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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584/604 page 560

Ciliffi of ampullae, see Auditory Ciliae Cithara, five-stringed lute, 257cl [‘ Clang,’ used by Prof. Tyndall for compound tone, why not so used here, 24c?. Webster’s definition of, 24c?] [‘ Clangtiut,’ used by Prof. Tyndall for quality of tone, why not so used here, 246'] [Clark, Lieut., see Macleod] Clarinet, its tougue or reed, 966. cylindrical, with unevenly numbered partials, 98c. [D. J. Blaikley’s account of the clarinet as not wholly cylindrical, 996, c.] its peculiar action in forming chords, 210d. experiment with it and just harmoniuin, 211a. [its tones, 392c. its reeds, 553c] [Clavichord, strikes the string at end, 78c?'] Closing Chords, their development, 290c?. their five major forms, 291c. major chords in minor modes, 296c?, 297a Cochlea, see Ear Cochlean nerve, its expansion, 1396, c [Cohen, 5086] [Colbacchini, 510c] Collard, 507d, 5496 [Colour, used by T. Young for quality of tone, why not so used here, 24c'] Coloured lights, mixture of, different frorn mixture of pigments, 646 Colourings, Greek, xp^ai, their reality, 2656 Colours, primary, scarlet-red, yellow-green, blue-violet, 646, [c? note] never seen pure, 64c. power to distinguish generally absent, 64c?. analysis of, into three, by Waller, 94a Combinational tones, 5a. occur when the vi- brations of the air are not infinitesimal, 152c. result from all the partial tones, 1536. most easily heard when generators are less than an Octave apart; for harmoniums can be reinforced by a resonator, but in other cases not, 153c. [heard simultaneously with rattle of beats, 153c. from two flageolet fifes, 153c?.] multiple, considered as of different Orders, 154c?. [notallaudible, 155c?'.] oneethought to be subjective, and to result from beats be- coming too rapid to be heard separately, 156c. objections to this theory, 156c. they arise from the largeness of the vibrations, 156c?. condition for being well heard on harmonium and polyphonic siren, 157a, 6. may be gene- rated in the ear by unsymmetrical form of drumskin, 1586, and loose joiut of hammer and anvil, 158c. produce tingling iu the ear, and are strong when soprano voices sing Thirds, 158c. an accessory phenomenon by which beats are not interrupted, 1676. beat, 197«. delimit consonances when the partials do not suffice, 2016. the most general cause of beats, 2046. important for the harmoni- ousness of a chord, 214«. those of major and minor triads, 215a, 6, esseutially different, 214c. their mathematical theory, 411c?. their effect in Just, Pythagorean, and Tempered chords compared, 3146 [and note]. their beats mathematically investigated, 4186 to 419c. their origin, 419c?, in the siren and harmonium, 419c?, 420c? [Commas higher indicated by superior, lower by inferior figures, proposed by Translator and here used, 2776, e] Compass of instruinents, [17c?], 18a, [186, c] [Compass of the Human Voice, 5446] [Composite and compound tones distinguished, 33c?'] Composition of simple tones, tone and its Octave, 306, c, tone and its Twelfth, 32. artificial, of simple tones how arranaed 19/v to 122c? ° ’ Compound tones, 22a, and see Tone Concatenation, or musical Connection of tones direct, 350c?, indirect, 3516 [Concertina, Just English, 4706] Concords are consonant chords, 211c? [Condissonant triads defined, 211c?', 338<? note f, 459a] Congregational singing, its rcsults, 246c Connection, musical, or concatenation of notes in the scale, 350c? to 352 Consecutive Twelfths and Fifths, why forbid- den, 359c? to 361c. Octaves, why forbidden 359c Consonances result from eoincidences of upper partials-, 182c?. tables of such coincident partials, 183a. also in musical notation, 183c?. disturbed by the consonances next adjoining them in the scale, meaning of this expression, 186c?. defined, 1946. and disso- nances, their boundary, 2286, which has not been constant,228c. absolute,Octave,Twelfth, and double Octave, 1946. perfect, Fifth and Fourth, 194c. medial, major Sixth and major Third, 194c. imperfectminorThirdandminor Sixth, 194c?. great diversity of opinion on the order of their relative harmoniousness, 1966. order of de Vitry and de Muris, Franco of Cologne, and Glarean’s Dodecachordon, 196c. here it is based on their independent har- moniousness, 197a. their infiuenee on each other, tabular views, 187. separately con- sidered, 187c? to 1906 Consonant intervals, why so called, 181c. [their beating partials and the ratios of those partials compared, 1916, c] Consonant triads not exceeding an Octave examined, only six possible forms, 212c? to 217a. exceeding an Octave, examined, 2176 to 2226. effect of transposition, 218a-2196 Consonants, tenues and medicc, their charac- ter, 66a, 6. hisses, F Y, &c., R and L, 67c? Cornu and Mercadier, experiments on violin intonation, *325c? [Correlative Duodene, 4626] Corti, the Marchese, his formations, or arches, or rods, 1396, c? to 141c?. seem most suited for sympathetic Vibration, 1456. they in- crease in size as they approach the vertex of the cochlea, 145c?. their alteration of form, 146c?. probably play only a secondary part in the function of the cochlea, 146c?. viewed as the means of transmitting the vibrations of the basilar membrane to the terminals of the nerves, 147a. may be 4500, or, throwing off 300 for extramusical tones, 4200 in the octave, 1476. how they may determine pitch continuously, 147a. mode in which they analyse tones, 147c to 1486. may vibrate to two tones, and their vibrations may be com- pounded of them, 166«. attempt to estimate intensity of sympathetic Vibration for in- creasing intervals of tones, 172c. choice of hypotheses, 172c?. considered as explaining consonance and dissonance, 2276 [Costa, Sir M., 502a, 507c, 555c?] [Couchet, Jan, Antwerp, harpsichord maker, knew that striking-place affects quality, 77c] Coussemaker, *196c?, *243c?', *244c? [Cramer, 5056] [Crawford, 526a] [Cross and Miller on American pitch, 494c] [Crotch, Dr., 5496]

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