Altered Sensations

<P>Introduction </P>
<P>Workshops in the history of science</P>
<P>Showroom: The business of instrument making</P>
<P>Laboratory: Instrument making and experimentation</P>
<P>Life as an instrument maker</P>
<P>Sound in history</P>
<P></P>
<P>Chapter 1 – Training </P>
<P>Journey to Paris </P>
<P>Vuillaume’s violin workshop – 1851-1858 </P>
<P>From violins to tuning forks </P>
<P>The scientific instrument trade in Paris </P>
<P></P>
<P>Chapter 2 – Hermann von Helmholtz and the Sensations of Tone </P>
<P>Hermann von Helmholtz </P>
<P>Physical acoustics – theory and instruments (tuning forks, tonometer, double siren) </P>
<P>Instruments as agents of change</P>
<P>Experimental results </P>
<P>Physiological acoustics – the piano as a model for the inner ear </P>
<P>Psychological acoustics – resonators as aids for hearing simple tones </P>
<P>The first sound synthesizer </P>
<P>A theory of harmony and music</P>
<P></P>
<P>Chapter 3 – Transformations in the workshop </P>
<P>Inside Parisian workshops</P>
<P>The phonautograph and the origins of graphical acoustics</P>
<P>Precision and graphical acoustics </P>
<P>The "Plaque tournante"at Rue Hautefeuille: Transforming Helmholtz’s acoustics Demonstrating Helmholtz: Adam Politzer and Koenig at the Académie des Sciences Manometric flame capsule and optical acoustics</P>
<P></P>
<P>Chapter 4 – The market and its influences </P>
<P>The first year of business – from the workshop to the classroom </P>
<P>1862 London Exhibition </P>
<P>Selling Helmholtz’s instruments </P>
<P>Function replaces beauty: 1867 Exposition in Paris.</P>
<P>Americans at the Fair. William B. Rogers, Alexander Graham Bell and MIT </P>
<P>The Parisian science monopoly and a Portuguese customer</P>
<P></P>
<P>Chapter 5 – Constructing a reputation, 1866-1879</P>
<P>Measuring the velocity of sound in the sewers of Paris </P>
<P>Creating vowel sounds out of wood, brass and steel </P>
<P>Seeing a voice: manometric vowel studies </P>
<P>Extending the tonometer one file mark at a time</P>
<P>Choosing the right steel</P>
<P>Bringing the workshop into combination-tone studies</P>
<P>Precision and livelihood under attack: the Koenig clock fork</P>
<P></P>
<P>Chapter 6 – Expanding the North American Market, 1871-1882. </P>
<P>Recovery from the turmoil of 1870-71 </P>
<P>Third catalogue, 1873 </P>
<P>Joseph Henry and the Smithsonian Institution </P>
<P>Centennial Exhibition in Philadelphia, 1876 </P>
<P>James Loudon and the University of Toronto </P>
<P>"Cette ville de malheur"</P>
<P>Public lectures at Toronto</P>
<P></P>
<P>Chapter 7 – The Faraday of sound </P>
<P>Life at Quai d’Anjou: 1882-1901 </P>
<P>The combination-tone controversy in England </P>
<P>Workshop as theatre </P>
<P>Heidelberg 1889: the German response </P>
<P>The dispute over timbre</P>
<P>Wave sirens</P>
<P>Back to vibrations</P>
<P>Ultrasonics and le domaine de la fantaisie</P>
<P></P>
<P>Conclusion – Beyond Sensations</P>
<P></P>
<P>Appendix 1. Key dates in Rudolph Koenig’s life.</P>
<P></P>
<P>Catalogue Raisonné</P>
<P></P>
<P>I. The principal means for producing sound</P>
<P>II. Cause and nature of sound</P>
<P>III. Pitch of sounds</P>
<P>IV. Timbre of sound</P>
<P>V. Propagation of sound</P>
<P>VI. Simple vibrations of the different bodies</P>
<P>VII. Communications of vibrations – Vibrations of simple bodies – Compound vibrations in simple bodies</P>
<P>VIII. Phenomena due to the coexistance of two or more sounds in air</P>
<P>IX. Methods for studying sonorous vibrations without assistance of the ear</P>
<P>X. Apparatus for the mechanical representation of vibrations and wave movements</P>
<P>XI. Acoustic apparatus for practical use</P>
<P></P>
<P>Notes</P>
<P></P>
<P>References</P>
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