The sounds around us. Ecology of sound

We live in a world of sounds: we listen to music and are constantly exposed to acoustic attacks from a noisy city. All this affects our health. And not always positively.

Wave theory

A correct understanding of the nature of sound was available to man even before the advent of specialized science. Aristotle argued that a sounding body causes compression and rarefaction of air and explained echo by the reflection of sound from obstacles. In the 15th century, Leonardo da Vinci already connected sound with the propagation of waves, and in the 16th century, R. Boyle proved that the conductor of these waves is air (sound does not propagate in a vacuum). Modern physics understands sound as the propagation of mechanical vibrations in the form of waves with the obligatory presence of a conductor - it can be either air or any solid, liquid or gaseous body.
Any fluctuation involves indicators such as amplitude and frequency range. In the case of a sound wave, the frequency of this vibration determines whether the sound will be perceived by the human ear and what effect it will have on the body. Healthy man is able to hear sound vibrations in the frequency range from 16-20 Hz to 20 thousand Hz. In physics, everything that is below or above these boundaries is usually called infra- and ultrasound, respectively.

Any body - even a single cell of our body - is in a state of constant vibration, and each body has its own frequency and range of these vibrations. Thus, the frequency of brain oscillations differs in different cycles of body activity. There are five stages of brain activity, differing in the range of fluctuations, where the smaller range (delta, 0.5-4.0 Hz) corresponds to a state of complete relaxation, sleep, and the higher (K-complex, 23-33 Hz) corresponds to excitement, flashes of insight and so on.

Most people don't hear low frequencies precisely because they coincide with brain waves. It is logical to assume that different frequencies can have different effects on the state of the human body. Research in this area is called psychoacoustics.

Technologies of acoustic influence on consciousness

In essence, psychoacoustics is the theoretical basis of sound therapy. Man has always guessed that different sounds produce different effects on the state of the body and mind. Whether it's a church service or a mother's lullaby to her baby, we have always used sounds to influence the reality around us.

In the works of the Bulgarian doctor Lozanov, we find evidence that music with a tempo of 60 beats per minute (this tempo is typical, for example, for fugues by I. Bach) increases alpha activity (associated with relaxation) by 6%, while reducing it by 6% beta activity (associated with normal waking consciousness). At the same time, the pulse slows down by an average of 4 divisions of mercury, and people talk about a “state of relaxed consciousness.”
Then Dr. Lozanov discovered that he could speed up the learning process by using music at this rhythm.

In America, his method became known as Superlearning. It became clear to Dr. Lozanov that the rhythm of music has a powerful effect on the brain. In the process, he discovered that the timbre, or tonality, of music also had a strong effect on brain function. Today, the results of his research have developed into a separate direction - the technology of acoustic brain research (Acoustic Brain Research, ABR); a Super learning is used in progressive (experimental) educational institutions America: the training process uses audio recordings with a rhythm and timbre suitable for obtaining the desired effect.

Another representative of psychoacoustics, Dr. Sue Chapman, conducted an experiment at New York City Hospital, studying the effect of music on infants born prematurely. One group of babies listened to Brahms' Lullaby (variation for string instruments) six times a day, and the other group did not listen to any music. Newborns who listened to Brahms gained weight faster, suffered fewer complications, and were discharged from the hospital on average a week earlier than those who did not listen to the music.

There's noise all around

Along with a directed and controlled effect on the human psyche, sounds, noise and music, surrounding a person everywhere, make a significant contribution to our psychological state every day. In addition to the vibration frequency, an important indicator is the sound volume. In our context, it can also be designated by the term noise level, which is measured in decibels.

Thus, “white noise”, which has a calming acoustic effect, is considered to be the noise of foliage and surf, estimated from 20 to 40 dB. Prolonged exposure to noise levels of 60-90 dB inevitably causes irritation. Such noise includes the sound of an approaching train, a human scream, a running motorcycle engine, etc.

With constant exposure to noise of 95-110 dB (for example, the sound of a jet plane at an altitude of 300 m), hearing loss, neuropsychic stress (depression, agitation, aggressiveness), hypertension and even peptic ulcers are possible. Noise from 115 to 175 dB causes acoustic intoxication, disrupts sleep, and leads to deafness. Medical scientists include the volume of music in “earphones” in the last category, making disappointing predictions about the possible mass deafness of the generation of modern youth.

Auditory ways to control public consciousness

An important place in influencing individual and group consciousness is occupied by the achievements of the science of phonology - a branch of linguistics that studies the functional side of speech sounds. The influence of the timbre of speech and intonation on the listener is often stronger than the meaning of the spoken words, notes S. Kara-Murza in his work “Manipulation mass consciousness" For example, the announcer's voice is the main criterion for the success and effectiveness of radio advertising, which is why its choice is of great importance.

Everyone is familiar with the voice of Yuri Borisovich Levitan, the announcer of the State Committee of the Council of Ministers of the USSR on television and radio broadcasting, who read the reports of the Sovinformburo during the war and announced the capture of Berlin and the Victory. Levitan was personally chosen for this position by Stalin, and ultimately became a voice of hope for Soviet citizens.

Research into the effects of tonality, timbre, and tempo of speech on listeners has been conducted since the mid-twentieth century in the United States. Their results are widely used today in election campaigns. For example, analysts predicted that during the pre-election debates on radio, the latter would be more advantageous in the Kennedy-Nixon pair, due to Kennedy’s too high-pitched voice and his “Harvard accent.” Psychoacoustics also work with current politicians. To achieve this, you need to influence the audience and the volume, timbre, and tempo of speech are consistent with the recommended parameters.

Introduction Man lives in a world of sounds. The sounds surrounding him from birth help him adapt to the surrounding conditions. Sounds are important not only for humans, but also for animals, for which good sound detection helps them survive. But sounds can be different, some can be pleasant, and some even cause unpleasant sensations. In my work I examined the nature of sound and some of its influences on humans. Man lives in a world of sounds. The sounds surrounding him from birth help him adapt to the surrounding conditions. Sounds are important not only for humans, but also for animals, for which good sound detection helps them survive. But sounds can be different, some can be pleasant, and some even cause unpleasant sensations. In my work I examined the nature of sound and some of its influences on humans.

What is sound? If you create a nonequilibrium state of the medium in a certain volume, then, due to the elastic properties of the medium, at subsequent moments of time the displacements and velocities of particles in neighboring areas become different from zero: the initial disturbance moves through the area occupied by the medium. The process of propagation of deformation in a medium is called a sound wave, or simply sound. A wave occurs when a change in state at one point in the medium leads to a change in state at a neighboring point. If you create a nonequilibrium state of the medium in a certain volume, then, due to the elastic properties of the medium, at subsequent moments of time the displacements and velocities of particles in neighboring areas become different from zero: the initial disturbance moves through the area occupied by the medium. The process of propagation of deformation in a medium is called a sound wave, or simply sound. A wave occurs when a change in state at one point in the medium leads to a change in state at a neighboring point. May spread in environments sound waves two types: longitudinal and transverse. Longitudinal is a wave in which vibrations of particles of the medium occur in the direction of propagation of the wave. Longitudinal waves are observed in liquids, gases and solids. Transverse waves, in which vibrations of particles of the medium occur in a direction perpendicular to the direction of propagation of the wave, are observed only in solids. Two types of sound waves can propagate in media: longitudinal and transverse. A longitudinal wave is a wave in which vibrations of the particles of the medium occur in the direction of propagation of the wave. Longitudinal waves are observed in liquids, gases and solids. Transverse waves, in which vibrations of particles of the medium occur in a direction perpendicular to the direction of propagation of the wave, are observed only in solids.

