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theory, that the sound of a pipe consists of pulses which travel back and forwards along its length, and are kept in motion by the breath of the player. This supposition would account for the observed dependence of the note on the length of the pipe. The subject does not appear to have been again taken up in a theoretical way till about 1760; when Lagrange in the second volume of the Turin Memoirs, and D. Bernoulli in the Memoirs of the French Academy for 1762, published important essays, in which some of the leading facts were satisfactorily explained, and which may therefore be considered as the principal solutions of the problem.

In these solutions there was necessarily something hypothetical. In the case of vibrating strings, as we have seen, the form of the vibrating curve was guessed at only, but the existence and position of the nodes could be rendered visible to the eye. In the vibrations of air, we cannot see either the places of nodes, or the mode of vibration; but several of the results are independent of these circumstances. Thus both of the solutions explain the fact, that a tube closed at one end is in unison with an open tube of double the length; and, by supposing nodes to occur, they account for the existence of the odd series of harmonics alone, 1, 3, 5, in closed tubes, while the whole series, 1, 2, 3, 4, 5, &c., occurs in open ones. Both views of the nature of the vibration appear to be nearly the same; though Lagrange's is expressed with an analytical generality which renders it obscure, and Bernoulli

has perhaps laid down an hypothesis more special than was necessary. Lagrange considers the vibrations of open flutes as "the oscillations of a fibre of air," under the condition that its elasticity at the two ends is, during the whole oscillation, the same as that of the surrounding atmosphere. Bernoulli supposes the whole inertia of the air in the flute to be collected into one particle, and this to be moved by the whole elasticity arising from its displacement. It may be observed that both these modes of treating the matter come very near to what we have stated as Newton's theory; for though Bernoulli supposes all the air in the flute to be moved at once, and not successively, as by Newton's pulse, in either case the whole elasticity moves the whole air in the tube, and requires more time to do this according to its quantity. Since that time, the subject has received further mathematical developement from Euler, Lambert', and Poisson; but no 'new explanation of facts has arisen. Attempts have however been made to ascertain experimentally the places of the nodes. Bernoulli himself had shown that this place was affected by the amount of opening, and Lambert had examined other cases with the same view. Savart traced the node in various musical pipes under different conditions; and very recently, Mr. Hopkins, of Cambridge, has pursued the same

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3 Mém. Turin, vol. ii. p. 154. 5 Nov. Act. Petrop. tom. xvi. 7 Journ. Ec. Polyt. cap. 14.

* Mém. Berlin, 1753, p. 446.
• Acad. Berlin, 1775.
8 Acad. Berlin, 1775.

experimental inquiry'. It appears from these researches, that the early assumptions of mathematicians with regard to the position of the nodes, are not justified by the facts. When the air in a pipe is made to vibrate so as to have several nodes which divide it into equal parts, it had been supposed by acoustical writers that the part adjacent to the open end was half of the other parts; the outermost node, however, is found experimentally to be displaced from the position thus assigned to it, by a quantity depending on several collateral circumstances.

Since our purpose was to consider this problem only so far as it has tended towards a mathematical solution, we have avoided saying anything of the dependence of the mode of vibration on the cause by which the sound is produced; and consequently, the researches on the effects of reeds, embouchures, and the like, by Chladni, Savart, Willis and others, do not belong to our subject. It is easily seen that the complex effect of the elasticity and other properties of the reed and of the air together, is a problem of which we can hardly hope to give a complete solution till our knowledge has advanced much beyond its present condition.

Indeed in the science of acoustics there is a vast body of facts to which we might apply what has just been said; but for the sake of pointing out some of them, we shall consider them as the subjects of one extensive and yet unsolved problem.

Camb. Trans. vol. v. p. 234.

CHAPTER VI.

PROBLEM OF DIFFERENT MODES OF VIBRATION OF BODIES IN GENERAL.

NOT only the objects of which we have spoken hitherto, strings and pipes, but almost all bodies are capable of vibration. Bells, gongs, tuning-forks, are examples of solid bodies; drums and tambourines of membranes; if we run a wet finger along the edge of a glass goblet, we throw the fluid which it contains into a regular vibration; and the various character which sounds possess according to the room in which they are uttered, shows that large masses of air have peculiar modes of vibration. Vibrations are generally accompanied by sound, and they may, therefore, be considered as acoustical phenomena, especially as the sound is one of the most decisive facts in indicating the mode of vibration. Moreover, every body of this kind can vibrate in many different ways, the vibrating segments being divided by nodal lines and surfaces of various form and number. The mode of vibration, selected by the body in each case, is determined by the way in which it is held, the way in which it is set in vibration, and the like circumstances.

The general problem of such vibrations includes the discovery and classification of the phenomena; the detection of their formal laws; and, finally, the

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explanation of these on mechanical principles. must speak very briefly of what has been done in these ways. The facts which indicate nodal lines. had been remarked by Galileo, on the soundingboard of a musical instrument; and Hooke had proposed to observe the vibrations of a ball by strewing flour upon it. But it was Chladni, a German philosopher, who enriched acoustics with the discovery of the vast variety of symmetrical figures of nodal lines, exhibited on plates of regular forms, when made to sound. His first investigations on this subject, Entdeckungen über die Theorie des Klangs, were published in 1787: and in 1802 and 1817 he added other discoveries. In these works he not only related a vast number of new and curious facts, but in some measure reduced some of them to order and law. For instance, he has traced all the vibrations of square plates to a resemblance with those forms of vibration in which there are nodal lines, parallel to one side of the square and to the other; and he has established a notation for the modes of vibration founded on this classification. Thus, 5-2 denotes a form in which there are five nodal lines parallel to one side, and two to another; or a form which can be traced to a disfigurement of such a standard type. Savart pursued this subject still further; and traced, by actual observation, the forms of the nodal surfaces which divide solid bodies, and masses of air, when in a state of vibration.

The dependence of such vibrations upon their physical cause, the elasticity of the substance, we

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