Spatial correlation of heat release rate and sound emission from turbulent premixed flames

The two-point spatial correlation of the rate of change of fluctuating heat release rate is central to the sound emission from open turbulent flames, and a few attempts have been made to address this correlation in recent studies. In this paper, the two-point correlation and its role in combustion noise are studied by analysing direct numerical simulation (DNS) data of statistically multi-dimensional turbulent premixed flames. The results suggest that this correlation function depends on the separation distance and direction but, not on the positions inside the flame brush. This correlation can be modelled using a combination of Hermite-Gaussian functions of zero and second order, i.e. functions of the form (1-Ax2)e-Bx2 for constants A and B, to include its possible negative values. The integral correlation volume obtained using this model is about 0.2δL3 with the length scale obtained from its cube root being about 0.6δ L, where δ L is the laminar flame thermal thickness. Both of the values are slightly larger than the values reported in an earlier study because of the anisotropy observed for the correlation. This model together with the turbulence-dependent parameter K, the ratio of the root-mean-square (RMS) value of the rate of change of reaction rate to the mean reaction rate, derived from the DNS data is applied to predict the far-field sound emitted from open flames. The calculated noise levels agree well with recently reported measurements and show a sensitivity to K values. © 2012 The Combustion Institute.

Sound radiation from point-driven shell structures

A numerical study is presented showing the structural response and sound radiation from a range of thin shell structures excited by a point force: a baffled flat plate, a sphere, a family of spheroids and a family of closed circular cylinders. All the structures have the same material properties, thickness and total surface area so the asymptotic modal density is the same. Dramatic differences are shown in the total radiated sound power for the different shells. It was already known that the flat plate and the sphere behave very differently. These results show that the cylinders and, particularly, the spheroids show patterns that are not intermediate between the two but instead display new features: in certain frequency ranges the radiated sound power can be at least an order of magnitude greater than either the plate or the sphere. © 2013 Elsevier Ltd.

Aeroacoustic source measurement methods for characterizing the sound generated by ducted flow devices with higher-order modes.

The International Organization for Standardization (ISO) method 5136 is widely used in industry and academia to determine the sound power radiated into a duct by fans and other flow devices. The method involves placing the device at the center of a long cylindrical duct with anechoic terminations at each end to eliminate reflections. A single off-axis microphone is used on the inlet and outlet sides that can theoretically capture the plane-wave mode amplitudes but this does not provide enough information to fully account for higher-order modes. In this study, the "two-port" source model is formulated to include higher-order modes and applied for the first three modes. This requires six independent surface pressure measurements on each side or "port." The resulting experimental set-up is much shorter than the ISO rig and does not require anechoic terminations. An array of six external loudspeaker sources is used to characterize the passive part of the two-port model and the set-up provides a framework to account for transmission of higher-order modes through a fan. The relative importance of the higher-order modes has been considered and their effect on inaccuracies when using the ISO method to find source sound power has been analyzed.

The absorption of sound by helmholtz resonators with and without flow

Helmholtz resonators are commonly used as absorbers of incident acoustic power. Theoretical and experimental investigations have been performed in the four cases of no mean flow, grazing mean flow, bias mean flow and a combination of grazing and bias mean flows. In the absence of a mean flow, the absorption coefficient (deflned as the proportion of incident energy absorbed) is a non-linear function of the acoustic pressure and high incident acoustic pressures are required before the absorption becomes signiflcant. In contrast, when there is a mean flow present, either grazing or bias, the absorption is linear and thus absorption coefficient is independent of the magnitude of the acoustic pressure, and absorption is obtained over a wider range of frequencies. Non-linear effects are only discernible very close to resonance and at very-high amplitude. With grazing mean flow, there is the undesirable effect that sound can be generated over a range of frequencies due to the interaction between the unsteadily shed vorticity waves and the downstream edge of the aperture. This production is not observed when there is a bias flow because here the vorticity is shed all around the rim of the aperture and swept away by the mean flow. When there is both a grazing mean flow and a mean bias flow, we flnd that only a small amount of bias mean flow, compared with grazing mean flow, is required to destroy the production of acoustic energy. © 2002 by the author(s). Published by the American Institute of Aeronautics and Astronautics, Inc.

