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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    [Schneider, 510//] [Schnetzlor, 506«] [Schnitger, uses equal temperament, 548c/j [Schreider, 496c. and Jordans, 505«!] [Schulze of Paulenzelle, never saw a striking reed tili he came to England in 1851, but afterwards scarcely used any other, 96c, 5065] Schultze, Max, hairs on the cpithelivm n.m- pullee, 138c/ Science, musical, 15 Scotch handbell ringers, 73cZ. Scotch pentatonic airs bright, 258c. playable on black notes of a piano, 259c. examples of such airs, 2605, 261«, e. [characteristics of Scotch music, according to Colin Brown, 259d, note [] [Scotland, bagpipe, 515c/, 519c/] Scott and Koenig’s Phonautograph, 2OcZ Scratches of a bow used in exciting bodies with inharmonic upper partials consist of those partials, 74«. of a violin, 855 Second of the Scale undetermined, 427. sec Sevenths Sectional Scales, 266c Seebeck, A., his siren, 11c. his objections to Ohm’s law, did not apply proper means of hearing the upper partials, *58cZ, considers Ohm’s definition of a simple tone too limi- ted, 59«. remarks on Ohm’s experiment, 61«. agrees with Ohm that upper partials are per- ceived synthetically, 63«. disputes their being perceived analytically, 63«, 391c/ note* Seiler, hears partials of a watchman’s voice, 1015 Seiler, Mme., finds dogs sensitive to c of violin, 116c/ Semicircular canals of the ear, 136« Sensations. of hearing belong to physiological acoustics, 3c. of sound defined, 7c. of musical tones and noises, how generated, 8c. compound, problem of their analysis, 625. easy when usual, otherwise difficult, 62c [Septimal harmony, 464c] [Septendecimal Harmony, 464c] Seven, notes characterised by, not being ad- mitted into the scale determine the boundary between consonance and dissonance, 2285 [Seventeenth harmonic introduced into har- mony, 464c] Seventh, sce Harmonic, natural, subminor, major, minor, diminished. mode of the minor considered, 303c. cbords of the, 341c. formed of two Consonant Trials, 341c. formed of dissonant Triads, 342c Sevenths and Seconds enumerated and con- sidered, 3365 Semitones, Chinese view of, 229c Seventh diminished, 3365. chord of the, upon the Second of a major Scale, 347c/. upon the Second of a minor Scale, 348c. upon the Seventh of a major Scale, 3485 to 3495. chord of the Dominant, 3475, c. chord of the, on the tonic of the minor scale, 3505 [Seventh harmonic introduced into harmony, 464c] [Seymour, 5495] [Sharper or higlier tones, 11 c/'] [Sheffield, Schulze’s organ at, 96c/] [SMng, Chinese, described, 95c/] Shirazi, 282« [Siamese, ranat, 5185. instrumenta, music, scales, and intervals, 556« to 5565'] [Side holes of wind instruments, theory not worked out, Blaikley, Schafhäutl, Boehm, Mahillon, 103c/, c/'] [Sight-singing tests for Tonic Sol-fa, 427c/'] Silbermann, A., 1678-1733, celebrated organ- builder, his unequal temperament 32fl/* [4955, 509c] ’ [Silbermann, G., 495c/, 496«] Silence may result from two sounds, 160c/ 1615anCeS °f’ °rgan Pil>eR’161“’ tuning’forksi Simple musical tones, 69c. produced by resonance mathematically investigated, 3775 to 379c/. sec also Tone, simple Simple Vibrations, 23« [Singapore, Balafong, 518a] Singers, their former careful training, 326«. should practise to justly intoned instruments, 326c/. their opinion of Gen. P. Thompson’« organ, 427«. take natural Thirds and Fifths 428« Singing. [contrasted with speaking, 68c/'.] voice does not usuallydistinguishvowelswell, 114«. forms the commenccment and the natural school of music, 325c. intonation injured by pianoforte accompanimcnt, 3265 Single, distinguished from simple tones, 33c/' Siren, 115, Seebeck’s, 11c, Cagniard de la Tour’s, 12c. action of, 135. of Dove, 13«, 14«. in- tervals playable on, 162c/, 163c/ construe- tion of, and beats on, 1635, c, cZ. polyphonic or double, its great use in determining the ratios of consonances, 182tf. electro-magnetic driving machine for the, 3725. see also- Polyphonic Sixth and Fourth, chord of, or first inversion of major and minor chords, 213«. major, more harmonious than fundamental, and these than Sixth and Third, 2145 Sixth and Third, or sixth only, chord of, or second inversion of major and minor chords, 213«. minor more harmonious than funda- mental, and these than Sixth andFourth,2145 Sixth, not included in consonances tili the 13th or 14th Century, 196c. [Italian, Frencb, and German, 461c.] superfluous or extreme sharp, 3375. sce also Major Sixth and Minor Sixth, and Extreme sharp Sixth Skhisma neglected, its effect in producing identities, 281«. [465«] Skhismic Relation of eight Fifths down to a major Third, 2805, discovered by Prof. Helm- holtz, 316«. [temperament, 2815, note*,435«] [Smart, Sir G., 507c. his pitch, 513«] [Smart, H., 500c] [Smith, of Bristol, organ-builder, 496c, 5065] [Smith, Christian, organ-builder, 505c/] [Smith, Eli, 514c] [Smith, Hermann, his account of the Sheng, 95d. his account of Schulze’s and Walcker’s and Cavaille-Coll’s Organs with scarcely any free reeds, 96c/. his account of the striking reed, 96c/'.] on the blade of air in flue-pipes, *395d. [his theory, 396c/. on the Action of Reeds, 5535 to 555c'] [Smith, Dr. R., 494c/', 5105, 5485'] [Society of Arts, 494c/] Soliditv, Sensation of, analysed by stereoscope, 63c ‘ Solo songs with airs invented by Monteverde and Viadana, 248c Sondhauss, his formula for pitch of resonators, 3735 Sorge, German Organist, 1745, discovers com- binational tones, *152d Sound, velocity of, in open air, 90c/. [and in tubes according to Mr. D. J. Blaikley, 90c/] Soureck on the blade of air in flue-pipes, 395c/. [his account, 397«.']