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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    Hexachorcl of Guido d’Arezzo, 351t1 ^ \Hichi-nki, Japanese, its reeds, 553c'] Hidden Fifths and Octaves, 361c. often found in J. S. Bach’s chorales, 3626 High voices more agreeable than low, and wky, 179c [Hildebrand of Dresden, 495c] [Hill, violin-maker, assists in fiuding resonance of violins, 876, c] . , . , [Hill, Thomas, organ-builder, Ins father tned and abandoned free reeds, 96c. 494d', 506c] [Hipkins, A. J., on harmonics of a Steinway piano string, 76d. on striking-place of piano- forte, harpsichord, and spinet, 77c, note. had not met with a striking-place at f length, 77d,'. bis experiments on harmonics of a string struck at £ its length, *78d. and fur- ther experiments on its partials, *545c. assists in finding resonance of violins, 87c', 183c?, 209c?, d'. monochord, 442«, 507d. assists in determining non-harmonic scales, 5146, c, on James Broadwood’s equal temperameDt, 549«. introduces equal temperament at Broadwoods’, 1846, 549c] [Hitchcock’s, early, 18th Century, spinet, its striking-place, 77c?] [Holland, pitch, 5106] Homophonie music, 237 to 243 [Hopkins, E. J., on the organ, cited, *33cl, 57c', c?', 93c', d', 94c?, d', 96d, 498c?, 5496] [Hopwood, of Kensington, his organ built by Cavaille-Coll, 96c?] Horn, function of the air in its tube in rela- tion to lips, 97c [after Blaikley, 97c?'], long nearly conical tubo, 99«, [not quite conical, 99c?]. gives the harmonics only, 99c? [upper ones true, 99c?']. action of hand in the bell, 100«. [2 lower harmonics false, 100c. its various lengths for different crooks after Blaikley, and error in reporting Zamminer, 100c?.] keyed horns, 100«, [nearly obsolete, 100c?'] [Howlett, 496c] Hucbald, Flemisk monk, at beginning of lOth Century, 244« Hudson’s Bay, pentatonic scales, 257c [Huggins,Dr..F.R.S., his observations of effect of iucreasing tension of hairs in violin bow, 83c?. on position of touch for Octave har- monic, *84c?. on function, of sound post of violin, *86c, d. assists in finding resonance of violins, 87c. the resonance of his Stradivari of 1708, 87c?'] [Hullah, 239c?, 499c?, 5056] [Hutchings, Plaisted, & Co., 5116] Huyghens, 1629-1695 [lmows that striking- place of string affects quality of tone, 77c. his harmonic cycle, 436c] Hypate, uppermost string in position, lowest in pitch, answered to dominant, 242«. Greek music ended on it, 2426 Hypodoric (Eolic or Locrian) Scale, 267c Hypolydian Scale, 267c Hypophrygian (Tonic) Scale, 267c I Incüs, sec Ear [India, Chromatic and Semitonic Scales, 517c. partial Scales of Rajah Räm Peil Singh, 517c?] [Indian Quartertones, how produced, 265c?'] Indirect or Reverted System of Chords, 342c Instrumental tones accotnpanied by distinctive noises, 686 Instruments with inharmonic proper tones not suitable for artistic music, 73c. effect of bowing and damping them, 73c? Intercalated tones, always Semitones, 352c Interference of sound, 160 Intermittent excitement of nerves, its effect on ear and eye, 1696 to 170c Intensity of sound, how measured, 75c? [Bosan- quet’s, with Preece and Stroh’s opinion upon this measurement, 75d, c?'] Interval. [a Sensation, measured by ratios or cents, 13c?, their names distinguished in print by Capital letters, 13c?'.] of Fifth and Fourth, 14«, major and minor Tkird, 146, major and minor Sixth, 14c. all hitherto considered so arranged that a pair of their partials shall beat 33 times in a second, 191«, 192«. [all, except Thirds and Fifths, indicated by ... or the number of cents, 276c?'. not exceeding an Octave, expressed in Cents, Sect. D, scc pre- fixed table of contents, 451c?. neutral, 525«. alternative, 5256] [Intonation, Tempered Pythagorean and Just compared, 313c. unequally just, 465«. of vocalists and violinists, 486 to 7. of flutes, 555d' to 556«] Inversions, first or chord, of Sixth and Fourth f, second or chord of Sixth and Third, §, 213«. on what their harmonious effect depends, 214« Inwards striking reeds, 976 Ionic, Glarean’s, 245c. Greek, considered as mode of the Fourth, 302c. (Hypophrygian) Scale, 267c [Ions, 496c?] Irrational intervals, 6.\oya, 264«, [Isawa, director of the Musical Institute, Tokio, Japan, 5226', 526c', 527«', 5566'] Italian melodies rieh in intercalated tones, 352c. [Sixth, 461c] [Italy, in 1884 oföcially adopts 6'(j456 repre- senting the arithmetical pitch c512, 497c/, 498«, prior pitch, 510c] J [Japan, koto tunings, heptatonic scales, Biwa, 519«, 6, c, 522«', 6', c'. scales, 5566'] [Java, music, 71c?, 237c?'. its pentatonic scales, 257c?. Salendro Scales, 518c, Pelog Scales, 518c, d, 5226] [Jehmlich, 4996, 509c?] [Jenkin and Ewing, 118c?'. analysis of vowels by Phonograph, 538 to 542] [Jimmerthal, 502c] Joachim uses 4 : 5 major Thirds in melody, 255c?. plays in just intonation, 325« John XXII., Pope, a.d. 1322, forbids use of leading note, 287c Jones, Sir William, presumes ans'a to kave beeu the Indian tonic, *243«, 6, c. see Vädi [Jordans, 506?;] [Josquiu, 225c?, 296c?] [Jots, cycle of, 30103, 437«] Just intonation instrumentally practicable, 327c?. in singing, 422 to 428. [extreme close- ness of its representation by the cycle of 53, 8296, c.] the protest of musicians against it arises from their not having metkodically compared Just and Tempered Intonation, 428c, possible in the Orchestra, 428c. natural, 428«. according to Delezenne, 4286. [ex- pressed in eycle of 1200, 440. experimental instrumenta for exhibiting, App. XX. Sect. F, 4666 to 483c. scc contents, 4666]