question: Why does the wind make so many different noises?
comment: Imagine it like the air blowing inside a flute: if you close or open more holes, the geometry of the tube changes. Therefore the air vibrates with a different frequency, thus creating a new note. Wind is similar, except that there are so many frequencies mixed together that it is unusual to actually hear a precise note. We typically hear different noises. They are many and they are different because the geometry in which they are developed changes anytime, and the direction of the wind changes too, creating even more variability.
passages: Scientists have understood the effect of wind gradient upon refraction of sound since the mid-1900s; however, with the advent of the U.S. Noise Control Act, the application of this refractive phenomena became applied widely beginning in the early 1970s, chiefly in the application to noise propagation from highways and resultant design of transportation facilities.
  
  Section::::Wind gradient soaring.
   Wind shear can have a pronounced effect upon sound propagation in the lower atmosphere, where waves can be "bent" by refraction phenomenon. The audibility of sounds from distant sources, such as thunder or gunshots, is very dependent on the amount of shear. The result of these differing sound levels is key in noise pollution considerations, for example from roadway noise and aircraft noise, and must be considered in the design of noise barriers. This phenomenon was first applied to the field of noise pollution study in the 1960s, contributing to the design of urban highways as well as noise barriers.
   Sound can be produced when the tubes or rods come in contact with a suspended central clapper in the form of a ball or horizontal disk, or with each other.
  
  Wind chimes may be used to observe changes in wind direction, depending on where they are hung when they commence to sound.
  
  Section::::Materials.
   The speed of sound varies with temperature. Since temperature and sound velocity normally decrease with increasing altitude, sound is refracted upward, away from listeners on the ground, creating an acoustic shadow at some distance from the source. In the 1862, during the American Civil War Battle of Iuka, an acoustic shadow, believed to have been enhanced by a northeast wind, kept two divisions of Union soldiers out of the battle, because they could not hear the sounds of battle only six miles downwind.
  
  Section::::Vertical component.:Planetary boundary layer.:Effects on architecture.
   With clay wind chimes, the higher the final firing temperature, the higher and more ringing the resulting tone. Earthenware clay fired at lower temperatures produces a duller sound than stoneware clay fired at higher temperatures. Stoneware wind chimes are also more durable and able to resist stronger winds without suffering chipping or damage.
  
  Section::::Mathematics of tubular wind chimes.
  
  A wind chime constructed of a circular tube may be modelled as a freely vibrating and the dominant frequency in cycles per second is given by:
   Section::::History.:Digital wind controllers and MIDI.
   Section::::1969 film version.
   Section::::Formation.
  
  The great majority of large breakers seen at a beach result from distant winds. Five factors influence the formation of the flow structures in wind waves:
  
  BULLET::::1. Wind speed or strength relative to wave speed—the wind must be moving faster than the wave crest for energy transfer
  
  BULLET::::2. The uninterrupted distance of open water over which the wind blows without significant change in direction (called the "fetch")
  
  BULLET::::3. Width of area affected by fetch (at right angle to the distance)
  
  BULLET::::4. Wind duration — the time for which the wind has blown over the water.
  
  BULLET::::5. Water depth
   BULLET::::3. The interactions between the waves on the surface generate longer waves and the interaction will transfer wave energy from the shorter waves generated by the Miles mechanism to the waves which have slightly lower frequencies than the frequency at the peak wave magnitudes, then finally the waves will be faster than the cross wind speed (Pierson & Moskowitz).
  
  Section::::Types.
  
  Three different types of wind waves develop over time:
  
  BULLET::::- Capillary waves, or ripples
  
  BULLET::::- Seas
  
  BULLET::::- Swells
   Sound movement through the atmosphere is affected by wind shear, which can bend the wave front, causing sounds to be heard where they normally would not, or vice versa. Strong vertical wind shear within the troposphere also inhibits tropical cyclone development, but helps to organize individual thunderstorms into living longer life cycles that can then produce severe weather. The thermal wind concept explains how differences in wind speed with height are dependent on horizontal temperature differences, and explains the existence of the jet stream.
  
  Section::::Usage.
  
  Section::::Usage.:History.
   The frequency of the vibrational modes depends on the speed of sound in air, which varies with air density. A change in temperature, and only to a much smaller degree also a change in humidity, influences the air density and thus the speed of sound, and therefore affects the tuning of wind instruments. The effect of thermal expansion of a wind instrument, even of a brass instrument, is negligible compared to the thermal effect on the air.
  
