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Updated: June 18, 2025
A good plan is to arrange a series of short lectures on such subjects as the origins of harmony, acoustics, the chief difference between music of different schools and periods, &c., and to follow these by accounts of the lives and works of the great composers.
Something docile is in their might, like the answering of the elephant's bulk to the mahout's command, in their noiseless elevation and depression, and the bigger they are the smoother appears their recoil as they settle back into place ready for another shot. The valleys where the guns hide play tricks with acoustics.
It was almost impossible to seize the connection of the ideas on account of the poor acoustics of the room, the bad arrangement of the orchestra, and the unskilled players all of which served to break up the musical design and spoil the harmony of its colouring. Passages that should have been made prominent were slurred over, and others were distorted by faulty time or want of precision.
Needless to say, this form of instruction is in no sense scientific. In order to understand fully the position in Vocal Science assigned to the doctrine of resonance, it is necessary to trace the origin and the development of this doctrine. The old Italian masters naturally knew nothing whatever of resonance, nor of any other topic of acoustics.
Had he known more about this agency and less about acoustics, Bell once said himself, he would never have invented the telephone. His father and grandfather had been teachers of the deaf and dumb and had made important researches in acoustics. Alexander Graham Bell, born in Edinburgh in March, 1847, and educated there and in London, followed the ancestral example.
It seems superfluous to emphasize that one's program numbers must have been mastered in every detail. Only then can one defy nervousness, turning excess of emotion into inspiration. "Acoustics play a greater part in the success of a public concert than most people realize.
If we open a description of acoustics, we read that sound and noise are subjective states which have no reality outside our auditory apparatus; that they are sensations produced by an external cause, which is the vibratory movement of sonorous bodies whence the conclusion that this vibratory movement is not itself a sensation. Or, shall we take another proof, still more convincing.
"Would you mind telling me what those things are for?" he asked, pointing to them. "To break the echoes," the man replied, entering into an involved account of acoustics. "It's all humbug really," he added. "They don't break the echoes at all, but we all imagine that they do, and so we're quite happy!"
The acoustics were so perfect that one, at the farther end of the room, could easily hear the speaker on the stage. When Mr. World and his friend had entered the hall they were surprised to learn that many of the auditors were members of the more radical churches along the King's Highway.
Was that young Methodist minister crushed by my plainly intended gauntlet flung down to him? He was not. "I'm glad I came over in time to put Billy out of his misery," he answered, smiling up at me with a quick comprehension that was enraging. "I'm going to have informal services in the chapel to-night to try out the acoustics before the contractor turns over the building.
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