Sound conductors A sound wave can travel a variety of distances. Gunfire can be heard for a kilometer, the neighing of horses and the barking of dogs - for 2-3 km, and whispers for only a few meters. These sounds are transmitted through the air. But not only air can be a conductor of sound. By placing your ear to the rails, you can hear the sound of an approaching train much earlier and at a greater distance. This means that metal conducts sound faster and better than air. Water also conducts sound well. Having dived into the water, you can clearly hear the stones knocking against each other, the noise of the pebbles during the surf. The property of water - it conducts sound well - is widely used for reconnaissance at sea during war, as well as for measuring depths of the sea. A necessary condition for the propagation of sound waves is the presence of a material medium. In a vacuum, sound waves do not propagate, since there are no particles there that transmit the interaction from the source of vibration. Therefore, due to the lack of atmosphere, complete silence reigns on the Moon. Even the fall of a meteorite on its surface is not audible to the observer.

Basic sound characteristics. 1) Sound tone. Some sounds are said to be low-pitched (the sound created by a large drum), others we call high-pitched sounds (for example, whistling). The ear can easily distinguish them. Simple measurements (oscillation sweep) show that the sounds of low tones are low frequency vibrations in a sound wave. A high-pitched sound corresponds to a high vibration frequency. The frequency of vibration in a sound wave determines the tone of the sound. 1) Sound tone. Some sounds are said to be low-pitched (the sound created by a large drum), others we call high-pitched sounds (for example, whistling). The ear can easily distinguish them. Simple measurements (oscillation sweep) show that sounds of low tones are low frequency vibrations in a sound wave. A high-pitched sound corresponds to a high vibration frequency. The frequency of vibration in a sound wave determines the tone of the sound. 2) Sound volume. The loudness of a sound, determined by its effect on the ear, is a subjective assessment. The greater the flow of energy flowing to the ear, the greater the volume. A convenient measurement is sound intensity - the energy transferred by a wave per unit time through a unit area perpendicular to the direction of wave propagation. The intensity of sound increases with increasing amplitude of vibrations and the area of ​​the body performing the vibrations. Decibels (dB) are also used to measure loudness. For example, the sound level of rustling leaves is rated at 10 dB, whispering at 20 dB, street noise at 70 dB, pain threshold at 120 dB, and lethal level at 180 dB. 2) Sound volume. The loudness of a sound, determined by its effect on the ear, is a subjective assessment. The greater the flow of energy flowing to the ear, the greater the volume. A convenient measurement is sound intensity - the energy transferred by a wave per unit time through a unit area perpendicular to the direction of wave propagation. The intensity of sound increases with increasing amplitude of vibrations and the area of ​​the body performing the vibrations. Decibels (dB) are also used to measure loudness. For example, the sound level of rustling leaves is rated at 10 dB, whispering at 20 dB, street noise at 70 dB, pain threshold at 120 dB, and lethal level at 180 dB. 3) Sound timbre. The second subjective assessment is timbre. The timbre of a sound is determined by a set of overtones. The different number of overtones inherent in a particular sound gives it a special coloring - timbre. The difference between one timbre and another is determined not only by the number, but also by the intensity of the overtones accompanying the sound of the main tone. By timbre, we easily distinguish the sounds of a violin and a piano, a guitar and a flute, and recognize the voices of familiar people. 3) Sound timbre. The second subjective assessment is timbre. The timbre of a sound is determined by the combination of overtones. The different number of overtones inherent in a particular sound gives it a special coloring - timbre. The difference between one timbre and another is determined not only by the number, but also by the intensity of the overtones accompanying the sound of the main tone. By timbre, we easily distinguish the sounds of a violin and a piano, a guitar and a flute, and recognize the voices of familiar people.

Organ of hearing. To capture sound, humans and animals have a special organ - the ear. This is an unusually thin device. The ear converts the vibrational motion of a sound wave into certain sensations, which are perceived by our consciousness. To capture sound, humans and animals have a special organ - the ear. This is an unusually thin device. The ear converts the vibrational motion of a sound wave into certain sensations, which are perceived by our consciousness. The hearing organ is divided into three parts: the outer, middle and inner ear. The outer ear is the auricle. From it comes the auditory canal, ending in the eardrum. There are a number of bones in the middle ear. They transmit vibrations to the inner ear. The processes occurring in the inner ear are very complex and some of them are still not understood. The hearing organ is divided into three parts: the outer, middle and inner ear. The outer ear is the auricle. From it comes the auditory canal, ending in the eardrum. There are a number of bones in the middle ear. They transmit vibrations to the inner ear. The processes occurring in the inner ear are very complex and some of them are still not understood. Sound waves entering the ear canal vibrate the eardrum. Vibrations are transmitted to the fluid of the cochlea of ​​the inner ear through the chain of ossicles of the middle ear. The wave-like movement of this fluid entails irritation of the endings of the auditory nerve. That's how Main way sound from its source about our consciousness. But this way is not the only one. Sound vibrations can be transmitted by the bones of the skull. Sound waves entering the ear canal vibrate the eardrum. Vibrations are transmitted to the fluid of the cochlea of ​​the inner ear through the chain of ossicles of the middle ear. The wave-like movement of this fluid entails irritation of the endings of the auditory nerve. This is the main path of sound from its source to our consciousness. But this way is not the only one. Sound vibrations can be transmitted by the bones of the skull.

Audible sound. The human ear is capable of perceiving sound vibrations ranging from 16 to Hz; they correspond to wavelengths from 20 m for low frequencies to 2 cm for high frequencies. Although children can easily perceive sounds with a frequency of up to 22 kHz, and older people only up to 13 - 15 kHz. The human ear is capable of perceiving sound vibrations ranging from 16 to Hz; they correspond to wavelengths from 20 m for low frequencies to 2 cm for high frequencies. Although children can easily perceive sounds with a frequency of up to 22 kHz, and older people only up to 13 - 15 kHz.

Hearing threshold. The hearing threshold, that is, the intensity noticeable to the ear, depends on the frequency. At a frequency of 440 Hz, the hearing threshold is close to W/m2. In this case, the ear perceives an excess pressure of 2x10 -5 Pa, leading to vibrations of air particles with an insignificant amplitude cm, equal to the diameter of the atoms. A conversation conducted in a moderate tone causes air particles to vibrate with a displacement amplitude of the order of several thousandths of a centimeter. The sound intensity in this case is W/m2. The intensity of strong sounds that cause painful sensations in us lies in the range of 1 – 10 W/m -2. The excess pressure is 60 Pa, and the amplitude of vibrations of air particles is ~ 2.5x10 -2 cm. This pressure produces the noise of a jet aircraft at a distance of 50 m. The hearing threshold, that is, the intensity noticeable to the ear, depends on the frequency. At a frequency of 440 Hz, the hearing threshold is close to W/m2. In this case, the ear perceives an excess pressure of 2x10 -5 Pa, leading to vibrations of air particles with an insignificant amplitude cm, equal to the diameter of the atoms. A conversation conducted in a moderate tone causes air particles to vibrate with a displacement amplitude of the order of several thousandths of a centimeter. The sound intensity in this case is W/m2. The intensity of strong sounds that cause painful sensations in us lies in the range of 1 – 10 W/m -2. The excess pressure is 60 Pa, and the amplitude of vibrations of air particles is ~ 2.5x10 -2 cm. Such pressure produces the noise of a jet aircraft at a distance of 50 m.

