A. M. Mayer—Researches in Acoustics. 835 
cate and touching qualities of orchestral and concerted vocal 
music I have no doubt, and I firmly believe that when he 
are so multiplied and various as to be be ond our mental con- 
such laws until, firstly, we are in possession of a quantitative ° 
analysis of the compound tones of all musical instruments (that 
1S, until we know the relative loudness of the partial tones of 
which they are composed at all parts of their compass), an 
secondly, we have determined throughout the musical scale the 
relative intensities of the sounds (of simple tones) when oblit- 
eration of the sensations of higher (simple) tones supervenes. 
The powerlessness of one sound to affect the sensation due to 
another sound lower than itself in pitch greatly simplifies this 
problem. 
’ 
deterninations of the Relative Intensities 9 So 
Quantitative analysis of the compound tones of musical ge 
1 ; t 1s 
4, Applications of the interferences of sonorous apa to the 
yf Sounds. 
teristic oc partials (overtones, harmonics) shoul predomin- 
alee ame 
aggerated peculiarities in their qualities of tone, which will 
render them unfit to be played on alone, and uninfluenced by 
other orchestral notes. It is surely not 
t empirical rules may be attained, which will guide the 
musical instrument-maker to the production of those special 
qualities of tone required in orchestral instruments. Ttis fortu- 
