188 ANNUAL OF SCIENTIFIC DISCOVERY. 



measures." It is evident from this that the manufacturers themselves do not 

 regard with apprehension the contemplated change of diapason. 



Ultimately, a depression of a quarter of a tone was fixed. This, is was 

 thought, would afford an appreciable relief to vocalists; and, " without in- 

 troducing too great a derangement in established habits, insinuate itself, so 

 to speak, incognito into the presence of the public. It would render the exe- 

 cution of the ancient master-pieces more easy; it would lead us back to the 

 diapason employed (in Paris) about thirty years ago, the period of the 

 production of works which have, for the most part, retained their places in 

 the repertory, and which would accordingly be restored to the original con- 

 dition of their composition and representation. It would also be more likely 

 to be accepted in other countries than the depression of half a tone." In 

 accordance with the recommendations of the commission, an official order 

 has been issued, establishing by law a uniform pitch to be used by all the 

 musical establishments of France which have any connection with the gov- 

 ernment. This " normal diapason " is an A, given by a standard tuning- 

 fork to be preserved at the Conservatoire, which vibrates 870 times in a 

 second. All musical establishments authorized by the state must be pro- 

 vided with a tuning-fork, verified and officially stamped as consonant with 

 this standard. Journal of the Society of Art, London. 



The diapason adopted by the Congress Scientifiqite held at Stuttgard in 1834, 

 was la (a 1 ) =880. This movement is therefore towards lowering the concert 

 pitch. Savart gave as the diapason of the opera at Paris in 1834, la = 88(i T 8 ^. 

 Another diapason given by M. Schciblcr as that of the Academy of Music 

 at Paris in the same year, was 837'5. The starting-point will no\v be 

 c = 1-019.33125. And the gamut will be as follows : ut (c 1 ) == 52:2. re (d>) = 

 587 25. mi (e 1 ) = G52'5. fa (/) = GOG. sol (g') = 783. la (a') =810. si (&') = 

 97875. ut (c") = 1044. 



Uniform Musical Pitch in England. The following is an abstract of the 

 proceedings of a meeting called under the auspices of the Society of Arts, 

 London, June 3d, 18-39, to consider the question of the alteration of the 

 musical pitch by the French Government, and how far such alteration was 

 likely to affect musical performances in England. The chair was taken by 

 Dr. Whcwell, of Cambridge, who in his opening remaks said that he be- 

 lieved that he was the first person who determined the pitch by ascertaining 

 the number of vibrations in a second which gave particular notes. This was 

 done in the pipes of the organ at Trinity, and might be said to be the fun- 

 damental determination of the pitch in England, so far as mathematical 

 definition was concerned. The subject has recently been more prominently 

 brought before the musical world, in the report issued by the commission 

 appointed by the French Government to investigate this question, with the 

 view to the establishment of a uniform pitch to be adopted in that country. 

 In that report an historical view of the question had been taken, and the 

 number of vibrations of various notes at different periods during the last 

 century and a half had been stated. The question with the commission was, 

 from which of those various numbers the selection was to be made. The 

 first question to be determined was, whether it was desirable that a uniform 

 musical pitch should prevail; and, secondly, whether it was possible to es- 

 tablish such a uniform pitch in this country. The establishment of a uniform 

 pitch was to be enforced by stringent legal means in France, a course which 

 could not be imitated in this country. They had to consider what means 

 short of these could be used here, and whether any influence beyond a 



