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Published online by Cambridge University Press: 20 January 2009
§ 1. The device here described has been found to simplify greatly the “somewhat laborious discussion” of the different musical intervals as given, say, in Sedley Taylor's Sound and Music (chap, viii.) or in Helmholtz's Sensations of Tone. It has been found particularly helpful in giving an account, necessarily rapid, of the nature of harmony to classes studying sound as a part of physics, from whom much familiarity with musical terms and notation is not to be expected.
* I use the words agreeable and disagreeable to save circumlocution, knowing all the time that musicians object in toto to the use of the words. A “disagreeable” interval may be used in a musical composition like a “disagreeable” incident in any other work of art, with the most happy general effect. Absolute smoothness in music, like absolutely pare water, is neither quite attainable, nor at all pleasing to the taste if attained.
* “The sounds of most musical instruments practically contain only the first six partial tones.”— Sedley Taylor, Sound and Music, 2nd edit., p. 167.Google Scholar
* As the moving part turns round to the left, its arrowheads project beyond the lines of the spiral to which they belong, and have either to be poshed back by hand or to be pulled back by strings passing round the fixed pin in the centre and shortening by being wound np. A small piece of india-rubber cord joining the point ef each of the three cardboard strips of the outer extremity of its rod, will keep the string tight.
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