  Section::::Parts.
   Sound movement through the atmosphere is affected by wind shear, which can bend the wave front, causing sounds to be heard where they normally would not, or vice versa. Strong vertical wind shear within the troposphere also inhibits tropical cyclone development, but helps to organize individual thunderstorms into longer life cycles which can then produce severe weather. The thermal wind concept explains how differences in wind speed at different heights are dependent on horizontal temperature differences, and explains the existence of the jet stream.
  
  Section::::Definition.
   The speed of sound varies with temperature. Since temperature and sound velocity normally decrease with increasing altitude, sound is refracted upward, away from listeners on the ground, creating an acoustic shadow at some distance from the source. Wind shear of 4 m/(s · km) can produce refraction equal to a typical temperature lapse rate of . Higher values of wind gradient will refract sound downward toward the surface in the downwind direction, eliminating the acoustic shadow on the downwind side. This will increase the audibility of sounds downwind. This downwind refraction effect occurs because there is a wind gradient; the sound is not being carried along by the wind.
   Section::::Composition.:Music and lyrics.
   There will usually be both a wind gradient and a temperature gradient. In that case, the effects of both might add together or subtract depending on the situation and the location of the observer.
  
  The wind gradient and the temperature gradient can also have complex interactions. For example, a foghorn can be audible at a place near the source, and a distant place, but not in a sound shadow between them.
   A wind speed gradient of 4 (m/s)/km can produce refraction equal to a typical temperature lapse rate of 7.5 °C/km. Higher values of wind gradient will refract sound downward toward the surface in the downwind direction, eliminating the acoustic shadow on the downwind side. This will increase the audibility of sounds downwind. This downwind refraction effect occurs because there is a wind gradient; the sound is not being carried along by the wind.
   BULLET::::- Koji Kondo, head composer for the Mario series of video games. A prime example is the theme music for the world "Vanilla Dome" in "Super Mario World".
  
  BULLET::::- Ivy Queen, on the acoustic track "Ángel Caído" from the 2004 album "Real".
  
  Section::::Influence.
  
  BULLET::::- The Japanese video game franchise Pokémon used the Japanese "fūrin" wind chimes as the basis for the Pokémon Chimecho. Its in-game cry reflects this, as it sounds like three high-pitched bells chiming one after the other.
   Section::::Structure.
   When the sun warms the Earth's surface, there is a negative temperature gradient in atmosphere. The speed of sound decreases with decreasing temperature, so this also creates a negative sound speed gradient. The sound wave front travels faster near the ground, so the sound is refracted upward, away from listeners on the ground, creating an acoustic shadow at some distance from the source. The radius of curvature of the sound path is inversely proportional to the velocity gradient.
   BULLET::::- "Santana winds" (southern California) (Sometimes referred to as 'Santa Ana Winds' after a nearby town)
  
  BULLET::::- "Santa Lucia winds" (a downslope wind affecting southern San Luis Obispo and northern Santa Barbara Counties, California)
  
  BULLET::::- "Sarma" (cold strong wind at the western shore of Lake Baikal)
  
  BULLET::::- "Shamal" (a summer northwesterly wind blowing over Iraq and the Persian Gulf states)
  
  BULLET::::- "Sharqi" (seasonal dry, dusty Middle Eastern wind coming from the south and southeast)
  
  BULLET::::- "Simoom" (Samiel) (strong, dry, desert wind that blows in Israel, Jordan, Syria, and the desert of Arabia)
   According to the Lindeman-Sobel Approach music is sound in motion and that sound is created when the air stream (or bow) meets the fingers. The Lindeman-Sobel Approach seeks to create an awareness in the individual of how their sound is being played rhythmically relative to the resistance of the tube length and the notes on the page.
  
  Section::::Motion and rhythm.
  
  A fundamental tenet of the Lindeman-Sobel Approach is that the general tendency among musicians is to hold long notes too long and make short notes too short.
   Section::::Reception.
   Section::::Personnel.:Musicians.:Oboe.
   When wind speed increases with altitude, wind blowing towards the listener from the source will refract sound waves downwards, resulting in increased noise levels downwind of the barrier. These effects were first quantified in the field of highway engineering to address variations of noise barrier efficacy in the 1960s.
   Marilyn Wilson said: "We went shopping one day and we brought home some wind chimes. We hung them outside the house and then one day, while Brian was sitting around he sort of watched them out the window and then he wrote the song. I think that’s how it happened. Simple. He does a lot of things that way."
  
  The song fulfills the "Air" portion of "The Elements".
  
  Section::::Recording.
  