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  1. Rudolph Koenig’s Workshop of Sound: Instruments, Theories, and the Debate over Combination Tones.David Pantalony - 2005 - Annals of Science 62 (1):57-82.
    Rudolph Koenig's workshop was a busy meeting place for instruments, ideas, experiments, demonstrations, craft traditions, and business. Starting around 1860, it was also the place in Paris where people discovered the new science of sound emerging from the studies of Hermann von Helmholtz in Germany. Koenig built Helmholtz's ideas into apparatus, created new instruments, and spread them throughout the scientific and musical world. Through his own research, he also became Helmholtz's strongest critic. This paper looks at the activities of this (...)
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  • Musical Thought and Practice: Links to Helmholtz's Tonempfmdungen.Erwin Hiebert & Elfrieda Hiebert - 1994 - In Lorenz Krüger (ed.), Universalgenie Helmholtz. Rückblick nach 100 Jahren. Akademie Verlag. pp. 295-312.
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  • The Ohm-Seebeck Dispute, Hermann von Helmholtz, and the Origins of Physiological Acoustics.R. Steven Turner - 1977 - British Journal for the History of Science 10 (1):1-24.
    The term ‘Ohm's law’ traditionally denotes the formula of Georg Simon Ohm relating voltage, current, and resistance in metallic conductors. But to students of sensory physiology and its history, ‘Ohm's law’ also denotes another relationship: the fundamental principle of auditory perception that Ohm announced in 1843. This aspect of Ohm's science has attracted very little attention, partly because his galvanic researches so thoroughly eclipsed it in success and importance, and partly because Ohm's work in physiological acoustics had so little immediate (...)
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