Julia Kursell

Music, Sound, and the Laboratory from 1750 to 1980

The understanding of sound underwent profound changes with the advent of laboratory science in the nineteenth and twentieth centuries. New techniques of sound visualization and detection, the use of electricity to generate sound, and the emergence of computers radically reshaped the science of acoustics and the practice of music. The essays in this volume of Osiris explore the manifold transformations of sound ranging from soundproof rooms to psychoacoustics of seismology to galvanic music to pedaling technique. They also discuss more general themes such as the nature of scientific evidence and the development of instruments and instrumentation. In examining the reciprocity between music and science, this volume reaches a new register in the evolution of scientific methodology during the nineteenth and twentieth centuries.

A New Field: History of Humanities

hese are exciting times for the humanities. The impressive corpus of knowledge that the humanities have discovered, created, and cultivated over many centuries is available for the benefit of more people than ever and evolving rapidly. Fresh perspectives open up as digital tools enable researchers to explore questions that not long ago were beyond their reach and even their imagination. Novel fields of research deal with phenomena emerging in a globalizing culture, enabling us to make sense of the way in which new media affect our lives. Cross-fertilization between disciplines leads to newly developed methods and results, such as the complex chemical analysis of the materials of ancient artworks, yielding data that were unavailable to both artists and their publics at the time of production, or neuroscientific experiments shedding new light on our capacity for producing and appreciating music. At the same time, there is a sense of gloom, perhaps even crisis, among those who are convinced that the humanities are valuable, precious, indispensable. The number of students taking humanities courses declines, and humanities departments at universities worldwide are subject to severe budget cuts or abolition altogether. In a period in which the academic world is plagued by governments insisting on measurable results for the sake of short-term financial profit, the humanities seem most vulnerable. We present the first issue of History of Humanities with feelings of anticipation. Our journal is meant to stand for the fact that scholarly practices of a type today labeled “humanities” have been an essential part of the process of knowledge making ever since human inquisitiveness sought to enhance our understanding of the world and ourselves. This long history has been studied in fruitful and illuminating ways, but the focus has been on either the natural sciences or on single disciplines within the humanities, such as history writing and linguistics. The fundamental contribution of the humanities to the intricate web of knowledge that scholars, thinkers, and researchers have spun in the course of several millennia has thus been poorly recog-

Experiments on Tone Color in Music and Acoustics: Helmholtz, Schoenberg, and Klangfarbenmelodie

In the mid-nineteenth century, Hermann von Helmholtz developed a new, mathematically formalized representation of the quality of tones, which he termed musikalische Klangfarbe. He did so at the price of excluding change from this representation and from the sounds he experimented with. Later researchers and composers discovered the cognitive and aesthetic side effects of this new concept. Experimental psychologist Carl Stumpf found that stable tones veil their source; their recognition strongly depends on their characteristic beginnings and endings. Arnold Schoenberg in turn used this effect to merge the sounds of musical instruments into new orchestral colors. On the basis of a three-part case study, I argue that nineteenth-century research in perception has deeply affected twentieth-century concepts of music, bringing to the fore the aesthetic quality of experimental situations.

Alexander Ellis’s Translation of Helmholtz’s Sensations of Tone

This essay relocates Alexander J. Ellis’s translation of Hermann von Helmholtz’s book Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (1863) in a broader context. It discusses Ellis’s various endeavors to make knowledge available to those with limited access to it and, more specifically, his attempts at making the sound of speech accessible to readers of printed text. Against this background, the essay then compares the central notion of tone sensation in Helmholtz’s book to Ellis’s rendition thereof. As will be seen, Ellis preferred familiarity to literal translation, but he also made great efforts to convey the quality of speech sounds where these became the object of investigation. This double strategy—which was not in line with Helmholtz’s forging of a new theory of perception through defamiliarizing common terms—forced Ellis into exuberant explanations that eventually overgrew the carefully transmitted original, resulting in what amounted to a book of his own.

Fine-Tuning Philology: Helmholtz’s Investigation into Ancient Greek and Persian Scales

This article discusses how Hermann von Helmholtz’s inquiry into Ancient Greek and Persian musical scales contributed to musicological methodology and the formation of new musicological subfields and how his auditory physiology spurred an interest into the harmonium as an instrument for exploring tuning systems. In so doing he shifted the description of intervals from “just” to “pure.” Calling an interval “just” was a judgment that was based on testing whether its sound corresponded to its antecedent mathematical definition. The criteria for calling it “pure,” in contrast, depended in the first instance on hearing. This shift corresponds to a tendency in nineteenth-century experimental life sciences to replace hypothesis-driven with exploratory experimentation. Helmholtz projected this back to the Persian use of lutes, which he claimed to allow for such exploration. Although failing to acknowledge the filiation of textual sources, he thereby introduced a new approach to the study of remote musical cultures.

A Third Note: Helmholtz, Palestrina, and the Early History of Musicology

This contribution focuses on Hermann von Helmholtz’s work on Renaissance composer Giovanni Pierluigi da Palestrina. Helmholtz used his scientific concept of distortion to analyze this music and, reversely, to find corroboration for the concept in his musical analyses. In this, his work interlocked with nineteenth-century aesthetic and scholarly ideals. His eagerness to use the latest products of historical scholarship in early music reveals a specific view of music history. Historical documents of music provide the opportunity for the discovery of new experimental research topics and thereby also reveal insights into hearing under different conditions. The essay argues that this work occupies a peculiar position in the history of musicology; it falls under the header of “systematic musicology,” which eventually emerged as a discipline of musicology at the end of the nineteenth century. That this discipline has a history at all is easily overlooked, as many of its contributors were scientists with an interest in music. A history of musicology therefore must consider at least the following two caveats: parts of it take place outside the institutionalized field of musicology, and any history of musicology must, in the last instance, be embedded in a history of music.

Introduction: The Humanities and the Sciences

The humanities and the sciences have a strongly connected history, yet their histories continue to be written separately. Although the scope of the history of science has undergone a tremendous broadening during the past few decades, scholars of the history of the humanities and the history of science still seem to belong to two separate cultures that have endured through the past century. This Focus section explores what common ground would enable a study of the histories of the humanities and the sciences to investigate their shared epistemic objects, virtues, values, methods, and practices.