On the sensations of tone as a physiological basis for the theory of music / by Hermann L.F. Helmholtz ; translated, thoroughly revised and corrected, rendered conformable to the 4th (and last) German edition of 1877, with numerous additional notes and a new additional appendix bringing down information to 1885, and especially adapted to the use of musical students, by Alexander J. Ellis.

Hermann von Helmholtz

Date:: 1895

Credit: On the sensations of tone as a physiological basis for the theory of music / by Hermann L.F. Helmholtz ; translated, thoroughly revised and corrected, rendered conformable to the 4th (and last) German edition of 1877, with numerous additional notes and a new additional appendix bringing down information to 1885, and especially adapted to the use of musical students, by Alexander J. Ellis. Source: Wellcome Collection.

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$INDEX. The nutnbers refer to the pages; the letters a, b, c, d to the quartevs of a page, and, when there are double cohunns, of the Bist column, in which case a, V, c', d', refer to the quarters of the second column. * before the number of the page shews that the title of a book or paper is there cited. [ ] indicate notes and additions by the Translator. A A, Ä, A°, see Vowels [Aalst, Van, on Chinese Music, 524c] Abdul Kadir, same as Abdulqadir, Persian, 14th cent, 282«. his 17 tones, 282«, 6, and 12 scales, 282 to 283 Abdulqadir, 2816', c', 282d. [his 16 Fifths, 281c'. his System, 282c?, 3646, 523«] Accented note names, how related to pitch numbers, 16c Accidental Scales defined, 267« [Acoustical facts in change of key, 551c?] Acoustics, physical and physiological, 15, its connection with music, lc. has hitherto not helped musical theory, Id. physical, a sec- tion of the theory of elasticity, 3c. physio- logical, investigates processes in the ear, 4«. its physical part, 4b Added Sixth, chord of, 294c?, or imperfect minor triad, 344c Addition, algebraical, of waves, of velocities and displacements, 27d, note [Africa, Western, Balafongs, 5186] [Air-reed, aerial, or aero-plastic reed, 397c] [Alboni, her just intonation, 4786] Alexander the Great, 271c?' Al Farabi, 282« [his ’Greek scales after Pro- fessor Land, 515c] [Alternative Intervals varying by Quartertones, in modern Arabic and Indian scales, 524c] [Amati of Cremona, 1596-1684, resonance of his violins, 876] Ambrose of Milan, a.d. 374-398, his authentic scales, 243« [doubtful whether they were really his, 242c?'.] his numerical notation of the modes, 2696. his ecclesiastical scales, to be regarded as essential, 2716, c Ambrosch, Chinese melodies, *258c?\ 261c?' [Ameis possesses Scheibler’s Tonometer, 444«] [America, U.S., of, 511«] [American Organ Heeds, 5546'] [Amiot, *95c?', 262c?, 548c] Amplitude, 10c, 346 Ampullce, see Ear Analysis of compound and composite tones into simple vibrations by the ear, 33. this is independent of power to analyse vibrational forms by eye, 34c?. of air into pendular vibra- tions by sympathetic resonance, indepen- dently of ear, 42c?. objective, 48«, 6. of sen- sations, its difficulty, 496. of compound into simple tones by ear, its theory, 148c Anche libre, or free reed, 956 Ansa, presumed Indian tonic, see VfCdi, 2436 Antony, *239c? Anvil, see Ear Appoyiatura, always makes a Semitone, 2876 Approximation in pitch, forms a musical con- nection, 3526 Appunn, late of Hanau, his high pitch from forks, 18«, used by Preyer, 151c. his pipes for artificial vowels, 127c?, 128«. Suggestion to Preyer, 167c?. his loaded reeds, 176c?, 177c?'. [their pitch, as determined by Translator, 1776.] his conical resonators, 373c?. [his reed tonometer, 443«. his difficulty in tuning a series of perfect Fifths, 483c?] Aquaeductus vestiMUi, its function, 136« Arabesques compared to music, 252c [Arabia and Persia, scales after Professor Land, 515c?. modern, after Eli Smith, 515c?. medie- val scales after Professor Land, with 7 and 8 tones, 516«, 6, 519c?. lute, earlier notes after Professor Land, 5166, 520d. medieval notes after ditto, 517«, 520«] Arabic Scales, 282 to 283. modern, of 24 Quarter-tones, 2646. [according to Professor Land, 284 note] Arabic and Persian musical System, 2806 to 2856 Arabs have no pleasure in polyphonic music, 1966 Architecture, its analogy to musical composi- tion, 2c. the periods of its progress are the analogues of those of music, 235c Archytas first settles major Third as 4:5, 262c, 3626, d Aristotle, on Consonance, 237«, 6, on variations, 2376. his indications of a tonic, 240c, 241c?, c?', indications of a downward leadingnote, 242«, 251c, d. the only writer who indicates a tonic, 2676. his conception of efiects of music, 251«. makes mese tonic, 268«, d. on descending leading note, 286c [c?] Aristoxenus, his twelve Fifths, 271« [5486] [Armes, Dr., 502«] Art, works of, must not display their purpose, 366c Artificial compound tones, 120c to 122c? Artificial production of vowels, or vowel Synthe- sis, by, 123« to 124. [tabular Statement of results, 124c?.] by organ pipes when the effect of difference of phase is not under investiga- tion, 127c?. Appunn’s pipes for this purpose, 128« Artusi blames Monteverde for using dominant Seventh without preparation, 248c? Auditory apparatus, its advantage, 1346. the mechanical problem it has to solve, 134c?, how solved, 135«, 6, c. sand, 137«, stones or otoliths of fish, 139«, of crustaceans, 149c. cilise of ampullse, in former editions sup- posed to be hearers of noises, 151«, 6, may be hearers of squeaking, hissing, &c., 151c?. hairs$

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