Sound

CHAPTER I. The Nerves and Sensation—Production and Propagation of

The Nerves and Sensation—Production and Propagation of Sonorous Motion—Experiments on Sounding Bodies placed in Vacuo—Deadening of Sound by Hydrogen—Action of Hydrogen on the Voice—Propagation of Sound through Air of Varying Density—Reflection of Sound—Echoes—Refraction of Sound—Diffraction of Sound; Case of Erith Village and Church—Influence of Temperature on Velocity—Influence of Density on Elasticity—Newton’s Calculation of Velocity—Thermal Changes Produced by the Sonorous Wave—Laplace’s Correction of Newton’s Formula—Ratio of Specific Heats at Constant Pressure and at Constant Volume deduced from Velocities of Sound—Mechanical Equivalent of Heat deduced from this Ratio—Inference that Atmospheric Air Possesses no Sensible Power to Radiate Heat—Velocity of Sound in Different Gases—Velocity in Liquids and Solids—Influence of Molecular Structure on the Velocity of Sound. 31

SUMMARY OF CHAPTER I 77

CHAPTER II. Physical Distinction Between Noise and Music—a

Physical Distinction between Noise and Music—A Musical Tone Produced by Periodic, Noise Produced by Unperiodic, Impulses—Production of Musical Sounds by Taps—Production of Musical Sounds by Puffs—Definition of Pitch in Music—Vibrations of a Tuning-Fork; their Graphic Representation on Smoked Glass—Optical Expression of the Vibrations of a Tuning-Fork—Description of the Siren—Limits of the Ear; Highest and Deepest Tones—Rapidity of Vibration Determined by the Siren—Determination of the Lengths of Sonorous Waves—Wave-Lengths of the Voice in Man and Woman—Transmission of Musical Sounds through Liquids and Solids. 82

SUMMARY OF CHAPTER II 117

CHAPTER III. Vibration of Strings—How Employed in Music—Influence of

Vibration of Strings—How employed in Music—Influence of Sound-Boards—Laws of Vibrating String—Combination of Direct and Reflected Pulses—Stationary and Progressive Waves—Nodes and Ventral Segments—Application of Results to the Vibrations of Musical Strings—Experiments of Melde—Springs set in Vibration by Tuning-Forks—Laws of Vibration thus demonstrated—Harmonic Tones of Strings—Definitions of Timbre or Quality, or Overtones and Clang—Abolition of Special Harmonies—Conditions which affect the Intensity of the Harmonic Tones—Optical Examination of the Vibrations of a Piano-Wire 120

SUMMARY OF CHAPTER III 161

CHAPTER IV. Vibrations of a Rod Fixed At Both Ends: Its Subdivisions

Vibrations of a Rod fixed at Both Ends: its Subdivisions and Corresponding Overtones—Vibrations of a Rod fixed at One End—The Kaleidophone—The Iron Fiddle and Musical Box—Vibrations of a Rod free at Both Ends—The Claque-bois and Glass Harmonica—Vibrations of a Tuning-Fork: its Subdivisions and Overtones—Vibrations of Square Plates—Chladni’s Discoveries—Wheatstone’s Analysis of the Vibrations of Plates—Chladni’s Figures—Vibrations of Disks and Bells—Experiments of Faraday and Strehlke. 165

SUMMARY OF CHAPTER IV 196

CHAPTER V. Longitudinal Vibrations of a Wire—Relative Velocities of

Longitudinal Vibrations of a Wire—Relative Velocities of Sound in Brass and Iron—Longitudinal Vibrations of Rods fixed at One End—Of Rods free at Both Ends—Divisions and Overtones of Rods vibrating longitudinally—Examination of Vibrating Bars by Polarized Light—Determination of Velocity of Sound in Solids—Resonance—Vibrations of Stopped Pipes: their Divisions and Overtones—Relation of the Tones of Stopped Pipes to those of Open Pipes—Condition of Column of Air within a Sounding Organ-Pipe—Reeds and Reed-Pipes—The Voice—Overtones of the Vocal Chords—The Vowel Sounds—Kundt’s Experiments—New Methods of determining the Velocity of Sound. 200

