On the Sensations of Tone

A composite mass of musical tones will give rise to a periodic vibration when their pitch numbers are multiples of the same number, 30
Every such composite mass of tones may be considered to be composed of simple tones, 33
This composition corresponds, according to G. S. Ohm Georg Simon Ohm, physicist., to the composition of a musical tone from simple partial tones, 33

CHAPTER III. ANALYSIS OF MUSICAL TONES BY SYMPATHETIC RESONANCE, pp. 36–49.

Explanations of the mechanics of sympathetic vibration, 36
Sympathetic resonance occurs when the exciting vibrations contain a simple vibration corresponding to one of the proper vibrations of the sympathizing body, 38
Difference in the sympathetic resonance of tuning forks and membranes, 40
Descriptions of resonators for the more accurate analysis of musical tones, 43
Sympathetic vibration of strings, 45
Objective existence of partial tones, 48

CHAPTER IV. ON THE ANALYSIS OF MUSICAL TONES BY THE EAR, pp. 49–65.

Methods for observing upper partial tones, 49
Proof of G. S. Ohm's Law by means of the tones of plucked strings, of the simple tones of tuning forks, and of resonators, 51
Difference between compound and simple tones, 56
Seebeck's objections against Ohm's Law, 58
The difficulties experienced in perceiving upper partial tones analytically depend upon a peculiarity common to all human sensations, 59
We practice observation on sensation only to the extent necessary for clearly apprehending the external world, 62
Analysis of compound sensations, 63

CHAPTER V. ON THE DIFFERENCES IN THE QUALITY OF MUSICAL TONES, pp. 65–119.

Noises heard at the beginning or end of tones, such as consonants in speech, or during tones, such as wind rushes on pipes, not included in the musical quality of tone, which refers to the uniformly continuous musical sound, 65
Limitation of the conception of musical quality of tone, 68
Investigation of the upper partial tones which are present in different musical qualities of tone, 69
1. Musical tones without upper partials, 69
2. Musical tones with inharmonic upper partials, 70
3. Musical tones of strings, 74
Strings excited by striking, 74
Theoretical intensity of the partial tones of strings, 79
4. Musical tones of bowed instruments, 80
5. Musical tones of flute or flue pipes, 88
6. Musical tones of reed pipes, 95
7. Vowel qualities of tone, 103
Results for the character of musical tones in general, 118

CHAPTER VI. ON THE APPREHENSION OF QUALITIES OF TONE, pp. 119–151.

Does quality of tone depend on difference of phase? 119
Electro-magnetic apparatus for answering this question, 121
Artificial vowels produced by tuning forks, 123
How to produce difference of phase, 125
Musical quality of tone independent of difference of phase, 126
Artificial vowels produced by organ pipes, 128
The hypothesis that a series of sympathetical vibrators exist in the ear explains its peculiar apprehension of qualities of tone, 129
Description of the parts of the internal ear which are capable of vibrating sympathetically, 129
Damping of vibrations in the ear, 142
Supposed function of the cochlea, 145