rdf-syntax-grammar
mods:
  schema location: http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
  title info:
    non sort: The
    title: Helmholtz Legacy in Physiological Acoustics
  name:
    name part: Hiebert, Erwin.
    role:
      role term: creator
    role:
      role term: author.
  name:
    name part: SpringerLink (Online service)
  type of resource: text
  origin info:
    place:
      place term: gw
    date issued: 2014
    issuance: monographic
  language:
    language term: eng
  physical description:
    form: electronic
    form: electronic resource
    reformatting quality: access
    form: remote
    extent: XXIII, 269 p. 12 illus. online resource.
  abstract: This book explores the interactions between science and music in the late nineteenth- and early twentieth century. It examines and evaluates the work of Hermann von Helmholtz, Max Planck, Shohé Tanaka, and Adriaan Fokker, leading physicists and physiologists who were committed to understanding crucial aesthetic components of the art of music, including the standardization of pitch and the implementation of various types of intonations. With a mixture of physics, physiology, and aesthetics, author Erwin Hiebert addresses throughout the book how just intonation came to intersect with the history of keyboard instruments and exert an influence on the development of Western music. He begins with the work of Hermann von Helmholtz, a leading nineteenth-century physicist and physiologist who not only made important contributions in vision, optics, electrodynamics, and thermodynamics, but also helped advanced the field of music theory as well. The author traces the Helmholtzian trends of thought that become inherently more complex by reaching beyond the sciences to perform a bridge with aesthetics and the diverse ways in which the human mind interprets or is taught, in different cultures, to interpret and understand music. Next, the author explores the works of other key physicists and physiologists who were influenced by Helmholtz and added to his legacy. He examines Japanese music theory student Shohé Tanaka, who sought to design a harmonium that was not based on equal temperament but rather on just intonation. Dutch physicist Adriaan Daniel Fokker, who arranged for organs to be built based on 31-tones per octave, orchestrated concerts for these new instruments, and even attempted to compose microtonal music, or music whose tonality is based on intervals smaller than the typical twelve semitones of Western music.
  table of contents: Envoi -- Jed Buchwald -- Acknowledgments; Erwin Hiebert -- Eloge; Joan Richards -- Introduction; Myles Jackson -- I. Helmholtz -- II. Shohé Tanaka, Just Intonation and the Enharmonium -- III. Max Planck -- IV. Adriaan Fokker. Theoretical Physics and Just Intonation Keyboards -- Appendix. Willem Pijper and the Efflorescence of Dutch Music.
  note: by Erwin Hiebert.
  subject:
    topic: Philosophy
  subject:
    topic: Music
  subject:
    topic: History
  subject:
    topic: Aesthetics
  subject:
    topic: Acoustics
  subject:
    topic: Philosophy
  subject:
    topic: Aesthetics
  subject:
    topic: History of Science
  subject:
    topic: Acoustics
  subject:
    topic: Music
  classification: BH1-301
  classification: 111.85
  related item:
    title info:
      title: Springer eBooks
  related item:
    title info:
      title: Archimedes, New Studies in the History and Philosophy of Science and Technology, 39
  identifier: 9783319066028
  identifier: http://dx.doi.org/10.1007/978-3-319-06602-8
  record info:
    record creation date: 140612
    record change date: 20151103122605.0
    record identifier: 978-3-319-06602-8