Shock waves. Audible sound waves in the air are associated with relatively small fluctuations in its pressure: the maximum value of the sound pressure amplitude does not exceed several thousandths of an atmosphere. Therefore, waves of this kind are an example of the propagation of weak disturbances in the air. However, in a number of practically important cases one has to deal with strong disturbances propagating in gases, liquids and solids in the form of so-called shock waves. Strong disturbances arise, for example, during explosions, during detonation combustion, i.e. during a chemical transformation of a substance or mixture of substances, which is accompanied by the release of heat, and the speed of propagation of the transformation is greater than the speed of sound in this environment; when moving in the air of bodies (shells, missiles, modern aircraft) with supersonic speed; during sudden braking of a liquid moving in a pipeline (water hammer), etc. Audible sound waves in the air are associated with relatively small fluctuations in its pressure: the maximum value of the sound pressure amplitude does not exceed several thousandths of an atmosphere. Therefore, waves of this kind are an example of the propagation of weak disturbances in the air. However, in a number of practically important cases one has to deal with strong disturbances propagating in gases, liquids and solids in the form of so-called shock waves. Strong disturbances arise, for example, during explosions, during detonation combustion, i.e. during a chemical transformation of a substance or mixture of substances, which is accompanied by the release of heat, and the speed of propagation of the transformation is greater than the speed of sound in this environment; when moving in the air of bodies (shells, missiles, modern aircraft) with supersonic speed; in case of sudden braking of liquid moving in the pipeline (water hammer), etc.

Ultrasound. Vibrations with frequencies exceeding Hz are called ultrasound. Ultrasound is widely used in science and technology. Vibrations with frequencies exceeding Hz are called ultrasound. Ultrasound is widely used in science and technology. The liquid boils when an ultrasonic wave passes through (cavitation). In this case, water hammer occurs. Ultrasounds can tear pieces off the surface of metal and crush solids. Ultrasound can be used to mix immiscible liquids. This is how emulsions in oil are prepared. Under the influence of ultrasound, saponification of fats occurs. Washing devices are designed on this principle. The liquid boils when an ultrasonic wave passes through (cavitation). In this case, water hammer occurs. Ultrasounds can tear pieces off the surface of metal and crush solids. Ultrasound can be used to mix immiscible liquids. This is how emulsions in oil are prepared. Under the influence of ultrasound, saponification of fats occurs. Washing devices are designed on this principle. The biological effects of ultrasound are interesting. They weaken the vital activity of bacteria, reduce the growth of lactic acid and tuberculosis bacteria. The biological effects of ultrasound are interesting. They weaken the vital activity of bacteria, reduce the growth of lactic acid and tuberculosis bacteria. Ultrasound is widely used in hydroacoustics. Ultrasounds of high frequency are absorbed very weakly by water and can spread over tens of kilometers. If they encounter the bottom, iceberg or other solid body in their path, they are reflected and produce an echo of great power. An ultrasonic echo sounder is designed on this principle. Ultrasound is widely used in hydroacoustics. Ultrasounds of high frequency are absorbed very weakly by water and can spread over tens of kilometers. If they encounter the bottom, iceberg or other solid body in their path, they are reflected and produce an echo of great power. An ultrasonic echo sounder is designed on this principle. Ultrasound propagates in metal with virtually no absorption. Using the ultrasonic location method, it is possible to detect the smallest defects inside a part of large thickness. Ultrasound propagates in metal with virtually no absorption. Using the ultrasonic location method, it is possible to detect the smallest defects inside a part of large thickness. The crushing effect of ultrasound is used to make ultrasonic soldering irons. The crushing effect of ultrasound is used to make ultrasonic soldering irons. Ultrasound is used to capture the smallest particles of soot, in the sulfuric acid industry to deposit sulfuric acid fog. Ultrasound is used to capture the smallest particles of soot, in the sulfuric acid industry to deposit sulfuric acid fog.

Infrasound and its impact on humans. Vibrations with frequencies below 16 Hz are called infrasound. Vibrations with frequencies below 16 Hz are called infrasound. In nature, infrasound occurs due to vortex movement air in the atmosphere or as a result of slow vibrations of various bodies. Infrasound is characterized by weak absorption. Therefore, it spreads over long distances. The human body reacts painfully to infrasonic vibrations. In laboratory conditions, it has been established that the average value of the resonant frequency for the whole body is 6 Hz, for the chest - 5-8 Hz, for the head - Hz. At external influences, caused by mechanical vibration or sound wave at frequencies of 4-8 Hz, a person feels the movement of internal organs, at a frequency of 12 Hz - an attack of seasickness. In nature, infrasound occurs due to the vortex movement of air in the atmosphere or as a result of slow vibrations of various bodies. Infrasound is characterized by weak absorption. Therefore, it spreads over long distances. The human body reacts painfully to infrasonic vibrations. In laboratory conditions, it has been established that the average value of the resonant frequency for the whole body is 6 Hz, for the chest - 5-8 Hz, for the head - Hz. Under external influences caused by mechanical vibration or sound waves at frequencies of 4-8 Hz, a person feels the movement of internal organs, and at a frequency of 12 Hz - an attack of seasickness. It is known that in the area of ​​Bermuda there is an area of ​​one of the main anticyclones (the area high blood pressure) northern hemisphere. It can be assumed that the intensity of low-frequency acoustic waves emanating from zones of active convection increases and therefore the well-being of the crews of the ships located here worsens. It is known that in the area of ​​Bermuda there is an area of ​​one of the main anticyclones (high pressure area) of the northern hemisphere. It can be assumed that the intensity of low-frequency acoustic waves emanating from zones of active convection increases and therefore the well-being of the crews of the ships located here worsens. Even weak infrasounds can have a significant impact on humans if they are prolonged. Some nervous diseases, typical for residents of industrial cities, are caused precisely by infrasounds penetrating through the thickest walls. Even weak infrasounds can have a significant impact on humans if they are prolonged. Some nervous diseases characteristic of residents of industrial cities are caused precisely by infrasounds penetrating through the thickest walls.

Practical part. Research: Research: Determination of hearing acuity for different categories of people. Conclusion: Hearing acuity decreases with age. Conclusion: Hearing acuity decreases with age. Determination of the hearing threshold for different categories of people. Equipment: Sound generator, oscilloscope, connecting wires, several headphones. Equipment: Sound generator, oscilloscope, connecting wires, several headphones. Conclusion: The threshold for dryness is different for different categories of people, but it differs only slightly. Conclusion: The threshold for dryness is different for different categories of people, but it differs only slightly.

It may seem incredible to many, but not only compositions are created in recording studios musical groups or performers, because besides this we also practice recording ambient sounds(English surround sound recording). Why is this necessary? - you ask. It's simple, sometimes such material is needed to create special effects, film nature and then substitute audio.

Nothing can compare with the feeling of a person as if he is part of nature, the elements. This is exactly the feeling that a skillfully processed composition gives.TopSound

So, let's talk in more detail about why it is necessary to record surrounding sounds. It all again depends on your goals. When shooting a documentary about wildlife, it is not always possible to fully capture the sound using a camera.

Video equipment may not be as sensitive to audio frequencies as specialized sound equipment. Everyone has heard the distinct sounds of rustling grass, birds singing, and the growling of wild animals in television programs about wildlife. All these sounds recorded using separate equipment.

In addition, a lot of material is recorded to create effects in the songs. Let's turn to the experience of music lovers. Most likely, you have more than once heard compositions in which, along with a symphonic relaxing melody, you can hear the drumming of rain, the rumble of thunder or the flow of a river. All this adds a specific mood to the melody; one might even say that this is the kind of music that can turn one’s thoughts into one’s thoughts, allowing the listener to concentrate or relax. Nothing can compare with the feeling of a person as if he is part of nature, the elements. This is exactly the feeling gives a skillfully processed composition.

