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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    Tliebes iu Egypt, Mutes found thero, 271«! [ ThciUöne = part-tones, or partial tones, 24c'] Third, 11«!, see Major Tkird and Minor Third Thirds, Pytkagorean, looked on as normal Thirds to the close of Middle Ages, 1906. their tempered intonation is the principal fault of tempered intonation, 315/;. not ad- mitted to be consonances tili end of twelfth Century, and tken only as imperfect, 190a. [major and minor, their upper partials com- pared, 190;/] Third and Fourth triad, 3386 Thirds and Sixths, consonant and dissonant, enumerated and considered, 334a. triad of dissimilar, 3386 Thirteenths not so pleasant as Sixths, 1896. [partials of Sixths and Thirteenths compared, 1906] [Tkomas’s orchestra, Cincinnati, U.S., 5116] Thompson, Gen. Perronet [his life, 422d]. his enharmonic organ, 422c. its efiect, 423d. a soprano voice singing to it and a blind man playing the violin witk it, 4236. [his mono- ckord, 441 cZ. notes on his organ, 473cZ] [Thompson, Sir W., his electrical squirting recorder, 539a] Thorough Bass, had formerlv no scientific foundation, 2c [Threequartertone intervals, 525a] [Timbre, its proper meaning, why not used here for quality of tone, 24c'] Timour, 282a Toepler and Boltzman, their experiments on the state of air inside flue-pipes, *93a [Tomkins, 494cZ, 503a, 505c] Tonal keys of later times, 270c Tonal modes, five melodic, 2726. Greek, formed from a succession of 7 Fifths, 288c. only two possible for a close connection of all the chords, 300a. the major is best, 3006. the minor is second, 300;/. as formed from their three chords, subdominant, tonic, and dominant, 293t/ to 294a. their chords with double intercalary tones, 297c, cZ. with single ditto, 298 6, c Tonal relationship, unconscious sense of, 370a Tonality developed in modern music, 5c. the relation of all the tones in a piece to the tonic (Fetis), 2406. Greeks had an unde- veloped feeling for, 242. complete in major modes, has to be partly abandoned in other modes, 296c/. [absent in non-harmonic scales, 526c] Tones (meaning musical sounds). harmonic upper partial, 4d. distinguished by force, pitck, and quality, 10c. sharper or higher, and Matter or lower, 116 [11c/']. musical, 7c. defined, 8a, c, 236. simple and compound, de- Mned, 236. the term ‘ tone ’ used indifferently for a simple or compound tone, 24a. consti- tuent, of a chord, 24c/'. composite, 56d. com- pound, 57a. upper partial, a general consti- tuent of all musical tones, 586, c. the diffi- culty of hearing them does not depend on their weakness, 58d. circumstances favour- able for distinguishing musical tones from different sources, 59c. old rules of composi- tion were designed to render the voice parts soparable by ear, 59d. without upper par- tials, 69c. with inharmonic upper partials, 706. of elastic rods, 70d. of bowed instru- ments, 80c. with a tolerably loud series of harmonic partials to Sixthinclusivo, are most harmonious, 119a. their hollow nasal, poor, cutting, rougk character, whence derived 119a, 6. their natural relationship as a basis for scales, 2566. related to dominant ascend mg and descending scales, 2746, c. related to subdominant ascending and descendin« scales, 275a, 6. of voice, energetic, how pro- duced, 115c. [partial, 246. ] proper not gene- rally determinable, 55d, but detennined iu circularplates and stretched membranes 56a simply compounded, tone and Oetave or’tone and Twelfth, 306, 32cZ. simple, 118c/. simple how to produce by means of resonance jar| 54c/ to 55c. combinational (see Combinationai tones) Tones (meaning musical intervals). printed with a Capital letter for distinction, 24c. and Semitones whore used, 524d Tongue (see Reed) Tonic, did any exist in homophonic music? 2406. rules for Unding it in the authentic scales uncertai n, 2436. G reeks used any note as such, 268a. chord represents compound tone of tonic, 296c. chord, development of feeling for in 16th and 17th centuries, 2966. feeling for it, weakly developed in homo- phonic music, 243c Tonic Sol-fa. singers, 207cZ. teaches to sing by the characters of the tones in the scale, 279c/. System of shewing relation of each note to the tonic, 352d. society of, 4236. [history of, 423c/' to 425c' notes. festivals, 427c'] [Töpfer, 509c/] [Translator, his additions iu Appendix XX., 430 to 556] [Trautmann, Moritz, on vowel resonance, 109c', 110c/] Triads, how formed, 2126, c. consonant withiu the compass of an oetave, 212d. see Major and Minor triads. of two just major Thirds, and their transformations, 338c/, 3396. with two dissonances, 339c, cZ. how they lünit the tones of the key, 3406, c. their pos- sible confusions, 341c. [cell and union, of a duodene, and condissonaut triads, 459a] Tremor, sonorous, distinct from motion of in- dividual particles of air, 8c/ Trent, council of, alters music, 247a Trichordal representation of harmonisable modes, 309d [Trichordals, harmonic, 460a] [Trines, major and minor, pure.quintal, major and minor quintal, 459a] [Tritonic temperameut, true and false, 548a] Trombones, lengthening, 100a. [shape of, 100c'] Tropes or scales of the best Greek period, essential, having hypate as tonic, 268d [Trumpets, their shape, 100c. with slides, rare, 100e'] Tsay-yu, said to have iutroduced the hepta- tonic scale into China, 258a Tso-kiu-ming compares the Mve Chinese tones to the Mve Chinese elements, 229c [Tunbridge, 496c/] Tune, mental = Ocmiithstimmung, 250d Times, populär, constructed from the three coustituent major chords of the scale, 292a [Tuniug. Sec. G, sec contents, 4S3c/. its difficulties, 484c/. examination of various spe- cimens of, 4846 to 485c/. Translator’s prac- tical rule for tuning in equal and meantone intonation, 488c/ to 491c] Tuning-fork, its form of Vibration, 20a, d. its tone, 796. has high inharmonic proper tones, 70c. large, of 64 vib. gave 5 partials, 159a.