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[Longmans, Green and Co] -
TYNDALL, John
Sound
Fourth Edition, revised and augmented, 1 vol. 8vo, full calf, spine gilted, with the crest of the Westminster School on the upper cover in gilt and motto "Dat Deus incrementum", all edges gilted, Longmans, Green and Co, London, 1883, XV-464 pp.
Reference : 55188
Offered to G. W. Labertouche by Westminster College (signed by William Gunion Rutherford, scottish scholar and headmaster of Westminster School). Scarce fourth edition, introducing "brief descriptions of the telephones of Bell and Edison, of the microphone, and of the phonograph". John Tyndall (1820-1893) studied with Bunsen and succeeded Michael Faraday. Good (binding a bit rubbed)
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5 book(s) with the same title
Improvements in and relating to Sound-transmission, Sound-recording and Sound-reproducing Systems. [British Patent] Number: 394,325. [Date of Application, 14th December, 1931. No. 34,657 / 31 - Complete left: Nov. 10, 1932. Complete accepted, 14th Jun... - [THE INVENTION OF STEREO]
[London, Eyre and Spottiswoode], 1933, 14th June. 8vo. Disbound. Stamp to p. 1. 22 p + 1 folded plate.
Scarce original printed patent for the world's first stereo sound-recording system thus revolutionizing music recordings, radio broadcasting and cinematographic recordings. The present patent is considered ""a bible for sound engineers [and] it pre-empts all further useful reasoning on the subject"" (New Scientist). ""It is a classic patent in the history of electrical engineering"" (British Library, Patent Blog)"" it was more than a century ahead of its time, as stereo recordings did not become the standard until the 1950'ies. Blumlein furthermore anticipated many of the thoughts and techniques behind Dolby Pro-Logic. Blumlein's patent is not only a milestone in the history of engineering, unlike most other patents it reads like a text book and is still by most sound engineers considered the best source text on how stereo works.On several occasions, Blumlein explained that a blind person sitting in the cinema would be able to point out exactly where the actor was on the screen with his system. He called this system 'Binaural Sound', from the human factor of having two ears by which we hear sound. Today it is better known as Stereophonic or 'Stereo' Sound.""In 1931 Blumlein's GB 394325 was applied for by Electric and Musical Industries Limited, later better known as EMI. It enabled the first single track, two channel gramophone recordings. It is a classic patent in the history of electrical engineering, and has the then extraordinary number of 70 claims (half a dozen was normal at the time). The story goes that he thought of the basic idea when he and his wife were at the cinema. The early ""talkies"" had a single set of speakers which meant that the actor might be on one side of the screen while his voice seemed to come from the other side. Blumlein declared to his wife that he had found a way to make the sound follow the actor across the screen.Blumlein is credited with 128 patents in a working life of 18 years (he was only 38 when he died, while engaged in radar experiments in a Halifax bomber). A true polymath, he worked in virtually every field of electrical engineering."" (British Library). ""The work conducted at E.M.I. is best preserved through the writings of one its researchers and one the founding fathers of stereo recording, Alan D. Blumlein. The patents of Blumlein, especially the classic ""Specification 394,325"" accepted in 1933, still inform and challenge theorists and recording TdC-6 techniques to this day. Blumlein's basic approach to stereo relied on the realization that simple level differences at the loudspeakers would translate into both level and phase differences at the ears, thus better approximating the way sound is heard naturally (more on this topic later). To create only level differences at the loudspeakers, Blumlein had to capture only level differences at the microphones. A coincident pair of directional microphones, with no time delay between either channel, can best provide such information. For this reason, the stereo configuration that today bears Blumlein's name is a coincident pair of pure pressure gradient figure-8 microphones, the patterns of which are highly directional."" (Clercq, A More Realistic View of Mid/Side Stereophony)Years would pass before enthusiasts at EMI would resurrect Binaural sound and when they did, Blumlein's work initiated a revolution - a revolution which is still in process: New methods and techniques are constantly being developed in order to make sound recordings sound as lively and real as possible.
Geographies of Sound. Sounding and Listening to the Urban Space of Early Modern Italy with a Contemporary Perspective
, Brepols, 2023 Hardback, x + 286 pages, Size:210 x 270 mm, Illustrations:34 b/w, Language(s):English, Italian. ISBN 9782503606767.
