Pantalony Altered Sensations

Rudolph Koenig's Acoustical Workshop in Nineteenth-Century Paris
1. Auflage 2009
ISBN: 978-90-481-2816-7
Verlag: Springer Netherlands
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 24, 372 Seiten

Reihe: Archimedes

Rudolph Koenig was one of the more prolific and colourful instrument makers in the renowned nineteenth-century precision instrument trade of Paris. Beginning his career as a violin maker, in 1858 the young Prussian immigrant shifted his talents towards the growing field of acoustics. Altered Sensations is a portrait of his vibrant atelier, a place of construction, commerce and experiment. For over forty years it was also a popular meeting place for scientists, artisans, musicians and teachers. Using archival and collection research from across North American and Europe, David Pantalony has traced the material and social influences of this space on the development of modern acoustics. In particular, he has detailed the manner in which Koenig modified, extended, spread and challenged Hermann von Helmholtz's Sensations of Tone.

A large part of the research on Koenig comes from the actual products of his workshop which survive in museums and collections around the world. The second section of Altered Sensations provides a Catalogue Raisonné of Koenig’s entire line of instruments, including their history, details from specific examples, locations, and references in the literature. This catalogue will serve as a practical guide for curators and researchers as well as a comprehensive overview of nineteenth-century acoustical practice.

Autoren/Hrsg.

Pantalony, David

Inhaltsverzeichnis

1;Acknowledgments;6
2;Contents;8
3;Notes on Acoustical Terms;10
3.1; V.S.;10
3.2; V.D.;10
3.3; Archives Consulted (Abbreviations);11
3.4; Other Abbreviations Found in Text and Notes;11
4;List of Figures;12
5;List of Tables;17
6;Introduction;18
6.1; Workshops in the History of Science;19
6.2; Showroom: The Business of Instrument Making;23
6.3; Laboratory: Instrument Making and Experimentation;25
6.4; Life as an Instrument Maker;27
6.5; Sound in History;29
6.6; Chapter Summary;30
6.7; Notes;31
7;1 Training;34
7.1; Journey to Paris;34
7.2; Vuillaumes Violin Workshop 18511858;37
7.3; From Violins to Tuning Forks;42
7.4; The Scientific Instrument Trade in Paris;43
7.5; Notes;48
8;2 Hermann von Helmholtz and the Sensations of Tone;51
8.1; Hermann von Helmholtz;52
8.2; Physical Acoustics Theory and Instruments (Tuning Forks, Tonometer, Double Siren);54
8.3; Instruments as Agents of Change;57
8.4; Experimental Results;58
8.5; Physiological Acoustics The Piano as a Model for the Inner Ear;59
8.6; Psychological Acoustics Resonators as Aids for Hearing Simple Tones;60
8.7; Synthesising Vowels Sounds;63
8.8; A Comprehensive Theory of Harmony and Music;65
8.9; Notes;66
9;3 Transformations in the Workshop;69
9.1; Inside Parisian Workshops;70
9.2; The Phonautograph and the Origins of Graphical Acoustics;73
9.3; Precision and Graphical Acoustics;79
9.4; The Plaque tournante at Rue Hautefeuille: Transforming Helmholtzs Acoustics;82
9.5; Demonstrating Helmholtz: Adam Politzer and Koenig at the Acadmie des Sciences;88
9.6; Manometric Flame Capsule and Optical Acoustics;90
9.7; Notes;92
10;4 The Market and Its Influences;96
10.1; The First Year of Business from the Workshop to the Classroom;97
10.2; 1862 Exhibition at London;99
10.3; Selling Helmholtzs Instruments;100
10.4; Function Replaces Beauty: 1867 Paris Exposition;103
10.5; Americans at the Fair;105
10.6; William B. Rogers, Alexander Graham Bell and MIT;106
10.7; The Parisian Science Monopoly and a Portuguese Customer;108
10.8; Notes;110
11;5 Constructing a Reputation, 18661879;113
11.1; Measuring the Velocity of Sound in the Sewers of Paris;114
11.2; Creating Vowels Sounds Out of Wood, Brass and Steel;116
11.3; Seeing a Voice: Manometric Vowel Studies;118
11.4; Extending the Tonometer, One File Mark at a Time;121
11.5; Choosing the Right Steel;122
11.6; Bringing the Workshop into Combination-Tone Studies;126
11.7; Precision and Livelihood Under Attack: The Koenig Clock Fork;130
11.8; Notes;135
12;6 Expanding the North American Market, 18711882;139
12.1; Recovery from the Turmoil of 18701871;140
12.2; The Third Catalogue, 1873;142
12.3; Joseph Henry and the Smithsonian Institution;144
12.4; Centennial Exhibition, 1876;145
12.5; James Loudon and the University of Toronto;149
12.6; Cette Ville de Malheur;153
12.7; Public Lectures at Toronto;156
12.8; Notes;160
13;7 The Faraday of Sound;163
13.1; Life at Quai dAnjou: 18821901;164
13.2; The Combination-Tone Controversy in England;173
13.3; Workshop as Theatre;175
13.4; Heidelberg 1889: the German Response;178
13.5; The Debate over Timbre;179
13.6; Wave Sirens;182
13.7; Back to Vibrations;187
13.8; Ultrasonics and Le Domaine de la Fantaisie;188
13.9; Notes;190
14;Conclusion Beyond Sensations ;196
14.1; Notes;199
15;Appendix A -- Key Dates in Rudolph Koenig's Life;200
16;Catalogue Raisonn of Koenig Instruments;202
17;Catalogue Raisonné of Koenig Instruments;202
17.1; Based on the Catalogue Titles in Koenigs 1889 Catalogue 1 ;202
17.2; Locations;203
17.3; I. The Principal Means for Producing Sound;205
17.4; II. Cause and Nature of Sound;212
17.5; III. Pitch of Sounds;222
17.6; IV. Timbre of Sound;243
17.7; V. Propagation of Sound;254
17.8; VI. Simple Vibrations of the Different Bodies;261
17.8.1; Vibrations of Air;263
17.8.2; Vibrations of Membranes;288
17.8.3; Vibrations of Strings;291
17.8.4; Vibrations of Rods and Bars;294
17.8.5; Vibration of Plates;297
17.9; VII. Communications of Vibrations Vibrations of Compound Bodies: Compound Vibrations of Simple Bodies;300
17.10; VIII. Phenomena Due to the Coexistence of Two or More Sounds in Air;317
17.11; IX. Methods of Studying Sonorous Vibrations Without the Assistance of the Ear;332
17.11.1; Optical Method;341
17.11.2; Manometric Flame Method;346
17.12; Stroboscopic Method;359
17.13; X. Apparatus for the Mechanical Representation of Vibrations and Wave Movements;364
17.14; XI. Acoustic Apparatus for Practical Use;367
17.14.1; Miscellaneous Instruments Not Found in Koenig Catalogues;368
17.15; Notes;369
18;Bibiliography;371
19;Index;392