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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    [Spain, pitch, 511a] [Speaking contrasted witb singing, 68c?'.] voice, more jarring than singing voice, 113c? Speech, its natural intonation, 238c Spheres, thoir Pythagorean harmony, 15a [Spiee, R., 502c?, 5116] Spinet [its striking-place, 77d] Spitzflöte, organ stop, 94a [94c? j [Spontini, 4976] [Staff Notation, 426c?'] [Stainer, Dr., 4976, 5056] Stapes, sec Ear Stark, Prof., 241c? Stefan, *377cl [Stein of Augsburg, kiiew notbingof a uniform striking-place for piano strings, 77c?, 504c?] Steinway & Sons of New York, their piano, 76a. [strikes at T-7 and J- tbe lengtb of string, 76e?'. tbe 9tb harmonic obtained by Mr. Hipkins, 76c?'. 507d, 5116] Stereoscope analyses Sensation of solidity, 63c Stirrup, see Ear [Stockbausen, 4956] Stokes, Prof., *383c? [Stone, astronomer, 173c'] [Stone, Dr. W. H., 494c?. bis restoration of 16 foot C, to tbe orchestra, 5526. bis contra- fagotto, 553«'] [Stoney, Dr. G. J., on charaeters of keys, 550c'] Stopped pipes, sec Organ pipes stopped Stops, compound, on organ, tbeir use, 206c. also sec Organ stops Stradivari, 1644-1737, bis violins, 866. [re- sonance of tbe box of Dr. Huggins’s Stradi- vari violin of 1708, 87c'] Straight lines and acute angles in vibrational forms, bow produced, 34c?, 35a [Strauss, E., bis pitcb, 555c?] Straw-fiddle, a wood harmonicon, 71« [Stream reeds, 554c] [Streatfield, 497a] [Streicher, 502c?] Striking Reeds, 95c. bow constructed, 96c?' Strings, tbeir forms of Vibration, bow best studied, 456, c. number of nodes, 46c. in- finite number of forms of Vibration, 46c?. different forms excited at tbe same time, 47c. experiment on, witb a flat piano, 47c. [on a cottage piano, 47c?.] tbeir tones best adapted for proving tbe ear’s analysis of compound tones into partials, 52a. motion of, wben deflected by a point, 53c? to 54c. excited by striking, 746. tbeir musical tones, 74a. bow to experiment upon, 756. of pianoforte, tbeir qualities of tone, 79c. theoretical intensity for difierence of hammer and duration of stroke at 4 lengtb of string, 79a, 6. in tbe upper octaves prime predominant, in lower octaves 2ud and 3rd partial louder than prime, 80a. effect of tbickness and material, 80a. motion of plucked, mathematically investiga- ted, 374c? to 377a. of pianofortes, vibrational forms of, mathematically investigated, 380a. sce also Pianoforte [Stroh, *75c?', see Preece, 124. synthetical production of vowels, 542c?] Stroke, for exciting string, its nature, 74c?. duration of, 75e Subdominant chord, 293. [Duodene, 462a] [Subminor Eifth 5 : 7, its partials examined, 195c] Subminor Fourtoenth 2 : 7 much better than minor Tbirteenth, 196a Subminor Tenth 3 : 7 much better than minor Tenth, 196« Subminor Seventh 4:7, 49c?'. often more harmonious than minor Sixtb, 195a. wby not used, 195a, 2136, c. its partials ex- amined, 1956 [Subminor Third 6 : 7, its partials examined, 195c] [Suction ehambers, 5556] Sumatra, pentatonic scale, 257 Summational combinational tones (Helm- holtz’s), 153a. only heard on barmonium and polypbonic siren, 155c. exemplified, 156a. are very inharmonic, 1566. from polyphonic siren act on membranes, 157a. from barmonium act partly on resonators, 157c. [reasons for doubting the two last conclusions, 157c?] [Supermajor Tbird 7 : 9, its partials examined, 195c?] [Superminor Third 14 : 17, its partials exa- mined, 195c?] [Supersecond 7 : 8, its partials examined, 195c] Suspension of dissonant note, 3546 Sylvester, Pope, a.d. 314-335, establisbed Ro- man school of singing, 239« Sympathetic oscillation and resonance, its mechanics, 366. of piano strings, 38c?. of bodies of small mass, 39c. of tuning-forks, 39c?, 40«. of circular membranes, 40c-41c. relation between its strengtb and the lengtb of time required for the tone to die away, mathematically investigated, 405c Sympathetic Vibration, the only analogue to- tbe resolution of compound into simple vibrations by tbe ear, 129«. of expansion of auditory nerves, 1426. relation of amount of, to difierence of pitcb, 142c T [Tadolini, 510c?] [Tagore, Rajab Sourindro Mohun, *243c?- 514c. Indian scale, 517c?] [Tambour, Northern and Southern, their scales after Prof. Land, 517a] [Tar of Casbmere, 522a] Tartini, 1692-1770, Italian Violinist. dis- eovers combinational tones, 152c. bis theory of consonance, *232«. estimated all combi- national tones an octave too high, 62« [Taskin, Pascal, Court harpisebord tuner, 5096] Taste, difficulties of perceiving analvtically, ß36 Taylor, Sedley, his Sound and Music, 6c Tempered fusion of just intervals, 337c? Temperament, relations leading to it, 3126, c- [App. XX. sect. A, see contents 430c?] Terms defined, 236, c, 24« Terpander, b.c. 700-650, 249«. his seven- stringed citbara, 257d. his scale witb a tetrachord and Trichord, 267c? [ Terzi suoni, Tartini’s name for combinational tones, 152c?] Tetrachords, conjunct and disjunct, 255«; (1) ancient enharmonic of Olympos, 2626; (2) older chromatic, 262c; (3) diatonic, 262c; (4) of Didymus, 263a; (5) Pythagorean, 2636 ; (6) Pbrygian, 263c; (7) Lydian, 263c; (8) un- used, 263c?; (9) soft diatonic, 264«; (10) Ptolemy’s equal diatonic, 2646; (11) enhar- monic, 2656. [old Greek, 512c?. Greek after Al Farabi, 512c?] Tetrads, or four-part cbords, wben consonant formed by taking tbe Octave of one tone of a triad, 2226, <•, 223«. major, tbeir most per- fect positions, 223c