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June 9th, 1851. 

 GEORGE PETRIE, LL.D., in the Chair. 



Ven. M. G. Beresford, 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 noAV 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- 