Examples of portfolio with minus (ROCK, POP, REP)

Example 1. ROCK
Group “THE Y” - song “RUN FOR LIFE”

Example 2. ROCK
Group "We're Burning" - Song "Sochi"

Example 3. POP
Song “More than Love” with minus + mixing

Example 4. POP
The song “Crying” with minus + mixing

Example 5. REP
Song “Give Me” with minus + mixing

Example 6. REP
Song “Propaganda of Truth” with minus + mixing

When else do you need to record sounds?

Recording ambient sounds can be important during all kinds of celebrations. Modern animators (as they used to say - mass entertainers), people working in the field of event organization very often use such audio tracks in their practice, playing out various situations in competitions. They often use sounds like the roar of motorcycle engines, natural motifs, as well as random sounds like creaking doors, people's exclamations, chirping birds and others.

The variety of variations of sounds around us is truly amazing; many of them have long been used to create the most different types musical accompaniment. But to work on making such a track you need to work hard. After all, it is unlikely that it will be possible to write down required material in a short time. This business requires experience, patience and special equipment. (which is exactly available in the TopZvuk company). Come to our studio, we will definitely we will help you find and write down what you need. Recording ambient sounds for us- a common task. You may also be interested in renting a studio at affordable prices. Call us and we will be happy to answer all your questions!

The world of sounds is so diverse, rich, beautiful, diverse,
But we are all tormented by the question: “Where do the sounds come from that delight our ears everywhere?”….

It's time to think seriously... This is what our online lesson on the world around us is about...

Sound

Sound- these are elastic waves in a medium (often in air), which are invisible, but perceived by the human ear (the wave acts on the eardrum).

When an object vibrates, which can be solid, such as a string or the earth's crust, or gaseous, such as a stream of air in a wind instrument musical instruments or in a whistle or liquid, for example, waves on water, the air also vibrates. This is how they are formed sound waves , which spread in all directions.

For example, a string on a guitar does not sound in its normal state, but as soon as we make it vibrate, a sound wave appears.

If we create a vacuum, will we be able to distinguish sounds?

Vacuum is a space free of matter.

Robert Boyle in 1660 placed the clock in glass vessel. After pumping out the air, he heard no sound. Experience proves that a medium is needed for sound to propagate . Therefore, sound cannot be heard in space: it cannot propagate in emptiness.

Sound can also travel through liquid and solid media. The impacts of stones can be clearly heard underwater. And in calm weather you can whisper across the river.

Sound doesn't travel well soft objects: in them the waves quickly fade.

Place the clock on one end of the wooden board. By placing your ear to the other end, you can clearly hear the ticking of the clock.

A sound wave travels through a tree.

However, experience shows that not every oscillating body is a source of sound. For example, a weight suspended on a thread does not make a sound. The fact is that the human ear does not perceive all waves, but only those that create bodies oscillating with a frequency from 16 Hz to 20,000 Hz. Such waves are calledsound . Oscillations with a frequency less than 16Hz are calledinfrasound . Oscillations with a frequency greater than 20,000 Hz are calledultrasound .

Sound waves do not travel instantly, but at a certain speed. That is why during a thunderstorm we first see lightning, that is, light (the speed of light is much greater than the speed of sound), and then sound is heard.

The speed of sound depends on the medium: in solids and liquids the speed of sound is much greater than in air.

The bones of the skull also conduct sound well. When talking, we hear not only the sounds that others hear, but also the low-frequency component of the sound of the voice, which reaches you through the bones of the skull. However, when listening to a tape recording of our own voice, we hear only what could be recorded - sounds whose conductor is air.
What's happened bone conduction ? If we plug our ears with our fingertips and start talking or chewing, the sounds we hear are predominantly low-frequency sounds that reach the inner ear thanks to bone conduction. Air vibrations arising in the oral cavity are transmitted to the lower jaw and reach the inner ear.

If the shell of a sea mollusk is brought close to the ear, a sound is heard that resembles the distant sound of the sea. What is the origin of this sound?

Ambient sounds excite resonant vibrations of the air inside the shell. These vibrations create the illusion of the sounds of the sea surf in a person leaning a shell to his ear.

Did you know that...

• Those who worked in underwater structures confirm that shore sounds can be clearly heard underwater, and fishermen know that fish swim away at the slightest suspicious noise on the shore.
• Jellyfish sense a storm 12 hours in advance, picking up infrasound from a distant cyclone.
• The most quiet place- The “Dead Room”, measuring 10.67 x 8.5 m in Laboratory, USA, is the most sound-absorbing room in the world, in which 99.98% of reflected sound disappears.

Light

We see the space around us, constantly hear sounds from various sources, we feel heat and cold, we do not notice that we are constantly in the zone of radiation that comes from huge amount signal sources, radio and telecommunications. Almost everything around us emits electromagnetic radiation.

Electromagnetic radiation - these are electromagnetic waves created by various emitting objects - charged particles, atoms, molecules.

The heat emanating from a burning fire is an electromagnetic wave, or rather infrared radiation , and of very high intensity, we don’t see it, but we can feel it. The doctors did X-ray– irradiated electromagnetic waves , possessing high penetrating power, but we did not feel or see these waves. The fact that electric current and all devices that operate under its influence are sources electromagnetic radiation , you all know, of course.

But there are electromagnetic waves that we see. WITH vet- This is radiation that is emitted by a heated body or a substance in an excited state.

Lightis a stream of special vibrating particles (much smaller than an atom) with high energy.

Light, unlike sound, does not need a medium to propagate and passes freely space. The speed of light is so high that in 2 seconds the beam manages to reach the Moon and, after being reflected, return to Earth.

We see the sun, fire or light bulb because they emit light. We see all other objects because they reflect light from the sun or a light bulb. Without a light source, objects become invisible in the dark.

I’ll say right away that there are two scientific hypotheses about the concept of “light” that arose at the end of the 17th century, corpuscular And wave.

According to corpuscular theory, light is stream of tiny light particles (corpuscles), which fly at great speed.

Wave theory viewed light as wave process , similar to mechanical waves.

Sound waves are much longer than light waves and therefore bend around obstacles much more easily. Standing in the yard, we do not see cars walking down the street, blocked from us by the house, but we hear them.

One of the characteristics of light is itscolor.

The first step towards solving the color was taken Isaac Newton , when he was still a young graduate of Cambridge University. Having done small hole in the window shutter, he placed a triangular glass prism under a beam of sunlight, and all the colors of the rainbow began to play on the opposite wall: red, orange, yellow, green, blue, indigo, violet.

Newton named this color band spectrum. Spectrum from Latin spectrum– visible. The sequence of colors in the spectrum helps to remember the phrase “Every Hunter Wants to Know Where the Pheasant Goes,” in which the first letters of the words coincide with the first letters of the names of the colors. Where in nature can we see this spectrum?…. That's right, it's a rainbow.

A rainbow occurs when sunlight experiences refraction in water droplets slowly falling in the air. These droplets bend light differently different colors, resulting in White light decomposes into a spectrum. It seems to us that a multi-colored glow emanates from space in concentric circles (arcs).

So, there are separate electromagnetic waves.

Each wave has its own length. Each wave is emitted light energy, that is, a red wave emits red light, an orange wave emits orange, a green wave emits green, etc.

Our ability to distinguish colors is explained by the fact that in the human retina there are three types of cells (cones) that have selective sensitivity to electromagnetic waves of different wavelengths. Some of them are particularly sensitive to red, others to green, and still others to blue. As a result, our eye is able to distinguish the most various shades all colors.

Of course, the perception of color depends on the person, his physical and psychological state. I note that on this moment, we're talking about specifically about the color of light radiation, and not about the color of objects. The figure shows the parameters of color and light that are dependent on each other.

