514 Prof. A. M. Mayer's Researches in Acoustics . 



The evident importance of the subject of sonorous analysis 

 will probably render interesting the few remarks I here venture 

 to offer on this subject. I will describe in order six methods of 

 sonorous analysis. Methods (1), (2), and (5) have been used by 

 Helmholtz and Konig. Methods (3), (4), and (6), as far as I 

 know, originated with me. To render comparable all the ex- 

 periments which I shall describe, I shall always use one compo- 

 site sound of uniform intensity, by sounding with a blast of con- 

 stant pressure an Ut 2 Grenie free-reed pipe, from which has been 

 removed its reinforcing pyramidal pipe. 



(1) Analysis by means of Resonators applied directly to the ear. 



This method of Helmholtz is so well known that it need not 

 here be described; but I will give some experiments which I 

 have made on its degree of precision under the head of the sixth 

 method of analysis, to be described. 



(2) Analysis by means of Resonators connected with Konig' s 

 manometric flames. 



This is the least delicate and accurate of all methods of sono- 

 rous analysis; but it has a value in giving an objective ocular 

 illustration which is sometimes of use. I do not, however, here 

 refer to the use of a manometric flame placed in connexion with 

 a conical pipe into which one sings, and which instrument, in 

 the hands of Konig, has done such admirable work in the ana- 

 lysis of the vowel sounds ; but I refer to the harmonic series of 

 resonators connected with as many flames which burn near a 

 long revolving mirror. 



The following experiments will show the degree of delicacy of 

 the above apparatus. I sounded the reed-pipe with its maxi- 

 mum intensity when it was about one foot from the centre of 

 the series of resonators, and produced well-marked serrations in 

 the Ut 3 and Ut 4 flames ; but the other flames showed only slightly 

 indented top borders. It was only when I sang loudly Ut 3 , or 

 sounded this same note on a French horn, that the edges of the 

 flames became deeply serrated. 



(3) Analysis by means of Resonators which are successively brought 

 near the source of origin of a composite sound and thus succes- 

 sively reinforce all of its sonorous elements. 

 If we take any two resonators separated by a known interval 

 and vibrate before them the forks of this interval, we can carry 

 these sounds in the memory. Now close the nipples of the re- 

 sonators with wax and successively bring their mouths near the 

 origin of the composite sound. If the simple sounds to which 

 the resonators are tuned exist as components of the sound, we 