SUMMARY OF CHAPTER V 254

CHAPTER VI. Singing Flames—Influence of the Tube Surrounding

Singing Flames—Influence of the Tube surrounding the Flame—Influence of Size of Flame—Harmonic Notes of Flames—Effect of Unisonant Notes on Singing Flames—Action of Sound on Naked Flames—Experiments with Fish-Tail and Bat’s-Wing Burners—Experiments on Tall Flames—Extraordinary Delicacy of Flames as Acoustic Reagents—The Vowel-Flame—Action of Conversational Tones upon Flames—Action of Musical Sounds on Smoke-Jets—Constitution of Water-Jets—Plateau’s Theory of the Resolution of a Liquid Vein into Drops—Action of Musical Sounds on Water-Jets—A Liquid Vein may compete in Point of Delicacy with the Ear 260

SUMMARY OF CHAPTER VI 301

CHAPTER VII. _part I_

PART I

RESEARCHES ON THE ACOUSTIC TRANSPARENCY OF THE ATMOSPHERE IN RELATION TO THE QUESTION OF FOG-SIGNALLING

Introduction—Instruments and Observations—Contradictory Results from the 19th of May to the 1st of July inclusive—Solution of Contradictions—Aërial Reflection and its Causes—Aërial Echoes—Acoustic Clouds—Experimental Demonstration of Stoppage of Sound by Aërial Reflection 305

PART II

INVESTIGATION OF THE CAUSES WHICH HAVE HITHERTO BEEN SUPPOSED EFFECTIVE IN PREVENTING THE TRANSMISSION OF SOUND THROUGH THE ATMOSPHERE

Action of Hail and Rain—Action of Snow—Action of Fog; Observations in London—Experiments on Artificial Fogs—Observations on Fogs at the South Foreland—Action of Wind—Atmospheric Selection—Influence of Sound-Shadow 341

SUMMARY OF CHAPTER VII 374

CHAPTER VIII. Law of Vibratory Motions in Water and

Law of Vibratory Motions in Water and Air—Superposition of Vibrations—Interference of Sonorous Waves—Destruction of Sound by Sound—Combined Action of Two Sounds nearly in Unison with each other—Theory of Beats—Optical Illustration of the Principle of Interference—Augmentation of Intensity by Partial Extinction of Vibrations—Resultant Tones—Conditions of their Production—Experimental Illustrations—Difference-Tones and Summation-Tones—Theories of Young and Helmholtz 377

SUMMARY OF CHAPTER VIII 407

CHAPTER IX. Combination of Musical Sounds—the Smaller the Two

Combination of Musical Sounds—The smaller the Two Numbers which express the Ratio of their Rates of Vibration, the more perfect is the Harmony of Two Sounds—Notions of the Pythagoreans regarding Musical Consonance—Euler’s Theory of Consonance—Theory of Helmholtz—Dissonance due to Beats—Interference of Primary Tones and of Overtones—Mechanism of Hearing—Schultze’s Bristles—The Otoliths—Corti’s Fibres—Graphic Representation of Consonance and Dissonance—Musical Chords—The Diatonic Scale—Optical Illustration of Musical Intervals—Lissajous’s Figures—Sympathetic Vibrations—Various Modes of illustrating the Composition of Vibrations 410

Summary of Chapter IX 450

Appendix I

ON THE INFLUENCE OF MUSICAL SOUNDS ON THE FLAME OF A JET OF COAL-GAS. BY JOHN LE CONTE, M.D. 454

APPENDIX II

ON ACOUSTIC REVERSIBILITY 461

INDEX 471

ILLUSTRATION—FOG-SIREN Frontispiece

PREFACE TO THE THIRD EDITION

In preparing this new edition of “Sound,” I have carefully gone over the last one; amended, as far as possible, its defects of style and matter, and paid at the same time respectful attention to the criticisms and suggestions which the former editions called forth.

