. The London, Edinburgh and Dublin philosophical magazine and journal of science. Difference-tone(Tartini), 3-2=1. Uniform increaseof pressure. Summation-tone i vibration -number 3+2=5. Resultant of octayei4 and 6. I. From disturbance proportional to square of displacement subtract simpletone. Amplitude | of disturbance. Period = that of the beat. (Vibra-tion-number = difference of vibration-numbers, 3—2 = 1.) II. Subtract ?£ of amplitude of disturbance. III. Subtract a simple tone. Amplitude | of that of disturbance. Period = $ that of resultant vibration in original beat. (Vibration-number =
. The London, Edinburgh and Dublin philosophical magazine and journal of science. Difference-tone(Tartini), 3-2=1. Uniform increaseof pressure. Summation-tone i vibration -number 3+2=5. Resultant of octayei4 and 6. I. From disturbance proportional to square of displacement subtract simpletone. Amplitude | of disturbance. Period = that of the beat. (Vibra-tion-number = difference of vibration-numbers, 3—2 = 1.) II. Subtract ?£ of amplitude of disturbance. III. Subtract a simple tone. Amplitude | of that of disturbance. Period = $ that of resultant vibration in original beat. (Vibration-number = sumof vibration-numbers of original tones, 3+2 — 5.) IV. There remains a succession of beats like the original beats of the fifth, an octave higher, i. e. the combination of the octaves of the original notes. B. Beat of Fifth, 2:3. Disturbed by term proportional to square ofdisplacement, showing origin of the 426 Mr. R. H. M. Bosanquet on the Beats 19. We may notice here incidentally that it is necessarythat the resolved primaries should be uniform and steady, inorder that the beats exhibited in the resultant forms mayretain their regularity. Those who support the Young-and-Smith theory generally have a sort of confused idea that theprimaries are modified when superposed into their resultant. 20. How, then, do the beats of mistuned consonances arise ?They may be regarded as springing from interference of newnotes, which arise by transformation, in the passage of theresultant forms through the transmitting mechanism of the ear,before the analysis by the sensorium. Experiments. 21. The engine and bellows* being adjusted to run conti-tinuously and quietly, I began to follow the course of Konigsexperiments at the point where he deals with the combina-tions of the note C, following his form not accurately, butwith such divergences as the difference in the apparatus sug- fested. After going thro
Size: 2022px × 1236px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1840, booksubjectscience, bookyear1840
