NATURAL PHILOSOPHY. 181 



art more than one process by which such a standard may be adjusted. Musi- 

 cal pitch is not a matter of mere comparison. A sound is not merely acute 

 or grave in relation to another; its pitch is capable of exact measurement, 

 and that measurement once recorded, it may be reproduced at any distance 

 of time, without reference to any other sound whatever. In short, the num- 

 ber of vibrations per second due to a given sound can be ascertained with 

 the same certainty as the number of square yards on a given estate, or the 

 number of tons burthen of a given merchantman. Several methods of 

 counting vibrations have been adopted by men of science at different periods, 

 b.y one or other of which the pitch of certain notes (generally either C or A) 

 in this or that musical establishment has been recorded; so that a body of 

 evidence exists, in addition to, and independent of, that of tuning-forks, bells, 

 and other instruments least susceptible of change, by which the variations of 

 pitch, at different times and in many different places, may be ascertained 

 with certainty. Under these circumstances the committee came to a resolu- 

 tion that a uniform pitch was not only desirable but possible. It remained 

 for them to consider " what that pitch should be." 



3. On this question such very wide difference of opinion was expressed, 

 and, indeed, such very conflicting evidence Avas adduced, that the committee 

 concluded to make no formal recommendation. They say, however, that, on 

 grounds of abstract propriety, they were inclined to recommend the pitch of 

 C 512 for general adoption, were there not certain practical considerations in, 

 opposition to any change. Thus, they say, it is certain that a change from 

 the present pitch of C 546 to C 512 a change of about a semitone could 

 not be made without great inconvenience and pecuniary loss to the body 

 with whom the adjustment of the pitch practically rests, our orchestral 

 performers. Such a change, too, would fall heavily on musical instrument 

 makers, probably to the extent, in many cases, of rendering the greater por- 

 tion of their existing stock valueless. This objection, it is thought by some 

 even of those who are most anxious for a great depression of the present 

 pitch, would be fatal to any pi*oposition which did not in some way meet it. 



In conclusion, the committee call attention to the suggestions made by the 

 congress of musicians Avhich assembled at Stuttgard, in 1834, which body 

 recommended a pitch of 528 for C, = 440 for A, basing their calculation on a 

 thirty-two feet organ-pipe, giving thirty-three vibrations per second instead 

 of thirty-two. The following would be the scale at this pitch the only one 

 yet proposed which gives all the sounds in Avhole numbers : 



CDEFGABC 



264 297 330 352 396 440 495 528 



This pitch, of which the C is sixteen vibrations per second higher than that 

 of C 512, and eighteen vibrations loAver than the C at the present pitch (of 

 546), is as near as possible half-way betAveen the IAVO latter, and, therefore, a 

 quarter of a tone above the one and a quarter of a tone beloAV the other. 

 To lower the stringed instruments to this pitch would obA^iously be attended 

 with little difficulty. Depression to the extent of a quarter of a tone is said 

 to be easy Avith the brass instruments and possible AA'ith the Avooden Avind 

 instruments the flutes, oboes, clarinets, and bassoons now in use. Few 

 organs exist of higher pitch than the Stuttgard, and the raising of those 

 which have been tuned to C 512 Avould not be attended with serious difficulty. 

 The Stuttgard pitch, then, if not the very best that could be conceived, may 

 be regarded as the one Avhich, with many recommendations, Avould have the 



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