Let's check how this works in practice. Let's take 3 light sources (spotlights) - red, green and blue. Each of these spotlights emits only one electromagnetic wave certain length. Red - corresponds to the emission of an electromagnetic wave with a length of approximately 625-740nm (the spectrum of the beam consists only of red), blue emits a wave with a length of 435-500nm (the spectrum of the beam consists only of of blue color), green – 500-565nm (only green color is in the beam spectrum). Three different waves and nothing else, there is no multi-colored spectrum and additional colors. Now let's direct the spotlights so that their rays partially overlap each other, as shown in the figure.

Look, where the light rays intersect with each other, new ones have formed light rays– new colors. Green and red formed yellow, green and blue - cyan, blue and red - purple. Thus, by changing the brightness of light rays and combining colors, you can obtain a wide variety of color tones and shades of color.

Pay attention to the center of the intersection of green, red and blue colors: You will see white color in the center. White color is the sum of all colors. It is the “strongest color” of all the colors we see. The opposite of white is black. Black color- this is the complete absence of light at all. That is, where there is no light, there is darkness, everything becomes black.

The colors of objects depend on what wavelength of electromagnetic waves they reflect. For example, the skin of a tomato reflects only light with a wavelength corresponding to red, and the leaves only reflect rays Green colour. Therefore, if you shine only blue light on a tomato, it will turn black.

Let's return to this drawing, we talked in class about visible waves, but what are these waves that we don’t see?

For example, we no longer see waves slightly longer than red light. They are called infrared . True, we feel their heat rays. From a heating battery, from an electric stove. When the burner is at full heat, you can see its red glow in a dark kitchen.

Even longer than infrared rays radio waves , with the help of which a television studio or radio station transmits programs that can be watched and heard by people living in long distance from a radio wave source.

Even longer waves are able to penetrate into the body. Such waves are used in microwaves and medical devices that allow heating internal organs patient.

Ultra-violet rays have a wavelength shorter than that of violet light. We don’t see them either, but they have an even stronger effect on skin tanning than spectrum light.

Even shorter X-rays . Their energy is so great that they illuminate not very dense objects. They are used in X-ray machines and during customs inspection.

Finally, the shortest waves are radioactive radiation . Penetrating into us, they are able to destroy the molecules that make up the cells of our body. This is why getting into an area of ​​increased radioactivity is very dangerous to health.

66Music. Theater: Issue 1-M.: Vest-TDA, 2001. – 60 min. – (Sounds,

Nature

1. 
   Voices of birds. – M.: News. – TDA, 2001. – 60 min. - (Live nature).

• 
  blackbirds, gulls, rooks, larks, cockerels, ducks, geese, crows.

• 
  Pet voices.
• 
  Birds.
• 
  Insects.

58What music was born from: the sounds of the surrounding world. – M.: News – TDA,

2001. – 60 min.

• 
  76 fragments of natural sounds and 45 fragments of poems for children.

1. 
   Forest. Birds. Rain. Storm. – M.: News – TDA, 2001. – 60 min. (Alone

• 
  Heavy rain in the forest.
• 
  Storm.
• 
  Rolls of thunder.
• 
  Calm.
• 
  Joyful singing of birds.

1. 
   Forest voices: a walk in the forest with an ornithologist. – M.: News –

• 
  A walk through the spring forest with an ornithologist and a boy

with nature).

• 
  Sounds of the sea.
• 
  Furious waves crashing against the rocks.
• 
  The screams of seagulls.
• 
  The roaring wind.

61 Lake. Creek. Forest. – M.: News – TDA, 2001. – 60 min. (Alone

with nature).

• 
  The splash of lake water.
• 
  The murmur of a fast stream.
• 
  Birdsong.
• 
  The sound of the wind in the treetops.

68 Nature, birds and animals: Issue 3. - M.: Vest - TDA, 2001. -

63 Dawn in the forest. Creek. Pond. - M.: News - TDA, 2001. - 60 min.

(Alone with nature).

• 
  Quiet surf.
• 
  Birdsong.
• 
  Dawn in the forest.
• 
  Sounds of the rain.
• 
  Life on a pond and swamp.
• 
  Sparkling stream.

Transport

67 Transport, combat operations: Issue 2. - M.: Vest - TDA, 2001. -

Music (collections)

111 Ballet music: Madrid-Paris (1841-1915). –M.: Tweek-Lirek,

1. 
   (Masterpieces of world classics).

M. De Falla. Ritual ballet dances. "Love is magic."

C. Gounod. "Walpurti Night" Ballet. music from the opera

"Faust".

1. 
   Magical flute. Flute music by a composer of the era

classics).

Jacob Jan Eick. “Echo-fantasy” (S.).

Jacob Jan Eick. Variations on a theme unknown author. "When

Daphne ran away from the beautiful Phoebus."

Giuseppe Giamberti. Solfeggimento (S.S.).

Orlando Gibbons. Fantasy (A, A).

Thomas Morley. Fantasy T, T, B).

Marco Wicellini. Aria (S, S, B).

Claudio Merulo. Zambeccara (C, A, T, B).

Philip de Monto. Canzona (C, A, A, T).

John Dowland. Pavana (CB+C, A, T, T, B).

Ludovico Trossi da Viadana. Canzona (C, A, T, B+C, A, T, B).

1. 
   Twelve classic pearls. - M.: Tweek-Lirek, 2001

Bach. Jesus, joy of hearts.

Pachebel. Canon.

Mozart. Ave, verum copus, k – v.

Haydn. Adagio cantabile.

Beethoven. Adagio cantabile.

Berlioz. "Ballet of the Scythians" and "Minuet of Will-o'-the-wisps" from

dramatic legend "The Damnation of Faust".

Side B:

A. Vivaldi. from Concerto for Violin and Orchestra No. 1 in E

major “Spring” (from the cycle Seasons).

Gluck K.V. Melody from the opera "Orpheus and Eurydice".

Delibes L. Waltz from the ballet “Sylvia”.

Delibes L. Intermezio from the opera Lakme.

Massenezh. Ballet music from the opera "Sid".

Dvorak A. Romance in F minor, Op. No. 11.

109 Sounds of a silver harp. - M.: Tweek-Lirek, 2001

(Masterpieces of the world classics).

J.S.Bach. Prelude.

T.F. Tendel. Passaca lia.

Yal Dusik. Sonata.

L. Shpof. Fantasy.

M. Glinka. Variations on a theme by Mozart.

K. Debussy. Arabesque.

K. Debussy. Moonlight.

K. Debussy. Prelude "Girl with Flaxen Hair".

M.O.Duran. Waltz.

107 Spanish guitar music. - M.: Tweek-Lirek, 2001

(Masterpieces of the world classics).

Fernando Sf. Sonata (Op. 22)

Rondo: Allegretto

Isaac Albeniz. Castile No. 7.

Enrique Granados. Spanish dance № 2.

Manuel de Falla. In memory of Debussy.

Manuel de Fanya. Spanish dance.

Joaquin Rodrigo. Aranjuez concert

108 Masters of the Baroque. - M.: Tweek-Lirek, 2001

(Masterpieces of the world classics).

T. Albinoni. Concerto in B flat major. Allegro moderato.

J.B. Lully. Aria.

Vivaldi. Concerto for string instruments with

bassocontinuo

(Allegro monto, Andante molto, Allegro).

A . Vivaldi. Largo.

K.V. Gluck. Overture to the opera "Orpheus and Eurydice".

D. Cimarosa. Concerto for haboe and string instruments

(Introduction, Allegro, Siciliano, Allegro)

J.S.Bach. Suite for orchestra No. 3 in D major (Overture, Aria,

Gavotte, Bourret, Gita).

