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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    INDEX. action of short keys of piano on the charactor of the keys, 311,?] Motets, 245« Motion measures power in the inorganic world, o. periodic, illustrated, 86. undulatory, 9« Movements, musical, chiefly depend on psycho- logical action. 2c Stein, 77«?]. some- piece witli a major chords in his Ave verum, corpus, 225a. his use of closin« minor chorcl, 296«?, 297«. his Requiem, 2976. his use of the mode of the minor Sixth, 308«, b. ms 7 rotegga il giusto cielo seldom sung satis- factorily, 326«. lived at the commencement of equal temperament, 327c, [4966, 548c'] Mueller Johannes (1801-58), Starts physio- logical acoustics, 46. his form of membra- nous tongues, 976. his theory of the specific energies of sense, 148c Music, most closely related to Sensation of all arts, 2d,. depends for material on Sensation of tone, 3«. had to shape and select its ma- terials, 250«. expresses states of sensitive- ness, 250c, 251c Musical quality of tone, 676 Musical tones, 7c, 106, c. without upper partials, 69c. with inharmonic upper par- tials, 70«. of strings, 74«. of bowed instru- ments, 80c. of reed pipes, 95«. on compound tones are chords of partials and henee repre- sented by chords, 3096 [Musician’s cycle of 55, 436«?] Mysis (or opossum shrimp) hears when oto- liths are extirpated, 149«?. tuning of its audi- tory hairs, 150« Mozart [uses pianofortes by times concludes a minor chord, 2176. his use of N [Naeke, Herr and Frau, 494c?'] [Natural, the Symbol fcj, whence derived, 312c?] * Naturalness ’ of the major chord, according to Rameau and d’Alembert, and insufficiency of such assumption, 2326, c Natural Seventh (see Subminor Seventh) Nasals, M, N, N«, their humming effeet, have peculiarities of U, 117« Naumann, C. E., 276<?. defends Pj'thagorean intonation, 314c, *314«?', 328«? Neidhard, equal temperament, 1706, *321e, «?' Nerve force has only quantitative, not qualita- tive differences, the different results depend on the different terminals, 149c Netherland System, its harsh polyphouy, 2256 Neumann, Clem., simpler way of observing vibrational form of violin string by a grating, *83«?' [Neutral Intervals, 525«. Third, Prof. Land’s name for Zalzal’s Third, 281«?] New Caledouia, pentatonic scales, 257c New Guinea Papuas, pentatonic scales, 257c Newton (1642-1727), on laws of motion of strings, 15« [Nichol’s Germania Orchestra, 5116] Nicomachus, his comparison of tho seven tones to the seven heavenly bodies, 241«, [c',«?']. on the old tuning of the lyro, 255c, 257c?', 266c Nodes of strings, how to find those on a piano- forte, 47«?, 50«?, and howto touch, 51«. par- tials of strings which have no node in a eer- tain spot are silenced by toucliing the string at the node, 52«?. [exceptions, 78«?, 5406] Noise defined, 7c, «?, 8c. accompanying in- strumental notes, 67c. pereeption of, by cochlea, 1506 [Northcote, Miss, blind Organist of Gen P nompson’s Enharmonic organ, 423c'l Note, musical, its construction, 5c. used for any musical tone, 24«, d N “fW’ forc* > s tingui shing the relations ot I lfths from those of major Thirds 27fi« fr, 2786 [substitute here used! 277c] Numbers, what have the ratios of the first six to do with music ? 2«. see Pythagoras O [Oberzahn, 25«?') Oboe, its tongues or reeds, 966, 554c. has a comcal tube, and produces all harmonics 99«. Observation, personal, better than best’ de- scription, 6« Octave, a collection of eight notes (usuallv piinted with a small letter), unaccented, or 4-foot, 15«?. once accented, or 2-foot, and twice accented, or 1-foot, 16«. great, or 8- foot, and contra, or 16-foot, and 32-foot, 166 Octave. [Octave meaning interval (usually printed with a Capital letter), and octave meaning set of notes (usually printed with a small letter), 13«?.] easy to make the mistake of, as Tartini, Henrici, and others, 62«t. gives no beats except those from partials in a single compound, 187«?. same for double Octave, 187«?. greatly distorts adjacent con- sonances, 188«. an absolute consonanee, 1946. of simple tones, distinguished by the first differential tone, 199c. repetition in it presents nothing but what has already beeil heard, 253«?. not allowed in composition, 359c. why its key is identified with that of the prime, 3296 [Octave divisions, their possible origin, 522«?] Oettingen, A. von, his notation for relations of Thirds and Pifths, 277c. its modification by Translator here used, 277c. note. report on Esthonian treatment of leading note in minor scales, *287«?. his minor System, *308«?, 3656 Ohm, G. S., 1787-1854, his law, 336, c, 76c. completion of its proof, 56c. Seebeck’s ob- jections to it, *58«?. his experiment with a violin to shew fusion of note and Octave, 606. better form with bottles blown by stream of air over mouth, 60c Olivier, *108c' Olympos, b.c. 660-620, his pentatonic trans- formation of the Doric scale, 258a. his ancient enharmonic tetrachord, 262c Open pipes, sce Organ pipes, open Opera, one of the most active causes of deve- lopment of harmony in 17th Century, 2486 [Organ-builders’ measurement of octaves by feet, 16«?] Organ pipes, wide stopped, unsuited for har- mony, delimit consonanee imperfectly, un- suited for polyphouy, their use, 2056. flue, delimit Octaves and Fiftlis by partials, but require combinational tones for the Thirds, 205c. open, good for harmony and poly- phony, 206«, Organ, its compound stops have fewer pipes in upper notes, 2106 Organ stops, Quin taten, 33«?. Twelfth, 33«?. gvincipai register, weitgcdackt, iicigcn-rcffistcr, quinlaten, cornct, compound, 576. [sesqui- altcra, cornct mounted, 57«?'.1 The musician must regard all tones as resembling the com- pound organ stops, 58«