2 THE ROYAL SOCIETY OF CANADA 



scientific plan or purpose in the design and construction of what are, 

 after all, physical instruments. The reason is not far to seek; it is 

 because until recently we have not had adequate means of measuring 

 and analyzing sound-waves. In the "phonodeik," of which we had so 

 interesting an account a year ago by Professor Dayton C. Miller 

 himself, we have an instrument of sound measurement and analysis 

 comparable only to the human ear in delicacy and sensitiveness, 

 and having above all the advantage of leaving a permanent record. 



It would take me too far from my main theme to mention, even 

 briefly, the magnificent harvest of information of the' greatest scientific 

 and artistic interest garnered by Professor Miller during the past few 

 years. You will find some of it in his "Science of Musical Sounds," 

 and I hope that we may hear further from Professor Miller himself 

 on a not far distant occasion. 



The wave form of practically every form of orchestral instrument, 

 including the human voice, has been recorded and analyzed in the 

 laboratory of the Case School of Applied Science. The importance 

 of this collection of data cannot now be fully estimated. We are 

 literally standing on the threshold of developments in the art of musical 

 expression the ultimate significance of which can hardly be grasped 

 at the moment. 



Musical expression has in the past been limited by the inadequacy 

 of musical instruments, which in turn have been limited by imperfect 

 materials of construction; and the best use of these, again, by the 

 absence of scientific principles of design. Then again, diffusion of 

 musical thought has, until quite recently, been retarded by the 

 physical limitations of time and space. The interpretations of great 

 artists can directly reach only a select ie^. The number of great 

 musical interpreters is unfortunately too few, and these cannot under- 

 take more than a limited number of recitals annually. As regards 

 the public, the size of auditoriums built to give most effective results is 

 limited, and really great music directly interpreted is not available 

 to all on the score of expense. 



One of the most interesting applications of exact measurement to 

 acoustic problems was commenced about the year 1900 by the late 

 Professor W. C. Sabine, of Harvard University, in the study of the 

 hearing qualities of auditoriums and halls. The subject is one of 

 the greatest practical importance as many of the audience present 

 may confirm by their experience in trying to understand a lecturer 

 speaking in a badly designed hall. According to the testimony of 

 musicians, singers and public speakers, it would appear that very few 

 halls indeed are satisfactory in their acoustic qualities. The most 