P.A. Locatelli. Concerto for violin and orchestra, Op. No. 3

Allegro Copriccio.

103Eleven classic pearls. - M.: Tweek-Lirek, 2001

(Masterpieces of the world classics).

Bakh I.S. Siciliana

Mozart V. Andante from the concerto for piano and orchestra. No. 21.

Ponchielli. "Dance of the Hours"

Paganini. Campanella.

Chaikovsky. Waltz of the Flowers.

115Journey into the world of music: Issue 1. - M.: Tweek-Lirek, 2001

(Masterpieces of the world classics).

Bach. Toccata and Fugue in D minor.

Albinoni. Adagio solo minor.

Mozart. Little night serenade KV 525.

Chaikovsky. March from the ballet "The Nutcracker".

Sheet. "Dreams of Love", Nocturne No. 3.

Grieg. "Procession of the Dwarves."

Vaksman A. Fantasy on themes from Bizet’s opera “Carmen”.

114 Journey into the world of music: Issue 2. - M.: Tweek-Lirek, 2001

(Masterpieces of the world classics).

Mozart. Symphony No. 40 in G minor KV 550.

Rachmaninov. Rhapsody on a Theme of Paganini for piano, op. 43 la

Glitch. Melody from the opera "Orpheus and Eurydice".

Mendelssohn. Scherzo from the suite "Dream".

Glinka. March Black. from the opera "Rusmlan and Lyudmila".

Chopin. Waltz No. 7 in C sharp minor.

Chaikovsky. Autumn Song (October) No. 10.

Mussorgsky. "Dawn on the Moscow River." Introduction to the opera

"Khovansh".

112 Russian Fantasy: Virtuoso Classical Music for

pipes. - M.: Tweek-Lirek, 2001 (Masterpieces of the world classics).

Rimsky-Korsakov. "Flight of the Bumblebee".

Levi. "Russian fantasy".

Haydn. Allegro from Concerto for Trumpet and Orchestra in E flat

Paganini. "Perpetual motion".

Clark. "Brilliant Caprice"

Clark. "Brilliant Waltz"

Bellenstedt. Variations on the theme of the Neapolitan song "Funicili"

- « The last rose summer." An old Irish melody.

- “Sometimes I feel like an orphaned child.”

Spirituals.

J.B.Arban. "The crown of the carnival."

110 Russian symphonic music. - M.: Tweek-Lirek, 2001

(Masterpieces of the world classics).

M. Glinka. Overture to the opera "Ruslan and Lyudmila".

M. Mussorgsky. Introduction to the opera “Khovanshchina” (“Dawn on

Moska River").

M. Mussorgsky. Music painting "Midsummer's Night on Bald Mountain".

N. Rimsky-Korsakov. “The Tsarevich and the Princess” from the symphony. suites

"Scheherazade".

A. Borodin. Overture to the opera "Prince Igor".

A. Borodin. Polovtsian dances from the opera “Prince Igor”.

119 XIX century. - M.: Tweek-Lirek, 2001

M. Mussorgsky. "Night on Bald Mountain."

A. Borodin. "Polovtsian Dances" from the opera "Prince Igor".

Rimsky-Korsakov. "Scheherazade".

M. Glinka. "Ruslan and Ludmila".

113 Violin music of the Baroque era. - M.: Tweek-Lirek, 2001

(Masterpieces of the world classics).

A. Vivaldi. Concert in G minor "Dresden".

Concerto for two violins and string orchestra in D minor.

Concerto for 4 violins, cello and strings in B minor.

Albinoni. Creak. concerto in C major. Concerto for strings and

harpsichord, f. 5 No. 3 in D major.

Torelli. Violin Concerto in A minor, op. 8 No. 9.

104 Thirteen classic pearls: pearls of European and

Russian classical music – 1.- M.: Tvik-Lirek, 2001

J. Clark. Trumpet Volunfarg.

J.S.Bach. Aria from Suite for Orchestra No. 3 in D major BW.

J.S.Bach. Largo from Concerto No. 5 for harpsichord and orchestra in F

minor BWV 1056.

Haydn. Allegro from Concerto for Trumpet and Orchestra in E flat

T. Albioni. Adagio for organ and strings.

W. Mozart. Overture to the opera "The Magic Flute".

101French symphonic music. - M.: Tweek-Lirek, 2001

(Masterpieces of the world classics).

G. Berlioz “The Condemnation of Faust”, Dramatic Legend (French)

E. Lalo. Overture to the opera "The King from the City of IS".

L. Delibes. Ballet music from the opera Lakme.

105 Fourteen classic pearls: pearls of European

and Russian classical music – 2.- M.: Tvik-Lirek, 2001

Brahms Venter. Dance No. 5.

Bizet. Habanera from the suite from the music to the opera "Carmen".

Massenezh. "Reflections" from the opera "Thais".

Mascagni. Intermezzo from the opera "Rural Honor".

Wagner. "Ride of the Valkyries" from the opera "Valkyrie".

A. Dvorak. Largo from Symphony No. 5 in E minor, Op. 95.

E. Eltar. "Nimrod" from "Variations on an Original Theme"

Op. 36.
Composers of the world

Johann Sebastian Bach. – V.1.- M.: Tweek-Lirek, 2001.- 64 min.

(The World's Greatest Composers).

Sonata and Fugue in D minor BW 565.

Christmas speaker. Frag. BW 248.

Concerto for violin and orchestra No. 1 in A minor BW 1041.

Sonata for op. and harpsichord in G minor BW 1020.

Concerto for two violins, strings and bass continuo in D minor

95 Beethoven L.

Ludwig van Beethoven. - AT 5. - M.: Tweek-Lirek, 2001. - 66 min.

(The World's Greatest Composers).

Sonata for piano No. 23 “Appassionata” in F minor 57.

Violin Concerto in D major 61.

Romance for violin and orchestra op.40.

Sonata for piano No. 21 “Waldstein” in C major op. 53.

1. 
   Brahms I.

(The World's Greatest Composers).

Concerto for violin and orchestra in D major. Or. 77.

Serenade No. 2 in A major. Or. 16.

Hungarian Dance No. 2 in D minor.

Wenger. Dance No. 5 g-minor.

1. 
   Wagner R.

(The World's Greatest Composers).

- “Lohengrin.” Wedding choir.

- "Tannhäuser". Overture, chorus.

- "Nuremberg Mastersinter".

- "Flying Dutchman".

Vivaldi A.

Antonio Vivaldi.-V.3. - M.: Tweek-Lirek, 2001. - 59 min.

(The World's Greatest Composers).

Concerto for two flutes and harpsichord in C major.

Concerto for mandolin and harpsichord in C major.

Concerto for string orchestra and harpsichord in C major.

Concerto for violin and orchestra in A minor. Or. 3 No. 6.

Symphony in C major.

Concerto for two violins and orchestra in A minor.

Concerto for two cellos and string orchestra. G minor.

Concerto for strings. orchestra and organ in D major.

Joseph Haydn.-V.4. - M.: Tweek-Lirek, 2001.- 66 min.

(The World's Greatest Composers).

Symphony No. 94 in G major “Surprise”.

String. Quartet No. 3 in C major. Or. 76 "Emperor".

Divertissement No. 1.

Symph. No. 104 in D major “London”.

85 Grig E.

Grig Elvard. – V.17. - M.: Tweek-Lirek, 2001. - 63 min.

(The World's Greatest Composers).

Concerto for piano and orchestra in A major. Or. 16.

Suite No. 1 (from the music to G. Ibsen’s drama “Peer Gynt”).

90 Sheet F.

Ferens List.-B.11. - M.: Tweek-Lirek, 2001.- 56 min.

