The Book of Musical Knowledge: The History, Technique, and Appreciation of Music, Together with Lives of the Great Composers, for Music-Lovers, Students and Teachers

By Arthur Elson | Go to book overview

LIX
ACOUSTICS

SOUND is caused by a disturbance of the atmosphere, which then transmits itself outward through the air. This takes place by having each disturbed air-particle push the one beyond it, so that the disturbance travels outward somewhat like a stroke through a line of billiard balls, or an engine's push through a train of loosely coupled cars.

Sound is either tone or noise, the former being distinguished from the latter by consisting of regular vibrations, where noise is irregular. The push of the air-particles causes hearing by strokes on the eardrum, whereupon certain nerves take the sensation to the brain, which records it as sound. The brain also notes the pitch of the sound, which depends on the number of vibrations (impacts) per second. The human brain can hear such vibrations only between the limits of 16 per second and 38,000 per second, -- from nearly an octave below the piano to over three octaves above it. Vibrations that are below the lower limit come to the ear as separate puffs, if heard at all; while those above the high limit are totally inaudible. The upper limit varies with different people, so that some can, hear tones which others cannot. Certain animals, such as the cat, have a much higher range than mankind.

One may pause here to pay his respects to the question of the supposed relation between color and pitch. Light waves differ wholly from sound waves in being a disturbance of the ether. In sound, the octave above a note has twice as many vibrations as the note itself; and judged by this principle, the visible color-scale, from red to violet, is less than an octave, the violet having more vibrations than the red in about the proportion of 73 to 46. Light waves, too, are incomparably more frequent, and travel much faster, than sound waves. From all this we may draw the conclusion that there is no relation between color and tone. Many musicians have associated the two; but as we may naturally expect,

-503-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
The Book of Musical Knowledge: The History, Technique, and Appreciation of Music, Together with Lives of the Great Composers, for Music-Lovers, Students and Teachers
Table of contents

Table of contents

  • Title Page iii
  • Preface v
  • Contents vii
  • Illustrations xi
  • Part I - The Evolution of Music 1
  • Part I the Evolution of Music 2
  • I - Primitive and Savage Music 3
  • II - Greece and Rome 13
  • III - Early Christian Music 23
  • IV - The Minstrel Knights 31
  • V - The Schools of Counterpoint 42
  • VI - The Harmonic Style 58
  • Part II - The Great Composers 67
  • Part II the Great Composers 68
  • VII - Bach 69
  • VIII - Handel 77
  • IX - Gluck 85
  • X - Haydn 91
  • XI - Mozart 98
  • XII - Beethoven 108
  • XIII - Schubert 120
  • XIV - Weber and Romanticism 128
  • XV - Mendelssohn 135
  • XVI - Schumman 143
  • XVII - Chopin 151
  • XVIII - Italian Opera 158
  • XIX - Cherubini and French Opera 170
  • XX - Berlioz and Other Frenchmen 179
  • XXI - Liszt and His Circle 188
  • Part III - Musical Form 307
  • XXXI - Melody and Appreciation 309
  • XXXII - Figures and Phrases 317
  • XXXIII - The Song-Forms 324
  • XXXIV - The Rondos 331
  • XXXV - The Sonata-Allegro Form 336
  • XXXVI - Other Sonata Movements 341
  • XXXVII - The Orchestral Forms 345
  • XXXVIII Dances and Piano Styles - Dances and Piano Styles 351
  • XXXIX - The Vocal Forms 360
  • XL - The Contrapuntal Forms 366
  • Part IV - The Instruments 376
  • XLI - The Piano and Its Predecessors 377
  • XLII - The Organ 384
  • XLIII - The Voice 391
  • XLIV - The Violin 398
  • XLV - Other Bowed Instruments *
  • XLVI - Plucked-String Instruments 413
  • XLVII - Flute and Piccolo 420
  • XLVIII - Oboe and English Horn *
  • XLIX - The Bassoons 433
  • L the Clarinets 438
  • Li Horns, Trumpets, and Cornets 444
  • Lii Trombones and Tubas 450
  • Liii Instruments of Percussion 456
  • Part V - Special Topics 463
  • LIV - Some Famous Pianists 465
  • LV - Some Famous Singers 474
  • LVI - Violinists and Violin Music 483
  • LVII - Orchestration 491
  • LVIII - Conducting 496
  • Lix Acoustics 503
  • LX - How to Read Music 515
  • LXI - Modern Music 538
  • Appendix 569
  • Index 581
  • Index to Supplementary Chapter 606
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 612

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.