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Resonating pianoforte wires and tuning-forks; cause of the phenomenon, §§ 37, 38—Resonance of a column of air; laws of its production, § 39—Relation between the length of an air-column and the pitch of its note of maximum resonance, § 40— Resonance-boxes, § 41—Helmholtz's resonators, § 1
pp. 71-83 CHAPTER IV.
Composite nature of musical sounds in general; series of constituent tones, and law which connects them, § 43—Experimental analysis of musical sounds, §§ 44, 45—Nomenclature of the subject, § 46—Helmholtz's theory of musical quality as depending on the number, orders and relative intensities of the partial-tones present in any given clang, § 47. pp. 84—96
ON THE ESSENTIAL MECHANISM OP THE PRINCIPAL MUSICAL INSTRUMENTS, CONSIDERED IN REFERENCE TO QUALITY.
Sounds of tuning-forks, § 48—Modes of vibration of an elastic tube, § 49—Meeting of equal and opposite pulses; formation of nodes, § 50—Number of nodes formed, § 51—Nature and rate of segmental vibration, §§ 52, 53—Motion of a sounding string; quality and pitch of its note, §§ 54, 55—The pianoforte, § 56— Meeting of equal and opposite systems of longitudinal waves, § 57—Reflexion of Sound at a closed and at an open orifice, § 58—Modes of segmental vibration in stopped and open pipes, §§59, 60—Deepest note obtainable from a pipe, § 61—Relation between length of pipe aud pitch of note, § 62—Theory of resonance-boxes, § 63—Flue-pipes and reed-pipes, § 64—Construction of flue-pipes and quality of their sounds, § 65—Mechanism of a reed; timbre of an independent reed, and of a reed associated with a pipe, § 66—Orchestral wind-instruments, § 67—Mechan-ism of the human voice, § 68—Synthetic confirmation of Helm-holtz,s theory of quality, § 69. pp. 97—138