had noticed' that when a string vibrates, one which is in unison with it vibrates without being touched. He was also aware that this was true if the second string was an octave or a twelfth below the first. This was observed as a new fact in England in 1674, and communicated to the Royal Society by Wallis. But the later observers ascertained further, that the longer string divides itself into two, or into three equal parts, separated by nodes, or points of rest; this they proved by hanging bits of paper on different parts of the string. The discovery so modified was again made by Sauveur3 about 1700. The sounds thus produced in one string by the vibration of another, have ` been termed Sympathetic Sounds. Similar sounds are often produced by performers on stringed instruments, by touching the string at one of its aliquot divisions, and are then called the Acute Harmonics. Such facts were not difficult to explain on Taylor's view of the mechanical condition of the string; but the difficulty was increased when it was noticed that a sounding body could produce these different notes at the same time. Mersenne had remarked this, and the fact was more distinctly observed and pursued by Sauveur. The notes thus produced in addition to the genuine note of the string, have been called Secondary Notes; those usually heard are, the Octave, the Twelfth, and the Seventeenth above the note itself. To supply a mode of conceiving distinctly, and explaining mechanically, vibrations which should allow of such an effect, was therefore a requisite step in acoustics. This task was performed by Daniel Bernoulli in a memoir published in 1755. He there stated and proved the Principle of the coexistence of small vibrations. It was already established, that a string might vibrate either in a single swelling (if we use this word to express the curve between two nodes which Bernoulli calls a ventre), or in two or three or any number of equal swellings with immoveable nodes between. Daniel Bernoulli showed further, that these nodes might be combined, each taking place as if it were the only one. This appears sufficient to explain the coexistence of the harmonic sounds just noticed. D'Alembert, indeed, in the article Fundamental in the French Encyclopédie, and Lagrange in his Dissertation on Sound in the Turin Memoirs, offer several objections to this explanation; and it cannot be denied that the subject has its difficulties; but 1 Harm. lib. iv. Prop. 28 (1636). 4 Berlin Mem. 1753, p. 147. 5 2 Ph. Tr. 1677, April. 3 A. P. 1701. still these do not deprive Bernoulli of the merit of having pointed out the principle of Coexistent Vibrations, or divest that principle of its value in physical science. Daniel Bernoulli's Memoir, of which we speak, was published at a period when the clouds which involve the general analytical treatment of the problem of vibrating strings, were thickening about Euler and D'Alembert, and darkening into a controversial hue; and as Bernoulli ventured to interpose his view, as a solution of these difficulties, which, in a mathematical sense, it is not, we can hardly be surprised that he met with a rebuff. The further prosecution of the different modes of vibration of the same body need not be here considered. The sounds which are called Grave Harmonics, have no analogy with the Acute Harmonics above-mentioned; nor do they belong to this section; for in the case of Grave Harmonics, we have one sound from the co-operation of two strings, instead of several sounds from one string. These harmonics are, in fact, connected with beats, of which we have already spoken; the beats becoming so close as to produce a note of definite musical quality. The discovery of the Grave Harmonics is usually ascribed to Tartini, who mentions them in 1754; but they are first noticed in the work of Sorge On tuning Organs, 1744. He there expresses this discovery in a query. "Whence comes it, that if we tune a fifth (2:3), a third sound is faintly heard, the octave below the lower of the two notes? Nature shows that with 2 3, she still requires the unity, to perfect the order 1, 2, 3." The truth is, that these numbers express the frequency of the vibrations, and thus there will be coincidences of the notes 2 and 3, which are of the frequency 1, and consequently give the octave below the sound 2. This is the explanation given by Lagrange," and is indeed obvious. IT CHAPTER V. PROBLEM OF THE SOUNDS OF PIPES. T was taken for granted by those who reasoned on sounds, that the sounds of flutes, organ-pipes, and wind-instruments in general, con Chladni. Acoust. p. 254. 7 Mem. Tur. i. p. 104. sisted in vibrations of some kind; but to determine the nature and laws of these vibrations, and to reconcile them with mechanical principles, was far from easy. The leading facts which had been noticed were, that the note of a pipe was proportional to its length, and that a flute and similar instruments might be made to produce some of the acute harmonics, as well as the genuine note. It had further been noticed,' that pipes closed at the end, instead of giving the series of harmonics I, 1, 1, 1,.