Summary Sound is an essential element of human experience. It is part of the complex semiotic system that enables human communities to orient themselves in time and space, to be informed, to participate in social life as conscious listeners, capable of deciphering and giving meaning to the collective action of the urban space in which they live. Deeper sound horizons reverberate at different levels on the sonic dimension of reality, contributing to a more complex semantic process of the collective civic rituality and the construction of institutional and individual sound identities. In order to investigate the urban soundscape, it is important to define the nature of the sound phenomena to be examined, but also the dynamics concerning their perception as part of complex anthropological processes. These perspectives can be considered from a historical point of view. The studies collected in this volume aim to investigate sound as an element of urban space in early modern Italy. They consider different phenomenologies investigated through innovative methodological perspectives. Particular importance is given to the sound of urban rituality, to its declinations and local connotations, to its ability to interact with public and private dimensions, to the social and aesthetic dynamics that regulate it, and to the definition of the sonic identity of early modern urban space. TABLE OF CONTENTS LUIGI COLLARILE & MARIA ROSA DE LUCA, Introduction VALERIA DE LUCCA, Regulating Sound and Noise in Seventeenth-Century Rome LUIGI COLLARILE, Ephemerides itineris romani : Experiencing the Sound of Italy in two Swiss Travel Diaries of the Seventeenth-Century UMBERTO CECCHINATO, Suoni pericolosi. Musica sacra, emozioni e disciplinamento dello spazio sonoro nelle chiese venete della prima et moderna ANGELA FIORE, Suoni, spazi, identit della Modena estense GIOVANNI FLORIO, Celebrating the Prince from Afar: Echoes of the Jubilant Terraferma in the Orations to the Newly Elected Doges (XVI-XVII Century) NICOLA USULA, Traditional Music in Seventeenth-Century Operas 'alla Veneziana': Intersections in the Italian Soundscape ELIA PIVETTA, Forms of Circulation of Musical Knowledge in Eighteenth-Century Italy: Giambattista Martini's Risposta to abate Pavona friulano ANGELA FIORE, Urban Spaces and Sound Practices in Neapolitan Female Monasteries Between the Seventeenth and Eighteenth Centuries MARIA ROSA DE LUCA, Ritualizing a Resilient City: Soundscape, Collective Performances and Construction of Urban Imaginary GIUSEPPINA LA FACE BIANCONI, La musica come persecuzione. L'inquinamento musicale nelle citt odierne
Sound, Music and Architecture
, Brepols, 2024 Hardback, 440 pages, Size:210 x 270 mm, Illustrations:125 b/w, 16 col., 15 tables b/w., 16 musical examples, Language(s):English, Spanish, Italian. ISBN 9782503611839.
Summary This book traces the relationship between sound, music and architecture from the Middle Ages to the 21st century. The first part of this volume deals with the physical relationship between music and architecture, focussing on the intersection between rite, sound and architecture in ecclesiastical spaces such as the Cathedral of Notre-Dame de Paris, the churches of medieval Sicily, the liturgical spaces of 15th-17th-century France and the Roman churches in the Baroque era. A substantial article by Richard B sel presents a comprehensive panorama of music rooms and concert halls, starting from the archetypes conceived in the Early Modern Age and concluding with their present-day configurations. The last article of this section is dedicated to the Festspielhaus located in Hellerau (Dresden), based on the documentary sources and the writing of the protagonists, in particular mile Jaques-Dalcroze and Adolphe Appia. The theme continues in the second part of the book with the examination of the historical relationship between architecture and acoustic knowledge in the age of modernity. Moreover, the following chapter explores the architectural idea of designing for musical tone as it found expression in the early decades of the twentieth century. The last two articles of this section explore Leo Beranek's research regarding the quality of musical spaces in the history of modern science, and the experimentations of the architect Bernard Leitner with his Soundcube. The last part of the book will focus on Music as an 'art of space', exploring installations and musical experimentations by composers such as Xenakis, Jean-Luc Herv and John Chowning. TABLE OF CONTENTS The Physical Relationship between Music and Architecture 1. Vasco Zara, The Phantom of Notre-Dame: Music, Architecture, Acoustics, and the Origins of the Notre-Dame Polyphony 2. Thomas Dittelbach - Tobias Christian Wei mann, Aural Architecture in Medieval Sicily: Architecture, Music and Acoustics of Siculo-Norman Churches 3. Jean-Christop he Vali re - B n dicte Bertholon, Location of Acoustic Pots in