(The World's Greatest Composers).

- “Oropheus”.

- “Preludes”.

Hungarian Rhapsody No. 12.

- “Lidestraume” (Nocturne No. 3).

- “Rigoletto”, concert paradise.

- “Campanella”, study No. 3.

86 Mendelson F.

Mendelssohn F. – V.16. - M.: Tweek-Lirek, 2001.- 67 min.

(The World's Greatest Composers).

Wedding March.

Concerto for violin and orchestra. E minor. Or. 64.

Symph. No. 4. A major “Italian.” Or. 90.

Song without Words. Or. 62 No. 3.

94 Mozart V.A.

Wolfgang Amadeus Mozart.-B.6. - M.: Tweek-Lirek, 2001.- 56 min.

(The World's Greatest Composers).

Divertimento in D major K. 136.

Symphony No. 16 in C major K.128.

Symphony No. 18 in F major K.130.

Symphony No. 22 in C major K.162.

87 Paganini N.

Niccolo Paganini.-V.15. - M.: Tweek-Lirek, 2001. - 62 min.

(The World's Greatest Composers).

Variations on a theme by Rossini.

Sonatas for violin and guitar.

Concerto for violin and orchestra. No. 1 in D major. Or.6.

84 Ravel M.

Ravel M.-V.18. - M.: Tweek-Lirek, 2001. - 65 min.

(The World's Greatest Composers).

Concerto for piano and orchestra. G major.

- “Gypsy”, rhapsody for violin and piano.

- “Bolero”.

- “Pavanana death of the Infanta.”

- “Noble and sentimental waltzes.”

83 Rachmaninov S.

Sergei Rachmaninov. - IN 20. - M.: Tweek-Lirek, 2001. - 53 min.

(The World's Greatest Composers).

Dark night

There is a nice town in the north

99 Sergeev V.

The story of the songs of the War Years-3: I walked around the world a lot... .-M.: Straliz-Audiobook, 2001

The Bryansk forest was noisy

Oh, my fogs are foggy

You are from Odessa, Mishka

Song about the Volga hero

My Moscow

Baltic Sea

Song about the peacoat

Nurse Anyuta

Lizaveta

100 Sergeev V.

The story of the songs of the War years -4: In the forest, unheard, a yellow leaf flies weightlessly... .-M: Stradiz-Audiobook, 2001

Only at the front

What are you yearning for, comrade sailor?

In the forest near the front

Random Waltz

Fiction (collections)

Dragunsky V.

Enchanted letter: Hello, school! – M.: News TDA,

2000. – 56 min. (Magic Sound. No. 2)

Stor. "A".

Modzalevsky. "Children to school" ...

Tokmakova. "Soon to school."

Barto. "To school".

Pivovarova. "Student".

Borodnitskaya. "First grader."

Ruskin. “How dad went to school.”

Golyavkin. “How afraid I was.”

Yasnov. Primer Day.

Golyavkin. "I'm Andreev."

Ruskin. “As dad wrote two...”

Mikhalkov. "Graft".

Dragunsky. "Bewitched B."

Odoevsky. "Song at the entrance..."

Side B

Pivovarova. "Call."

Zakhoder. “Change”, “Petya is washing”.

Vladimirov. "Weirdos."

Ruskin. “How dad took revenge.”

Moritz. "One Hundred Fantasies"

Mosov. "Mishkina porridge."

73 Zabolotsky N.

How mice and cats fought: Funny stories. – M.: News TDA,

2001. – 77 min. (Magic Sound. No. 1)

Side "A".

Panteleev. "How a pig learned to talk."

Vladimirov. "Orchestra".

Dragunsky. “Zach. letter”, “Top down, diagonally”.

Uspensky. " Scary tale", "Destruction".

Sapgir. "Gardener".

Barto. “The girl is grimy.”, “The girl is revush.”

Sef. "Endless Poems"

Zoshchenko. "Christmas tree".

Chukovsky. "Confusion".

Side B

Vvedensky. "Dress up for Masha."

Zabolotsky. “How mice fought with cats.”

Shergin. "Rhymes".

Nosov. "Living Hat"

Zoshchenko. "Great Travelers"

Marshak. "Poodle".

1. 
   Zayushkina's hut: stories and tales about animals. – M.:

Side A

The red summer has arrived.

Geese.

Zhikharka.

Bianchi. "First hunt"

Cat and rooster.

Once upon a time there were two peacocks.

Side B

Tostoy A. “Zheltukhin.”

An owl was flying.

Kolobok.

She ran through the forest.

Zayushkina's hut.

Crane and heron.

Monkey and glasses: fairy tales and fables of Russian writers. – M.: News

TDA, 2000. – 46 min. (Magic Sound. No. 2)

Side A

Ershov. "The Little Humpbacked Horse".

Krylov. “Swan, pike and crayfish”, “Crow and fox”, “Siskin and

dove", "Elephant and Pug", "Monkey and glasses", "Quartet",

"The Dragonfly and the Ant", "The Rooster and the Grain of Pearls".

Side B

Odoevsky. "Moroz - Ivanov."

Tolstoy. Fables: “Grouse and the Fox”, “Dog in the Manger”,

“The Ant and the Dove”, “Father and Sons”, “Two Comrades”.

78 Mamin-Sibiryak D.

Gray Neck: stories and tales about animals. – M.: News TDA,

2001. – 57 min. (Magic chest No. 1)

Side A

Mamin-Sibiryak. "Gray neck"

Charushin. "Little foxes."

Side B

Ushinsky. "Caring Cow"

Veresaev. "Brother."

Sladkov. "Not hearing."

Charushin. "Little wolf."

Paustovsky. "Cat Thief"

Bitter. "Sparrow."

No need to lie: stories about children. – M.: News TDA, - 2000. – 64

min. (Magic chest No. 2)

Side A

Chekhov. "Boys."

Chekhov. "Vanka."

Tolstoy. "Nikita's childhood"

Side B

Zoshchenko. "Do not lie".

Driz "The Seven Colored Country".

Pristavkin. "Portrait of a Father."

Moshkovskaya. "Resentment."

Dragunsky. “No worse than you circus people.”

Paustovsky K.

Cat-thief: about our smaller brothers. – M.: News TDA, - 2000. – 61 min. (Magic Sund. No. 2)

Side A

Turgenev I. “Sparrow” (poetry in prose).

Garin_Mikhailovsky. "Theme and the Bug."

Durov V. “Kashtanka, Bishka and Zapatayka.”

Side B

Paustovky K. “Hare’s feet.”

Prishvin M. “Lemon”.

Paustovsky. Thief cat."

Tolstoy L.N.

Filipok: stories - M.: Vest TDA, - 2000. - 51 min.

(Magic chest No. 2)

Side A

Sergeenko A. “Children of Tula workers visiting L.N. Tolstoy.”

Mogilevskaya. “Summer in Kroshino”, “Maslyata”, “Bach’s Aria”.

Side B

Tolstoy L.N. stories:

"Bone"

"Kitty"

"Filipok"

"Bulka"

"Shark"

"Bounce"

1. 
   Averchenko A.

Human day.

Under the table.

Kostya

Anfisa: performance: part 1. – M.: Master Tape, 2001, (golden collection of the State Television and Radio Fund).

32 Bulgakov M.

Fatal eggs: a one-man show in two parts / read by A. Kotov. –M.:

Stradiz, 2001

34 Bunin I.A.

Mr. from San Francisco / Read by Zozulin. –M.: Stradiz, 2001

52 Green A.

Running on the Waves: a performance based on novel of the same name: Part 2.

. – M.: Master Tape, 2001, (golden collection of the State Television and Radio Fund).

