138 
JuNE 97TH, 1851. 
GEORGE PETRIE, LL.D., in the Chair. 
Ven. M. G. Beresrorp, Archdeacon of Ardagh; Christo- 
pher Fleming, M.D.; Thomas Hone, Esq.; John Edward 
Pigot, Esq.; Monsieur Amadie De la Ponce; Robert Ross, 
Esq.; and Catterson Smith, Esq.; were elected Members of 
the Academy. 
Mr. M. Donovan read a paper on Concert Pitch, and the 
means of determining its vibrations. 
Mr. Donovan commenced his communication by requesting 
indulgence while he made a few observations which might 
at first appear to have but little connexion with the objects 
of the Academy, but without which the utility or necessity 
of the communication itself would not be apparent. He then 
proceeded with an account of concert pitch during the last 
160 years, its fluctuations, uncertainty, and ill-effects on the 
voice of public singers. Musicians have, however, at length 
come to an understanding on the subject, and have to con- 
gratulate themselves on the cessation of the confusion under 
which they have so long suffered. The pitch having fluctu- 
ated through all the shades of an interval of three semitones, 
each has had its trials: experiments have been made on the 
adaptation of the powers of musical instruments to the capa- 
bilities of voices, with this important result, that the Philhar- 
monic and Opera pitches are now identical with each other, 
and with that of the French Conservatoire. We may con- 
sider that concert pitch is now permanently fixed: this, there- 
fore, is the proper time for ascertaining and strictly defining 
it, so that, should it be ever lost or disputed, it may be reco- 
vered and identified in all countries and in all times, inde- 
pendently of pitch-pipes, pitch-forks, or the caprice of musi- 