The cases are few in which I have been content to reproduce what I have read of the works of acousticians. I have sought to make myself experimentally familiar with the ground occupied; trying, in all cases, to present the illustrations in the form and connection most suitable for educational purposes.

Though bearing, it may be, an undue share of the imperfection which cleaves to all human effort, the work has already found its way into the literature of various nations of diverse intellectual standing. Last year, for example, a new German edition was published “under the special supervision” of Helmholtz and Wiedemann. That men so eminent, and so overladen with official duties, should add to these the labor of examining and correcting every proof-sheet of a work like this, shows that they consider it to be what it was meant to be—a serious attempt to improve the public knowledge of science. It is especially gratifying to me to be thus assured that not in England alone has the book met a public want, but also in that learned land to which I owe my scientific education.

Before me, on the other hand, lie two volumes of foolscap size, curiously stitched, and printed in characters the meaning of which I am incompetent to penetrate. Here and there, however, I notice the familiar figures of the former editions of “Sound.” For these volumes I am indebted to Mr. John Fryer, of Shanghai, who, along with them, favored me, a few weeks ago, with a letter from which the following is an extract: “One day,” writes Mr. Fryer, “soon after the first copy of your work on Sound reached Shanghai, I was reading it in my study, when an intelligent official, named Hsii-chung-hu, noticed some of the engravings and asked me to explain them to him. He became so deeply interested in the subject of Acoustics that nothing would satisfy him but to make a translation. Since, however, engineering and other works were then considered to be of more practical importance by the higher authorities, we agreed to translate your work during our leisure time every evening, and publish it separately ourselves. Our translation, however, when completed, and shown to the higher officials, so much interested them, and pleased them, that they at once ordered it to be published at the expense of the Government, and sold at cost price. The price is four hundred and eighty copper cash per copy, or about one shilling and eightpence. This will give you an idea of the cheapness of native printing.”

Mr. Fryer adds that his Chinese friend had no difficulty in grasping every idea in the book.

The new matter of greatest importance which has been introduced into this edition is an account of an investigation which, during the past two years, I have had the honor of conducting in connection with the Elder Brethren of the Trinity House. Under the title “Researches on the Acoustic Transparency of the Atmosphere, in Relation to the Question of Fog-signalling,” the subject is treated in Chapter VII. of this volume. It was only by Governmental appliances that such an investigation could have been made; and it gives me pleasure to believe that not only have the practical objects of the inquiry been secured, but that a crowd of scientific errors, which for more than a century and a half have surrounded this subject, have been removed, their place being now taken by the sure and certain truth of Nature. In drawing up the account of this laborious inquiry, I aimed at linking the observations so together that they alone should offer a substantial demonstration of the principles involved. Further labors enabled me to bring the whole inquiry within the firm grasp of experiment; and thus to give it a certainty which, without this final guarantee, it could scarcely have enjoyed.

Immediately after the publication of the first brief abstract of the investigation, it was subjected to criticism. To this I did not deem it necessary to reply, believing that the grounds of it would disappear in presence of the full account. The only opinion to which I thought it right to defer was to some extent a private one, communicated to me by Prof. Stokes. He considered that I had, in some cases, ascribed too exclusive an influence to the mixed currents of aqueous vapor and air, to the neglect of differences of temperature. That differences of temperature, when they come into play, are an efficient cause of acoustic opacity, I never doubted. In fact, aërial reflection arising from this cause is, in the present inquiry, for the first time made the subject of experimental demonstration. What the relative potency of differences of temperature and differences due to aqueous vapor, in the cases under consideration, may be, I do not venture to state; but as both are active, I have, in Chapter VII., referred to them jointly as concerned in the production of those “acoustic clouds” to which the stoppage of sound in the atmosphere is for the most part due.

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