Spatial and temporal variations of sound speed at the PN section

Gridded sound speed data were calculated using Del Grosso's formulation from the temperature and salinity data at the PN section in the East China Sea covering 92 cruises between February 1978 and October 2000. The vertical gradients of sound speed are mainly related to the seasonal variations, and the strong horizontal gradients are mainly related to the Kuroshio and the upwelling. The standard deviations show that great variations of sound speed exist in the upper layer and in the slope zone. Empirical orthogonal function analysis shows that contributions of surface heating and the Kuroshio to sound speed variance are almost equivalent.

SOUND PROPAGATION AND SCATTERING IN BUBBLY LIQUIDS

In the ocean, natural and artificial processes generate clouds of bubbles which scatter and attenuate sound. Measurements have shown that at the individual bubble resonance frequency, sound propagation in this medium is highly attenuated and dispersive. Theory to explain this behavior exists in the literature, and is adequate away from resonance. However, due to excessive attenuation near resonance, little experimental data exists for comparison. An impedance tube was developed specifically for exploring this regime. Using the instrument, unique phase speed and attenuation measurements were made for void fractions ranging from 6.2 × 10^−5 to 2.7 × 10^−3 and bubble sizes centered around 0.62 mm in radius. Improved measurement speed, accuracy and precision is possible with the new instrument, and both instantaneous and time-averaged measurements were obtained. Behavior at resonance was observed to be sensitive to the bubble population statistics and agreed with existing theory, within the uncertainty of the bubble population parameters. Scattering from acoustically compact bubble clouds can be predicted from classical scattering theory by using an effective medium description of the bubbly fluid interior. Experimental verification was previously obtained up to the lowest resonance frequency. A novel bubble production technique has been employed to obtain unique scattering measurements with a bubbly-liquid-filled latex tube in a large indoor tank. The effective scattering model described these measurements up to three times the lowest resonance frequency of the structure.

Users & use: An exploration of the interaction between the user and the digital archive

This thesis will examine the interaction between the user and the digital archive. The aim of the study is to support an in-depth examination of the interaction process, with a view to making recommendations and tools, for system designers and archival professionals, to promote digital archive domain development. Following a comprehensive literature review process, an urgent requirement for models was identified. The Model of Contextual Interaction presented in this thesis, aims to provide a conceptual model through which the interaction process, between the user and the digital archive, can be examined. Using the five-phased research development framework, the study will present a structured account of its methods, using a multi-method methodology to ensuring robust data collection and analysis. The findings of the study are presented across the Model of Contextual Interaction, and provide a basis on which recommendations and tools for system designers have been made. The thesis concludes with a summary of key findings, and a reflective account of how the findings and the Model of Contextual Interaction have impacted digital provision within the archive domain and how the model could be applied to other domains.

Totality of experience: sound, music and mythology in Gus Van Sant’s “Death Quartet”

Reflecting on Gus Van Sant’s films Gerry (2003) Elephant (2004) and Last Days (2005), the director’s long-term sound-designer Leslie Shatz observed that “You have to get into the totality of the experience and not just the dialogue”. Shatz’s comment expresses something fundamental about the experimental approach to cinema and to soundscapes undertaken by Van Sant in these three films, unofficially known as the “Death Trilogy”. This thesis contends that Van Sant makes deliberate aesthetic choices which do indicate a distinctly “auteurist” leaning. However, I also argue that intertextual elements, prior knowledge, and audience participation in meaningmaking enhance the experience of, and reveal the nuances in, the soundtracks themselves. This thesis aims to contribute to a growing body of work within filmmusic scholarship concerned with resisting a traditional bias in the field: that film music should be understood as a means of characterisation and as emotional signifier. The films of the “Death Quartet”, which includes Paranoid Park (2007), I believe, offer fertile ground on which to explore these new approaches. It is my contention that these films deconstruct the traditional approach to soundtracking and the relationship between soundtrack and character, and that only an approach sensitive to the aesthetic and philosophical functions of music and sound can adequately acknowledge their unique cinematic qualities.