Music and the Making of Modern Science

(Barré) #1

308 Notes to pages 248–257



  1. Stoney here instances the Fourier series, so that “ the n th of these lines is represented by the term Cnxnnsin( +α),
    in which C n is the amplitude of the vibration; and consequently C n 2 represents the brightness of the line ” ( Stoney
    1871 , 293).

  2. Ibid. ; on the clarinet, see Helmholtz 1954 , 98 – 99.

  3. Stoney 1871 , 295.

  4. Ibid. , 296.

  5. See Stoney and Reynolds 1871 , which explicitly mentions Helmholtz and the violin string on 47.

  6. There is only a brief mention of this result in Stoney 1880.

  7. Balmer 1885a , 551.

  8. Ibid. McGucken (1969, 131) notes that “ certainly Balmer knew of Stoney ’ s earlier work. ”

  9. Balmer 1885a, 551 – 552. Pais 1986 , 172, though generally useful as a summary, misleadingly translates
    Grundton as “ keynote. ”

  10. Balmer 1885a , 553.

  11. Helmholtz 1954 , 40 – 41. Balmer would have known these as “ cylinder functions [ Zylinderfunktionen ]. ”

  12. The frequency goes as Cm n( + 2 )p , where C is a coefficient depending on the plate, m and n are integers,
    and p is roughly 2 for a circular plate. The coefficient p can vary between 1.4 and 2.4 for other, more complicated
    shapes, such as cymbals, hand bells, or church bells. As a mathematician, Balmer would also have known the
    approximate expression of Bessel functions involving squares; see Rayleigh 1945 ; Airey 1910.

  13. His second publication ( Balmer 1885b ) extends his first results to several more recently discovered hydrogen
    lines, which, compared with his formula for n = 2, m = 5 – 16, he finds “ agreement that must surprise to the
    highest degree ” ; his fourth and final paper ( Balmer 1897 ) addresses a number of elemental spectra and, in an
    addendum, discusses the work of Johannes Rydberg (1890). Pais (1986 , 173) implies misleadingly that Balmer
    did not address other elements besides hydrogen until this publication, whereas he does at least mention his
    thoughts in Balmer 1885a , 559 – 560.

  14. Balmer 1885c.

  15. Rayleigh 1945. In the whole work, the word “ music ” is only used explicitly five times. For the distinction
    between discovery and justification, see Reichenbach 2006, 382.

  16. Rayleigh 1945 , vi – vii.

  17. This is true, for example, of Rydberg 1890.

  18. Husserl 1970 , 52 – 53.

  19. Ibid. , 360 – 361. For discussions of this process, see Klein 1985 , 65 – 84; Derrida 1989 , 98 – 107.

  20. I have discussed this in Pesic 2000a , 2 – 3, and applied it throughout that work.
    17 Planck ’ s Cosmic Harmonium

  21. Husserl 1939 , 212. The phrase is not included in the standard edition and translation ( Husserl 1970 ); Klein
    (1985 , 372) concludes that “ this sentence is based on Husserl ’ s own words, uttered in conversation with Fink, ”
    the editor who first published the essay in 1939.

  22. Planck 1998 , 7.

  23. For his comments on Helmholtz and energy, see Planck 1998 , 19 – 20, 99 – 107.

  24. This and the following general information about Planck ’ s musical life come from the excellent account in
    Heilbron 1986 , 3, 34. For a superb account of the “ singing savants ” in the earlier part of the century, see Jackson
    2006 , 45 – 74.

  25. For Planck ’ s personal recollections of Helmholtz, see Planck 1949 , 15, 24 – 25.

  26. Planck 1893 , 428; Pesic 2014c.

  27. Heilbron 1986 , 34.

  28. Hui 2013b ; Hiebert 2003.

  29. Planck 1949 , 26.

  30. Helmholtz 1954 , 316.

Free download pdf