunction \( X_n (x) = \sin
\frac{n\pi x}{\ell} \) can be multiplied by any nonzero constant, we
find partial nontrivial solutions of our auxiliary problem:
To satisfy the initial conditions, we assume that we can apply the limit as t → 0 under the sign of summation and then use the trigonometric formulas sin(0) = 0 and cos(0) = 1.
Setting t = 0, we get from the initial condition u(x, 0) = d(x)
that
Recall that the constant c appearing in the solution of the initial
boundary value problem is given by \( c= \sqrt{T/\rho} , \)
where ρ is mass per unit length and T is the magnitude of
the tension in the spring. When T is large enough, the vibrating string
produces a musical sound. This sound, according to the solution
For \( n= 1,2,3,\ldots \) the standing waves are
essentially the graphs of sine function \( \sin
\frac{n\pi x}{\ell} \) with a time-varying amplitude given by
Alternatively, we see from the formula for the normal mode
un(x,t) that at a fixed value of x this
function represents simple harmonic motion with amplitude
\( C_n \sin \frac{n\pi x}{\ell} \) and frequency
fn = nc/(2ℓ). In other words, each point on a
standing wave vibrates with a different amplitude but with the same frequency.
The spacial period 2ℓ/n is called the wavelength of the mode of frequency nπc/ℓ.
As x runs from 0 to ℓ, the argument of \( \sin \frac{n\pi x}{\ell} \) runs from 0 to nπ, which is n half-periods of sine function.
The mode corresponding n = 1,
The fundamental frequency or first harmonic is directly related to the pitch
(or note) produced by a string instrument. It is apparent that the greater the
tension on the string, the higher the pitch of the sound. The frequencies fn of the other normal modes, which are integer multiples of the fundamental frequency, are called overtones.
Standing wave patterns are wave patterns produced in a medium when two waves
of identical frequencies interfere in such a manner to produce points along the
medium that always appear to be standing still. These points that have the
appearance of standing still are referred to as nodes. There are several
frequencies with which a string can be vibrated to produce the patterns. Each
frequency is associated with a different standing wave pattern. These
frequencies and their associated wave patterns are referred to as harmonics.
The two individual waves are drawn in blue and green and the resulting
shape of the medium is drawn in black.
The given initial boundary value problem is a particular case of IBVP \eqref{EqIBVP.1} with ℓ = 50, c = 3, and the initial functions
\( d(x) = 3\,\sin (2\pi x) , \quad v (x) = 5\,\sin (3\pi x) . \)
It was solved previously and its solution formula \eqref{EqIBVP.7} is known
Since the left-hand side function in both cases is an eigenfunction, and the sine-Fourier series expansion is unique, we find only two nonzero coefficients:
Example 2:
Music often involves strings that are fixed at both ends and are elastic and vibrate. The methodsin which these strings are made to vibrate, and therefore emit sound, vary across differentinstruments. In the case of a guitar, specificallyin fingerpicking, a string is plucked by pulling it upward and releasing it from rest; therefore creatinga triangular impulse shape. String vibration in strumming patterns works in a similar way, however, the strings can be forced either upward or downward by the guitar pick. Nonetheless, the initial condition consequently defines some vertical displacement, and zero vertical velocity,at t = 0. The point of which the string is plucked is usually about one third of the way down across the string.
Suppose we pluck a string by pulling it upward and release it from
rest (so it has a triangular form). If the
point of the pluck is in the third of a string of length ℓ
(which is usually the case when playing guitar), we can model the
vibration of the string by solving the following initial boundary
value problem:
Example 3:
Contrary to the guitar string case, a piano involves no initial displacement. Rather, an initial velocity is created by a felt-covered hammer, which strikes the piano string when the pianist presses on a key. This velocity can be small or large,depending on how hard the key is pressed.A harder strike will cause a louder sound, and vice-versa. These piano strings can be arranged in two ways: vertically or horizontally---for upright or grand pianos, respectively. Therefore, a vertical or horizontal velocity at t = 0 is created by the hammer system, and subsequently creates sound.