7 Gorky M.

Grandfather Arkhip and Lenka; Twenty six and one / Read by M. Ulyanov, N. Plotnikov, V. Sperantova. - M.: Tweek-Lirek, 2001

13 Gorky M.

Tales of Italy; Makar and Chudra / Read by N. Mordvinov, R. Plyatt. - M.: Tweek-Lirek, 2001

Midday sun

Tunnel

Children of Parma

Strike

1. 
   Kuprin A.I.

1. 
   Pasternak B.

A.S.PUSHKIN

21 Pushkin A.S.

Blizzard: literary and musical composition to the music of Sviridov G.V. / Read n.a. A. Batalov and art. And Bykov. – M.: News – TDA, 2001. – 83 min.

37 Pushkin A.S.

Queen of Spades: in two parts / Read by M. Kozakov. – M.: Stradiz, 2001.

Music by A. Tchaikovsky. Fantasy on the themes of P.I. Tchaikovsky’s opera “The Queen of Spades”.

71 Pushkin A.S.

Fairy tales. – M.: News TDA, - 2001. – 52 min.

(Magic chest No. 1)

Side A

- “Near the Lukomorye there is a green oak tree.”

- "The Tale of the Fisherman and the Fish".

- “The Tale of the Priest and His Worker Balda.”

Side B

- “The Tale of the Dead Princess and the Seven Knights.”

72 Pushkin A.S.

The Tale of Tsar Saltan: performance using. music by N. Rimsky-Korsakov. – M.: News TDA, - 2001. – 54 min.

(Magic chest No. 1)

My Pushkin: tales of A.S. Pushkin . – M.: News TDA, - 2000. – 62 min. (Magic chest No. 2)

Side A.

Paustovsky. Excerpt from the article “Tales of Pushkin”.

- “Near the Lukomorye there is a green oak tree.”

- "The Tale of Tsar Saltan".

Side B

- “The Tale of the Golden Cockerel.”

- “The Tale of the Dead Princess.”

The incident at Kochetovka station: in two parts. –M: Tweek-Lirek, 2001. – (Read by the author).

19 Teplova G.

In the labyrinths of autumn mirrors. –M: Tweek-Lirek, 2001 – (Read by the author).

38 Tolstoy L.N.

Hadzhin Murat / Read by A. Ostuzhev. –M: Tweek-Lirek, 2001

33 Turgenev I.S.

Notes of a Hunter / Read by S. Zhirnov. –M.: Stradiz, 2001

56 Faulkner W.

6 Shakespeare.

Hamlet: theme and variations: in two parts / Read by Mikhail Kozakov.

–M: Tweek-Lirek, 2001

50 Robert Bloch.

Train to Hell / Read by Emmanuel Vitorgan. –M: Tweek-Lirek, 2001. – (Mysticism. Science Fiction. Detective).

51 Bloch R.

The man who shouted “Leader1” / Read by Gennady Bortnikov.

-M: Tweek-Lirek, 2001. - (Mysticism. Science Fiction. Detective).

46 Bradbury N., Christie A.

The highest of bliss. –M: Tweek-Lirek, 2001.

Christie. "The Missing Bride."

Battlefield. –M: Tweek-Lirek, 2001. – (Mysticism. Science Fiction. Detective).

Robert Bloch. "Silent Funeral"

42 Christy A.

Finger of St. Peter; apartment on the fourth floor / Read by V. Zozulin. –M: Tweek-Lirek, 2001.

56 Faulkner W.

A complete turn around: Side A. - M.: Master and Tape, 2001. - (Golden collection of the State Television and Radio Fund).

44 Pepperow Y.

Trap: a detective story. –M: Tweek-Lirek, 2001. – (Mysticism. Science Fiction. Detective).

47 Chase D.

Esmaldi's Necklace: a detective story. –M: Tweek-Lirek, 2001. – (Mysticism. Science Fiction. Detective).

36 Goethe I.V.

Deal: composition based on the tragedy "Faust". –M: Tweek-Lirek, 2001.
P O E S I A (collections)

58 What music was born from: the sounds of the surrounding world. M.: - News TDA, 2001. – 60 min.

76 fragments of natural sounds and 45 fragments of poems for children.

4 Poets of the 19th century: poems and romances. – M.: Tvik-Lirek, 2001. – (Anthology of Russian poetry).

I.P.Metlyaev. "Roses".

Kozlov I.I. Rum. "evening" sound", "On patrol."

Baratynsky E.A. “Star”, “Kiss”, “When inexperienced”, “Separation”.

Comb E.P. Rum. "Black eyes".

Pavlova K.K. “Kuma”, “About the Past”.

Koltsov A.V. Song "Don't make noise, you."

Stromilov S.N. “It’s not the wind howling.”

Tolstoy A.K. “My little bell”, “Not the wind, blowing from on high...”, “When all nature trembles and shines...”, “You bow your face, opom.”, “Sometimes in the midst of worries...”.

Turgenev I.S. Novel "Foggy Morning".

Grigoriev A.A. “We parted and met.”

Zhadovskaya Yu.V. “You will soon find me...”

May L.A. Rum. “I would like to become one...”

Skuchevsky. "Night. Dark. Eyes open,” “It’s midday, the heat is oppressive...”.

Lokhvitskaya. "I want to be loved".

23 Poets to Pushkin / Read by M. Kozakov. – M.: Stradiz, 2001.

Yesenin. "Pushkin."

Block. “Fluff.” home."

Mayakovsky. "Jubilee".

Akhmatova. "Dark-skinned youth."

Parsnip. Theme with variations.

Mendelshtam. “Petersburg. lines."

Tsvetaeva. “No, I didn’t hit the bar.”

Samoilov. "Pestel, poet."

Antokolsky. "Ballad..."

Smelyakov. "The poems have been written."

Akhmadulina. “The visiting family takes photographs.”

The clear smile of nature: poems by Russian poets about native nature. - M.: - News TDA, 2000. – 50 min. – (Magic chest No. 2).

76Russian poetry: M.: - Vest TDA, 2001. – 52 min. – (Magic chest No. 1).

Pushkin. “The sky is already…”

Bunin. "Leaf fall."

Gorodetsky. "First snow".

Voloshin. "In autumn."

Bunin. It's raining cold."

Balmont. "Autumn".

Pleshcheev. "Autumn has come."

Fet. “The swallows are missing.”, “Mom! Look out the window."

like on thin ice."

Block. "Bunny."

Koltsov. "The winds are blowing."

Zhukovsky. "Bird."

Winter pictures

You, winter-winter.

Black. "Wolf".

Nikitin. "Meeting Winter"

Belocheev. "First snowball"

Bunin. "First snow".

Yesenin. “Winter is singing and calling.”

Surikov. "Winter".

Fet. "The cat is singing."

Drozhzhin. "He's walking in the street."

Nikitin. “It got noisy and went wild.”

Pleshcheev. "Spring".

Baratynsky. "Spring, spring."

Pleshcheev. "Rural Song".

Tolstoy. "My bells."

Maikov. "Palm Week"

Block. "In the meadow."

Pushkin. "Persecuted by the spring..."

Maikov. "The swallow has rushed."

Surikov. "Summer".

Nikitin. "Morning on the shore of the lake."

Balmont. "Mosquitoes-makariki."

Modzalevsky. "Butterfly".

Fet. "Butterfly".

Vvedensky. "Song about rain."

Nekrasov. "Peasant Children"

Bunin. “Like a haze...”

Baltmont. "Dewdrop".

Block. "After the storm."

Maikov. "Summer rain".

Tyutchev. "In the stuffy air."

Drozhzhin. “Bird is a black “concert”.