Popular scientific lectures. Ernst MachЧитать онлайн книгу.
one of the forks. It is thrown thus out of tune; its note is made a little deeper. I now repeat the same experiment with the two forks, now of unequal pitch, by striking one of them and again grasping it with my hand; but in the present case the note ceases the very instant I touch the fork.
What has happened here in these two experiments? Simply this. The vibrating fork imparts to the air and to the table four hundred and fifty shocks a second, which are carried over to the other fork. If the other fork is pitched to the same note, that is to say, if it vibrates when struck in the same time with the first, then the shocks first emitted, no matter how slight they may be, are sufficient to throw the second fork into rapid sympathetic vibration. But when the time of vibration of the two forks is slightly different, this does not take place. We may strike as many forks as we will, the fork tuned to A is perfectly indifferent to their notes; is deaf, in fact, to all except its own; and if you strike three, or four, or five, or any number whatsoever, of forks all at the same time, so as to make the shocks which come from them ever so great, the A fork will not join in with their vibrations unless another fork A is found in the collection struck. It picks out, in other words, from all the notes sounded, that which accords with it.
The same is true of all bodies which can yield notes. Tumblers resound when a piano is played, on the striking of certain notes, and so do window panes. Nor is the phenomenon without analogy in other provinces. Take a dog that answers to the name "Nero." He lies under your table. You speak of Domitian, Vespasian, and Marcus Aurelius Antoninus, you call upon all the names of the Roman Emperors that occur to you, but the dog does not stir, although a slight tremor of his ear tells you of a faint response of his consciousness. But the moment you call "Nero" he jumps joyfully towards you. The tuning-fork is like your dog. It answers to the name A.
You smile, ladies. You shake your heads. The simile does not catch your fancy. But I have another, which is very near to you: and for punishment you shall hear it. You, too, are like tuning-forks. Many are the hearts that throb with ardor for you, of which you take no notice, but are cold. Yet what does it profit you! Soon the heart will come that beats in just the proper rhythm, and then your knell, too, has struck. Then your heart, too, will beat in unison, whether you will or no.
The law of sympathetic vibration, here propounded for sounding bodies, suffers some modification for bodies incompetent to yield notes. Bodies of this kind vibrate to almost every note. A high silk hat, we know, will not sound; but if you will hold your hat in your hand when attending your next concert you will not only hear the pieces played, but also feel them with your fingers. It is exactly so with men. People who are themselves able to give tone to their surroundings, bother little about the prattle of others. But the person without character tarries everywhere: in the temperance hall, and at the bar of the public-house—everywhere where a committee is formed. The high silk hat is among bells what the weakling is among men of conviction.
A sonorous body, therefore, always sounds when its special note, either alone or in company with others, is struck. We may now go a step further. What will be the behaviour of a group of sonorous bodies which in the pitch of their notes form a scale? Let us picture to ourselves, for example (Fig. 8), a series of rods or strings pitched to the notes c d e f g. … On a musical instrument the accord c e g is struck. Every one of the rods of Fig. 8 will see if its special note is contained in the accord, and if it finds it, it will respond. The rod c will give at once the note c, the rod e the note e, the rod g the note g. All the other rods will remain at rest, will not sound.
We need not look about us long for such an instrument. Every piano is an instrument of this kind, with which the experiment mentioned may be executed with splendid success. Two pianos stand here by the side of each other, both tuned alike. We will employ the first for exciting the notes, while we will allow the second to respond; after having first pressed upon the loud pedal, so as to render all the strings capable of motion.
Every harmony struck with vigor on the first piano is distinctly repeated on the second. To prove that it is the same strings that are sounded in both pianos, we repeat the experiment in a slightly changed form. We let go the loud pedal of the second piano and pressing on the keys c e g of that instrument vigorously strike the harmony c e g on the first piano. The harmony c e g is now also sounded on the second piano. But if we press only on one key g of one piano, while we strike c e g on the other, only g will be sounded on the second. It is thus always the like strings of the two pianos that excite each other.
The piano can reproduce any sound that is composed of its musical notes. It will reproduce, for example, very distinctly, a vowel sound that is sung into it. And in truth physics has proved that the vowels may be regarded as composed of simple musical notes.
You see that by the exciting of definite tones in the air quite definite motions are set up with mechanical necessity in the piano. The idea might be made use of for the performance of some pretty pieces of wizardry. Imagine a box in which is a stretched string of definite pitch. This is thrown into motion as often as its note is sung or whistled. Now it would not be a very difficult task for a skilful mechanic to so construct the box that the vibrating cord would close a galvanic circuit and open the lock. And it would not be a much more difficult task to construct a box which would open at the whistling of a certain melody. Sesame! and the bolts fall. Truly, we should have here a veritable puzzle-lock. Still another fragment rescued from that old kingdom of fables, of which our day has realised so much, that world of fairy-stories to which the latest contributions are Casselli's telegraph, by which one can write at a distance in one's own hand, and Prof. Elisha Gray's telautograph. What would the good old Herodotus have said to these things who even in Egypt shook his head at much that he saw? ἐμοἱ μἑνe ού πιστα, just as simple-heartedly as then, when he heard of the circumnavigation of Africa.
A new puzzle-lock! But why invent one? Are not we human beings ourselves puzzle-locks? Think of the stupendous groups of thoughts, feelings, and emotions that can be aroused in us by a word! Are there not moments in all our lives when a mere name drives the blood to our hearts? Who that has attended a large mass-meeting has not experienced what tremendous quantities of energy and motion can be evolved by the innocent words, "Liberty, Equality, Fraternity."
But let us return to the subject proper of our discourse. Let us look again at our piano, or what will do just as well, at some other contrivance of the same character. What does this instrument do? Plainly, it decomposes, it analyses every agglomeration of sounds set up in the air into its individual component parts, each tone being taken up by a different string; it performs a real spectral analysis of sound. A person completely deaf, with the help of a piano, simply by touching the strings or examining their vibrations with a microscope, might investigate the sonorous motion of the air, and pick out the separate tones excited in it.
The ear has the same capacity as this piano. The ear performs for the mind what the piano performs for a person who is deaf. The mind without the ear is deaf. But a deaf person, with the piano, does hear after a fashion, though much less vividly, and more clumsily, than with the ear. The ear, thus, also decomposes sound into its component tonal parts. I shall now not be deceived, I think, if I assume that you already have a presentiment of what the function of Corti's fibres is. We can make the matter very plain to ourselves. We will use the one piano for exciting the sounds, and we shall imagine the second one in the ear of the observer in the place of Corti's fibres, which is a model of such an instrument. To every string of the piano in the ear we will suppose a special fibre of the auditory nerve attached, so that this fibre and this alone, is irritated when the string is thrown into vibration. If we strike now an accord on the external piano, for every tone of that accord a definite string of the internal piano will sound and as many different nervous fibres will be irritated as there are notes in the accord. The simultaneous sense-impressions due to different notes can thus be preserved unmingled and be separated by the attention. It is the same as with the five fingers of the hand. With each finger I can touch something different. Now the ear has three thousand such fingers, and each one is designed for the touching of a different tone.[9] Our ear is a puzzle-lock of the kind mentioned.