The notes in this appendix provide a brief and limited overview of R syntax, semantics, and the R package system, as background for working with the R code included in the text. It is intended for use alongside R help pages and the wealth of tutorial material that is available online.

Sound in one-dimensional systems, pipes, is considered in the context of modeling of the physics of wind instruments. Acoustic impedances are defined, which are used to characterize a system’s response to a force. The convenience of using complex numbers, which have real and imaginary parts, to describe impedance for waves, which have an amplitude and phase, is presented. Reflection and transmission of sound at points where a pipe’s impedance changes are considered, along with how these lead to resonances. The differences between sound propagation in cylindrical, conical, and Bessel horn-shaped pipes are presented. A model pipe with periodic holes is used to model the finger holes found in woodwinds. Such a pipe exhibits a critical frequency below which the impedance is imaginary, resulting in reflection, and above which is real-valued, allowing sound to propagate. An explicit example is shown using simple calculations for a fife, illustrating that the critical frequency becomes important for the upper range of woodwinds. A solution method for more advanced pipe models is presented. One more advanced model is that used for the human vocal tract, which can be modeled with pipes and acts as a time-dependent filter.

This chapter describes the music performed by upper-class diners at archaic/classical symposia as documented by literary evidence and red-figure pottery. Following a discussion of the rise of the aristocratic symposion and shifts in musical entertainment from the picture given in Homer to the period when upper-class men began singing a repertoire of elite poetry at drinking parties, the following topics are taken up: the group libation paean, scolia, elegiac verse and its performance mode, other types of sung poetry, and dance. The aim is to identify the musical rituals as precisely as possible. This prepares for a discussion in Chapter 2 of the social function of aristocratic lyrody at symposia and its historical development.

Moves with the military bands, pipes, drums and buglers to the fighting fronts. It will show the practical uses of music in the field and on board ships as an important marker for servicemen’s daily schedules. This section will also outline musicians’ roles in battle. It will show that while Bandsmen in regular infantry units often acted as stretcher bearers, those who enlisted from August 1914 and served in Territorial battalions did a great many other jobs. It will also show that the formation of bands was driven largely by the men themselves.