&c.., would give only those notes which answer to the odd numbers 1,1,1, &c. In this problem also, Newton' made the first. step to the solution. At the end of the propositions respecting the velocity of sound, of which we have spoken, he noticed that it appeared by taking Mersenne's or Sauveur's determination of the number of vibrations corresponding to a given note, that the pulse of air runs over twice the length of the pipe in the time of each vibration. He does not follow out this observation, but it obviously points to the theory, that the sound of a pipe consists of pulses which travel back and forwards along its length, and are kept in motion by the breath of the player. This supposition would account for the observed dependence of the note on the length of the pipe. The subject does not appear to have been again taken taken up in a theoretical way till about 1760; when Lagrange in the second volume of the Turin Memoirs, and D. Bernoulli in the Memoirs of the French Academy for 1762, published important essays, in which some of the leading facts were satisfactorily explained, and which may therefore be considered as the principal solutions of the problem. In these solutions there was necessarily something hypothetical. In the case of vibrating strings, as we have seen, the Form of the vibrating curve was guessed at only, but the existence and position of the Nodes could be rendered visible to the eye. In the vibrations of air, we cannot see either the places of nodes, or the mode of vibration; but several of the results are independent of these circumstances. Thus both of the solutions explain the fact, that a tube closed at one end is in unison with an open tube of double the length; and, by supposing nodes to occur, they account for the existence of the odd series of harmonics alone, 1, 3, 5, in closed tubes, while the whole series, 1, 2, 3, 4, 5, &c., occurs in open ones. Both views of the nature of the vibration appear to be nearly the same; though Lagrange's is expressed with an analytical generality which renders it obscure, and Bernoulli has perhaps D. Bernoulli, Berlin. Mem. 1753, p. 150. 2 Princip. Schol. Prop. 50. 5 6 4 laid down an hypothesis more special than was necessary. Lagrange considers the vibration of open flutes as "the oscillations of a fibre of air," under the condition that its elasticity at the two ends is, during the whole oscillation, the same as that of the surrounding atmosphere. Bernoulli supposes the whole inertia of the air in the flute to be collected into one particle, and this to be moved by the whole elasticity arising from this displacement. It may be observed that both these modes of treating the matter come very near to what we have stated as Newton's theory; for though Bernoulli supposes all the air in the flute to be moved at once, and not successively, as by Newton's pulse, in either case the whole elasticity moves the whole air in the tube, and requires more time to do this according to its quantity. Since that time, the subject has received further mathematical developement from Euler, Lambert, and Poisson; but no new explanation of facts has arisen. Attempts have however been made to ascertain experimentally the places of the nodes. Bernoulli himself had shown that this place was affected by the amount of the opening, and Lamberts had examined other cases with the same view, Savart traced the node in various musical pipes under different conditions; and very recently Mr. Hopkins, of Cambridge, has pursued the same experimental inquiry. It appears from these researches, that the early assumptions of mathematicians with regard to the position of the nodes, are not exactly verified by the facts. When the air in a pipe is made to vibrate so as to have several nodes which divide it into equal parts, it had been supposed by acoustical writers that the part adjacent to the open end was half of the other parts; the outermost node, however, is found experimentally to be displaced from the position thus assigned to it, by a quantity depending on several collateral circumstances. Since our purpose was to consider this problem only so far as it has tended towards its mathematical solution, we have avoided saying anything of the dependence of the mode of vibration on the cause by which the sound is produced; and consequently, the researches on the effects of reeds, embouchures, and the like, by Chladni, Savart, Willis, and others, do not belong to our subject. It is easily seen that the complex effect of the elasticity and other properties of the reed and of the air together, is a problem of which we can hardly 3 Mém. Turin, vol. ii. p. 154. 4 Mém. Berlin, 1753, p. 446. 6 Acad. Berlin, 1775. 8 Acad. Berlin, 1775. 9 Camb. Trans. vol. v. p. 234. hope to give a complete solution till our knowledge has advanced much beyond its present condition. Indeed, in the science of Acoustics there is a vast body of facts to which we might apply what has just been said; but for the sake of pointing out some of them, we shall consider them as the subjects of one extensive and yet unsolved problem. CHAPTER VI. PROBLEM OF DIFFERENT MODES OF VIBRATION OF NOT only the objects of which we have spoken hitherto, strings and pipes, but almost all bodies are capable of vibration. Bells, gongs, tuning-forks, are examples of solid bodies; drums and tambourines, of membranes; if we run a wet finger along the edge of a glass goblet, we throw the fluid which it contains into a regular vibration; and the various character which sounds possess according to the room in which they are uttered, shows that large masses of air have peculiar modes of vibration. Vibrations are generally accompanied by sound, and they may, therefore, be considered as acoustical phenomena, especially as the sound is one of the most decisive facts in indicating the mode of vibration. Moreover, every body of this kind can vibrate in many different ways, the vibrating segments being divided by Nodal Lines and Surfaces of various form and number. The mode of vibration, selected by the body in each case, is determined by the way in which it is held, the way in which it is set in vibration, and the like circum stances. The general problem of such vibrations includes the discovery and classification of the phenomena; the detection of their formal laws; and, finally, the explanation of these on mechanical principles. We must speak very briefly of what has been done in these ways. The facts which indicate Nodal Lines had been remarked by Galileo, on the sounding board of a musical instrument; and Hooke had proposed to observe the vibrations of a bell by strewing flour upon it. But it was Chladni, a German philosopher, who enriched acoustics with the discovery of the vast variety of symmetrical figures of Nodal Lines, which are exhibited on plates of regular forms, when |