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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$Crumples in vibrational form of violin strings, 8 45 CrustaceiB, observations on their auditory ap- paratus by V. Hensen, 149c [Curwen, John, names of registers, 101c. his use of the character of a tone in singing, *279c, d. on major Sixth of the minor seale, *301 d. his work with Tonic Sol-fa, 4245 to 4255. his pitch, 496c] [Curwen, John Spencer, eldest son of John Curwen, President of the Tonic Sol-fa Col- lege, 424d. his letter to the Times, 424«'. his Memorials uf John Curwen, 425c] [Cyele of 53, how it arises, 465«] [Cyclic Temperaments, 435c/] Cymbalum of 19 notes to the Octave, men- tioned by Pratorius, 320c. value of the notes, 320a” [Czermak, on whispering, *108c/'] D d’Alembert, his theory of consonance, 232« to 2335. his Pythagorean Sixth in major seale not allowed, 275«!. says Rameau’s tuniug was common in 1762, 3215. his explanation of the limits of the Greek heptachord, 351c/ [d’Aligre, Marquis, 5085] Damping, rapid, of tones of air in mouth, 112c to 113« Damping of vibrations in the ear, 142c to 143d Dance music in form of madrigals and motetts m a.d. 1529, down to J. S. Bach and Handel, 245« [Decad, harmonic, or Unit of Harmony, 4595] [de Caus, Solomon, 509c] Deep tones require more power to make them audible than high tones, 1745. experiments shewinghow weak deep tones are, 1755. below 110 vib. are more or less discontinuous on the siren, 178«. jar on harmonium below 132 vib., 178«. produced by a string weighted in the middle, 176«. 37| vib. weak, 29* vib. scarcely audible, 1765. Professor Helmholtz with large forks of 24 to 35, and 35 to 61 \ib., found 30 vib. weak, 28 vib. scarcely audi- ble, 176c. on Appunn’s reeds, Preyer’s ex- periments, 176«!. Author’s conjecture, 176c/' [Translator’s experiments, 176t/'] Deepest musical tone, how many vibrations it has, 174« Deepest practical orchestral tone, 4ip vib., [Degenhardt, 5025] [de la Page, 494c/', 509«, 510c] de la Tour, Caginard, his siren, 12c, [494d 508c, d\ Delaitre, 352d de la Motte Pouquet, 105« Delezenne shews that fhst-class violinists pla in just Intonation, 325«, *325c, title rh monochord, 44ld\ 494«, 508«, 5, d] FoÜrthi teg’ his “f*““- ««*•* [Demuth, Organist, 548c/] [de Prony, 494«!’, 508«] d0Pour7hsPlh96lPP’ hiS C°USOnanC08> exclud£ Diapason normal, 16«! [512c/'] [Diapason work of Organs, 93d'] Diaphony of Hucbald, 244« [Dichord, 5235] [Dichordal or double diatonic seale of H Poole, 344c, 477c to 478c] Didymus included major Third 4 : 5 in tb syntono-diatonic mode, 228c. his tetrachord, 263« Differential combinational tones (Sorge’s and Tartini’s), 153«. of usual harmonic intervals, 154«. generated by upper partials, 154c. of different Orders exemplified, 155«, 5, c. [cal- culated, 155c/. ] form a complete series of harmonic partial tones up to the generators, 155c. [infiuenee of this on consonance of simple tones, 155c/', 537c/.] their reinforce- ment by resonators, often small and dubious, 157c/, may then arise from vibrations com- municated to resonator by drumskin, 158«. of the first Order, their beats, 198«, 5. beat only when upper partials beat and with the same frequency, 199«. of higher Orders, their use in distinguishing Pifths and Fourths of simple orslightly compound tones,201. [530«] [Digitais=finger-keys, 50c/'] Diminished Seventh, its chord and transform- ations of the same, 345c, d. [its chord has the just form, 10 : 12 : 14 : 17, considered, 346c, d. its transformations considered, 346c', d'.J its usual just chord, 3495 [Dionysius of Halicarnassus, 240«!] Direct System, its chords, 342c Direction, the Sensation of, is partly due to muscular sensations, 63d Discant at end of eleventh Century in France and Flanders, its nature, 2445“. develops polyphonic music and musical lhythm and canonic imitation, 244c Dissonance defined, 1945, 2045. how it arises, 330c, whither it tends, 330«!. different for different qualities of tone, 205«. how cha- racterised, 226c. and consonance, their boun- dary, 2285. not been always the same, 228c. unprepared, 354 ; Dissonant chords imperfectly represent com- pound tones, 3465. dissonant notes, 346c. es- sentially why used, 3535. intervals, why so called, 181c. considered, general view, 331c/ to 333c/. notes of chords of the Seventh, con- sidered, 3475 to 350«. tetrads, 341c. tones how introduced, 3535. triad C E A\s or CE GJ, 213c/ [214d]. triads, 3385 Disturbance of consonances by adjacent con- sonances, meaning of this expression, 186c/ Division of small intervals into equal parts bv ear, 256« J Dogs very sensitive to high e of violin, 116c/ Dominant. Seventh, its chord not used in 16th Century, 246c/. [Duodene, 461c/] [Doncaster, Schulze’s organ at, 96c/J Donders, first draws attention to noises attend- ing vowels, 67d, 106c'. first discovered vowel resonances, *1085. how he estimated them, 108c. his vowel resonances compared with Prof. Helmholtz’s, 1095 [*168c/'] Donkin’s Aaoustics, 377« Doric, national Greek seale, 242«. its seale, 267c, 305c. Glarean’s, or ecclesiastical, 245c! considered as the mode of the minor Seventh, x-/uuuie uciave, an absolute consonance, Double Siren, sec Siren double Dove’s polyphonic Siren, 13«, 14cc [Dnffield, Rev. G. T., 494c/, 50551 [Dnlled Reeds, 5555] Drum and Drumskin, sec Ear DU105PO1*10R57mOnä, Sen’’ h'S V°Wel fcrigram> Ductus cochlcäris, 137c [D1ui?PP^ig°ar (S wissTyrol, Boiogna, andLy ons, J.olU-1538), resonance of his violins, 875, c]$

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