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
Catalogue details

Licence: Public Domain Mark

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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    of Mysis, 150a. nerves, how excitod, hypothe- sis, 5«. ossicles described, 131«, 6 fAustro-Hungary, pitch, 504c] Authentic Scales of Ambrose of Milan, 242d, 243a. Glarean’s six, 245c, d, the first, 267« B [1> natural and B flat, ancient signs for, 312r6] Bach, C. P. Ern., his equal temperament, 321c, considers equal temperament the most per- fect intonation, 323c [548(6'] Bach, J. Sebastian, down to his time final chords alvvays major, or without the Thirds, 217«. his suites, 245«. his use of closing minor chord, 296d. his use of tbe major Sixth in the ecclesiastical Doric or mode of the minor Seventh, 3046, 305«. [example analysed by duodenals, 304c, d, c'.] his use of the mode of the minor Sixth,307c [503c, 548c6'] [Bagdad Tambour, its scale, after Prof. Land, 517c] [Bailey, 549«] Bajazet, 282« Ball, struck up as it falls, its periodic motion, 19(6, 21c, and fig. 9 Barrow, *95d’, 262d Basevi, 352c, *352d Basilar membrane, 138«. Hensen and Hasse’s researches on, 1456. its breadth probably determines the tuning, 1456. high notes near round window, low notes near vertex, 146c. breaks easily along radial fibres, not trans- versely, 146«. consequent mathematical theory, 1466. its fibres form approximatively a series of stretched strings, 146c. its behaviour for noises, mathematically investigated, 403c, its Vibration in the cochlea mathematically investigated, 406(6 Bass, figured, shews new view of harmony, 248c Bass notes with tinkling upper partials, 1166 Bassoon, its tongue or reed, 966. conical tube, produces all harmonics, 99« [reeds, 554c] Bausch, his violin, 85c Beats, 5«, of simple tones, how distinguished from combinational tones, 159d. their origin, their frequency = the difierence of pitch num- bers of geuerators, 164(6. diagram of, 165«. examples, 1656, c. from upper partials as well as primes, 165c. rendered visible, 165c6. require the sympathetic body to be nearly of the same pitch as itself, 165d. what becomes of them when too fast to be counted, 166(6. according to T. Young, they become the differential tone, 166(6 to 167«. objections to this hypothesis, 1676. [cheap apparatus for shewing, 167(6'. use of Har- monical for shewing, 168(6.] how best ob- served, 167c. their character, 168«, jarring like letter ß, 1686. intermittent tones heard with a reed pipe or tuning-fork and double siren, 168c. produce intermittent excitement of auditory nerves, 1696. do not disappear from rapidity only, but also depend on in- terval, 170c6. even 132 beats in a second are audible, 171«. the character of the roughness alters with the number of beats in a second, 171c. beats of a Semitone heard up to 4,000 vib. per second, 171c, of a whole tone to 2,000 vib. per second, 171(6. major and minor Thirds, smooth from 264 to 528 vib., are rough in bass, 171(6. their roughness does not depend solely on their frequency, 171(6, 172«, but, in a compound manner, on magnitude of interval and frequency, 172«. on tbe siren will determine whether the uote heard is the pnme or an upper partial, 174d. from the upper partials of a single tone, 1786 [178<6'1 of upper partials of two compound tones, 180« examples, 180c. why consonances produce no beats, and why if they are slightly altered beats onsue, 1816. of disturbed consonances how observed with double siren, 182c. of upper partials, their rapidity has a pre- ponderating influence on distinctness of definition, 1846. law for determining them with tables, 184c, d. the amount of dis- turbance of a consonance being the same the beats increase with the higher numbers expressing it, 185«. table of, when consonan- ces are altered by a Semitone, 185c. due to combinational tones, 197c. of combinational tones, can alone distinguish consonance from dissonance of simple tones, 1996. of differen- tial tones cannot occur if consonant interval ratios are exactly observed, but occur instant- ly if they arc not, 203c. peculiar character of those with bowed instruments, 2086. of the tempered triad, 3226, c. their effect on its harmoniousness, 322c6. Variation in the pitch of the beating tones, 414c. calculation of their intensity according to the intervals of the beating tones, 415d. [how to count, 444(6'] [Beats and Combinational Tones, recent works on, sect. L. see table of contents, p. 527] Beauty, subject to laws dependent on human intelligence, 366 Bedos, Dom, *16c [his 4 old French foot pipe, 16c note, 494c6, 508«. knows only meantone temperament, 548c] Beethoven [uses pianofortes by Slein, 77(6], his use of the mode of the minor Sixth, 3086. his relatibn to equal temperament, 327c [Behnke, Emil, *100d', *101(6', on registers of voice, 1016] [Belgium, pitch, 504(6] [Bell, Graham, inventor of Telephone, finds and demonstrates double resonance in all vowels, 107(6. his paper on Vowel Theories, *108(6] [Bell, Melville, *105(6. his vowel System, 105(6, 107(6] Bellermann, *265d' Beils, large, how set swinging by periodical efforts, 36(6. their inharmonic proper tones, 72c. why they beat, 73« Bell-shaped glasses, broken by singers, 39d [Belly-bridgo of piano, old single, 77(6. the divided, was introduced by John Broadwood, 1788, 77c'] [Bender, 505«] Bernouilli, Daniel (1700-1782), on law of mo- tion of strings, 15« [441c] [Best, W. T., Organist, 500c] [Bettini, 507c] [Bevington, organ-builder, 506c] [Bishop, organ-builder, 506c] [Bitter, Life of J. S. Bach, 548(6] [Black Digital Scales, 5186, 5226’] Blade of air, blade-shaped lamina of air at mouth of flue-pipe, its action, 92a, 395« [Blahotka, on Vienna pitch, 504(6] [Blaikley, D. J., on vclocity of sound in tubes, *90(6. distance of plane of reflexion from end of flue-pipo, *91(6. action of lips in blowing the horu, &c., 97d. oflice of the air in the tube in relation to the lips, *97(6', 98d, 99c, V (6'. his account of the clarinet and its
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