The Experiment on the Coastal Engineering to Analyse the Wave Lab Report

The Experiment on the Coastal Engineering to Analyse the Wave Behaviour and Linear Theory - Lab Report Example The thickness is always twice the diameter of the concrete armor unit for the tetrapod layers Concrete. 20 The experiment on coastal engineering was carried out in the hydraulics laboratory for approximately two hours. This experiment consisted of two parts. Part one was linear wave theory and part two was breakwater design. The venue of the experiment was Sopwith building Waves are created when the wind blows on top of the sea and the bottom layer receives frictional drag from the surface of the sea which exerts frictional drag to the next wind layer above it. This process continues in all the wind layers. The coastal zone is very important to the community around it. For the community to survive, the engineers play a big role in protecting this zone against flooding, erosion, and destruction of property by the ocean waves and tides. The laboratory work is important in that to avoid all these natural disasters. The measurements lead to commendation on how the waves acted on the coast and how they were reflected on the vertical wall. The waves that are reflected on the vertical surface had no horizontal movement and are referred to as standing waves. A rubble mound breakwater was created to make the wave to move over its Smaller waves with period 1.0s, were created to come to the conclusion about how they affect the model structure. This observation ended when the rubble mound breakwater finally failed. The wave height of a surface wave is the difference between the elevations of a crest (the highest point of the wave) and a neighboring trough (the lowest point of the wave) as it is shown at the figure below. (Dr. Alan Dykes, 2011).  

The Theory of Music Universality Essay Example | Topics and Well Written Essays - 3000 words

The Theory of Music Universality - Essay Example Its ability to communicate has been as revered as it has been suspect, and its rich social and ritualistic associations have added layers of meanings that can only be expressed in musical terms, and not in terms of words or images. Aaron Copland in his "How We Listen" says that music can be listened to and enjoyed in three different planes: the sensual, the expressive and the solely musical. The listening experience for a particular piece of music is evaluated on all these planes simultaneously, but to understand the effects of music it is necessary that we at least outline these levels separately. The sensual plane is the absorption of the sheer pleasure that music affords, the elevated mood it evokes, and the escape from the mundanities of life it makes possible. The expressive plane, on the other hand, talks to the listener, but does not have a concrete message to convey, it conveys broad senses of emotion: "..... serenity or exuberance, regret or triumph, fury or delight. It expresses each of these moods, and many others, in a numberless variety of subtle shadings and differences. It may even express a state of meaning for which there exists no adequate word in any language".The third plane is where the listener is aware of the musical form, where the harmony, the melody, the rhythm, and the tonal color are consciously appreciated: the listener knows about the notes and the structure of the written music, the composer's style and thought process and can evaluate the rendition of all this by the performers. All theories of music through time have talked about the sensual, expressive or the solely musical planes in one way or the other. To understand how the perceptions on music have changed down the years, we need to examine the various thought processes of philosophers, and the conclusions they arrived at, tracing a historical outline from the Greek times, to the Baroque era and down to the present. Not much factual evidence of Greek music has survived, but an understanding of the ancient Greek philosophers like Plato and his student Aristotle, Pythagoras and Plotinus go a long way in answering a lot of queries on the views held about music in those times. Of note is the fact that music then was more of a part of people's lives than it is today, and hence the comments made by the thinkers of those times have to be understood in the appropriate context. For all our musical and philosophical sophistication, it seems that the Greeks 'lived' their music far more deeply than we do ours. Difficult though it may be for us to think of music as the kind of thing capable of revealing important fundamental truths about the world, for the ancient Greeks there seems to have been little doubt. And for good reason: their world was, after all, a fundamentally musical one. (Bowman, 1998)