Sounds from a piano, unlike the guitar, are put into effect by striking
strings. When a player presses a key, it causes a hammer to strike the
strings. The corresponding IBVP is
Here s is a position of the left hammer's end and h is the width
of the hammer. It is assumed that both s and s+h are within the
string length ℓ.
Since the boundary conditions are homogeneous, we can apply the separation of variables method. According to this method, we seek partial nontrivial (= not identically zero) solutions of the wave equation satisfying the homogeneous boundary conditions and representing as a product of two functions: \( u(x,t) = X(x)\,T(t) . \) Substituting
this function into the wave equation gives
Similarly to the previous sections, we substitute \( u(x,t)
= X(x)\,T(t) \) into the boundary conditions to obtain X(0) = 0
and X(ℓ) = 0. The differential equation together with these boundary
conditions constitute the Sturm--Liouville problem:
Of the usual three possibilities for the parameter, λ = 0, λ =
-α² < 0, and λ = α² > 0, only the last
choice leads to nontrivial solutions. Corresponding to λ =
α² > 0, with α > 0, the general solution to the
differential equation \( X'' (x) + \alpha^2 \,X(x) =0
\) is
\[
X(x) = c_1 \cos \alpha x + c_2 \sin \alpha x .
\]
The boundary conditions X(0) = 0
and X(ℓ) = 0 dictate that c1 = 0 and
\( c_2 \sin \alpha \ell =0 . \) The last equation
implies that \( \sin \alpha \ell =0 \) because
otherwise c2 = 0 forces to obtain a trivial solution. Since
we cannot effort vanishing c2, we have to choose α to
be
Since the input function is piecewise continuous, its approximations clearly show the Gibbs phenomena. To eliminate it, we apply the Cesàro summation procedure.
Example 4:
Helmholtz was the first to study systematically the physics of violin strings and his results are covered in Tonempfind-ungen, his groundbreaking treatise on the scientific theory of music. The key point is that the friction between the bow and the violin string varies with the relative velocity between them. When the relative velocity is zero or small, the friction is large. As the relative velocity increases, the friction decreases. Rosin (also called colophony or Greek pitch) is applied to the horsehairs in the violin bow to maximize this velocity dependence of the friction withthe string.The frictional force exerted by the bow on the string is therefore modulated in phase with the string’s velocity,allowing the bow to do net work over a complete period of the string’s oscillation (see Eq. (6)). Thus, as the bow isdrawn over the violin string, a negative damping is obtained and the resonant vibration grows exponentially, until itreaches a limiting, nonlinear “stick-slip” regime.
As Helmholtz observed experimentally, in this nonlinear stick-slip regime the waveform for the displacement of the violin string is triangular. First, the violin string sticks to the bow and moves at the same velocity at which the bow is being drawn. This is represented in Fig. 6 by the motion between Aand B. At B the string unsticks and moves back to equilibrium, which it passes at C. It continues moving with nearly the same velocity until at D it again becomes stuck to the bow. Between A and B the frictional force exerted by the bow on the string is positive and large, while between B and D the frictional force is still positive but small. Figure 6 also shows that if the bow is drawn faster,the string plays the same note, but with a greater amplitude. Within certain limits, the amplitude of the vibration is proportional to the speed of the bow.
 
Waveform for the displacement u(t) of a violin string in the limiting “stick-slip” regime, as first measured by Helmholtz. Between A and B the string moves with the bow, while between B and D it moves against the bow.
with the homogeneous Dirichlet conditions u(0, t) = u(ℓ, t) = 0 and the guitar initial conditions.
Its solution can be represented as an infinite series
For positive damping coefficient (k > 0), the normal mode decays with time and oscillates as it decays. The corresponding frequencies of mode's oscillations is
Haberman, R., Applied Partial Differential Equations with Fourier Series and Boundary Value Problems, Pearson; 5th edition, 2012. ISBN-13 : 978-0321797063
Helmholtz, H., On the Sensations of Tone as a Physiological Basis for the Theory of Music, 2nd English ed., (New York: Dover, 1954),
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