the Liturgical Space: Functional, Symbolic, Musical and Acoustic Interpretation 4. Galliano Ciliberti, Progetti per cupole sonore. Strutture architettoniche e articolazione direzionale della musica liturgica negli spazi delle chiese barocche romane 5. Richard B sel, 'Soundful Venues': Music Rooms, Concert Halls, and More 6. Guillem Aloy-Bibiloni - Antoni Ramon Graells - Laia Montserrat-Cort zar: Hellerau, espacio de encuentros: Adolphe Appia y mile Jaques-Dalcroze Sound Architecture 7. Edward J. Gillin - Fanny Gribensky, Sound Architecture: Music, Speech, and the Science of Acoustics in the Age of Modernity 8. Fiona Smyth, ?Mysterious changes in molecular structure? : Pragmatics, Poetics and Designing for Musical Tone 9. Sabine von Fischer, Confidential Rankings: The Rating of Experience, and Why the List of the Best Concert Halls Was Kept a Secret 10. Sven Sterken: Architecture without Walls: Bernhard Leitner's Sound Cube Music as an Art of Space 11. Makis Solomos, Xenakis's Polytopes and the Diatope 12. Marta Llorente Diaz, Ritmo: medida del tiempo, medida del mundo. M sica y arquitectura, una colaboraci n entre Iannis Xenakis y Le Corbusier 13. Candida Felici, Building Bio-Spaces through Music: Metamorphosis and Illusionary Space in Germination by Jean-Luc Herv 14. Laura Zattra - Fran ois-Xavier F ron, A History of the First Computer Sound Spatialisation System: John Chowning's Investigations at Stanford University (1962-1972)
Heat, Light and Sound , Bell's Natural Science Series
G. Bell and Sons Ltd, London , Bell's Natural Science Series Malicorne sur Sarthe, 72, Pays de la Loire, France 1953 Book condition, Etat : Bon hardcover, editor's full brown printed clothes, no dust-jacket In-8 1 vol. - 405 pages
1 color plate in frontispiece(Spectra) and 10 black and white plates (complete), 383 black and white text-figures new edition, 1953 Contents, Chapitres : Preface, Contents, List of plates, xiv, Text, 384 pages, index, vii (405 pages) - 1. Heat : Introduction - The effects of heat - Heat and temperature, thermometers - The measurement of expansion of solids - The expansion of liquids - The expansion of gases - The measurement of heat - Latent heat - Kinetic theory - The water in the atmosphere - The transmission of heat - The nature of heat - Revision examples, answers - 2. Light : Introduction - The reflection of light at plane surfaces - Some properties of light demonstrated by means of a lantern, refraction - Reflection at spherical surfaces - Lenses, the eye-spectacles - The dispersion of light - Optical instruments - Radiant heat and light - Revision examples, answers - Sound : Historical and experimental introduction - The study of waves - The production and properties of sound waves - Velocity of sound, the binaural effect and its application to direction finding, sound ranging - The variations of strings - The variations of air columns, resonance - Interference, beats, discord and harmony - The variation of plates, sensitive jets - Musical instruments - Revision examples, appendix, answers - Index editor's binding in rather good condition, very lightly dusty with small black spot on the spine, inside is clean, name of the former owner on the top of the first page (private collection), no other markings, the bottom corner of few pages is lightly folded in the center of volume, it remains a very good reading copy, no dust-jacket
On Sound and Atmospheric Vibrations with the Mathematical Elements of Music Designed for the Use of Students of the University (Reprint of the second edition, Macmillan, 1871)
Kessinger Publishing's Rare Reprints (Macmillan) Malicorne sur Sarthe, 72, Pays de la Loire, France 2005 Book condition, Etat : Très Bon paperback, yellow and white printed wrappers grand In-8 1 vol. - 296 pages
REPRINT Contents, Chapitres : Advertisement of the Second edition, Contents, xvi, Text, 280 pages with the addendum - General recognition of the air as the medium which conveys sound - Properties or air, on which the transformation and transmission of sound depend - Theory of undulations, as applied to sound, and investigation on the passage of a wave of air through a cylindrical pipe, or of a plane wave through the atmosphere generally - Investigation of the motion of a wave of air through the atmosphere considered as of two or three dimension - Transmission of waves of soniferous vibrations through different gases, solids and fluids - Experiments of the velocity of sound, and on the pressure accompanying atmospheric waves, and comparison of the experimental results with the results of theory - On musical sounds, and on the manner of producing them - On the elements of musical harmony and melody, and of simple musical composition - On instrumental music and the adaptation of music required by special instruments - On the human organs of speech and hearing - Errata fine copy, no markings - year estimated to 2005, no date inside
