Chapters (583)
- SOUND
- CONTENTS
- PREFACE TO THE THIRD EDITION
- PREFACE TO THE FIRST EDITION
- CHAPTER I
- § 1. Introduction: Character of Sonorous Motion. Experimental Illustrations
- § 2. Experiments in Vacuo, in Hydrogen, and on Mountains
- § 3. Intensity of Sound. Law of Inverse Squares
- § 4. Confinement of Sound-waves in Tubes
- § 5. The Reflection of Sound. Resemblances to Light
- § 6. Refraction of Sound
- § 7. Diffraction of Sound: illustrations offered by great Explosions
- § 8. Velocity of Sound: relation to Density and Elasticity of Air
- § 9. Theoretic Velocity calculated by Newton Laplace’s Correction
- § 10. Ratio of Specific Heats of Air deduced from Velocity of Sound
- § 11. Mechanical Equivalent of Heat deduced from Velocity of Sound
- § 12. Absence of Radiative Power of Air deduced from Velocity of Sound
- § 13. Velocity of Sound through Gases, Liquids, and Solids
- § 14. Hooke’s Anticipation of the Stethoscope
- NOTE ON THE DIFFRACTION OF SOUND
- SUMMARY OF CHAPTER I
- CHAPTER II
- § 2. Musical Sounds produced by Taps
- § 3. Musical Sounds produced by Puffs
- § 4. Musical Sounds produced by a Tuning-fork
- § 5. The Waves of Sound
- § 6. Definition of Pitch: Determination of Rates of Vibration
- § 7. The Siren: Analysis of the Instrument
- § 8. Determination of Wave-lengths: Time of Vibration
- § 9. Definition of an Octave
- § 10. Limits of the Ear; and of Musical Sounds
- § 11. Drum of the Ear. The Eustachian Tube
- § 12. Helmholtz’s Double Siren
- § 13. Transmission of Musical Sounds by Liquids and Solids
- SUMMARY OF CHAPTER II
- CHAPTER III
- § 1. Vibrations of Strings: Use of Sound-Boards
- § 2. Laws of Vibrating Strings
- § 3. Mechanical Illustrations of Vibrations. Progressive and Stationary Waves. Ventral Segments and Nodes
- § 4. Mechanical Illustrations of Damping Various Points of Vibrating Cord
- § 5. Stationary Water-waves
- § 6. Application of Mechanical Illustrations to Musical Strings
- § 7. Melde’s Experiments
- § 8. New Mode of determining the Laws of Vibration
- HARMONIC SOUNDS OR OVERTONES § 9. Timbre; Klangfarbe; Clang-tint
- § 10. Mingling of Overtones with Fundamental. The Æolian Harp
- § 11. Young’s Optical Illustrations
- SUMMARY OF CHAPTER III
- CHAPTER IV
- § 1. Transverse Vibrations of a Rod fixed at Both Ends
- § 2. Transverse Vibrations of a Rod fixed at One End
- § 3. Chladni’s Tonometer: the Iron Fiddle, Musical Box, and the Kaleidophone
- § 4. Transverse Vibrations of a Rod free at Both Ends. The Claque-bois and Glass Harmonica
- § 5. Vibrations of a Tuning-fork
- § 6. Chladni’s Figures
- § 7. Vibrations of Square Plates: Nodal Lines
- § 8. Wheatstone’s Analysis of the Vibrations of Square Plates
- § 9. Vibrations of Circular Plates
- § 10. Strehlke and Faraday’s Experiments: Deportment of Light Powders
- § 11. Vibration of Bells: Means of rendering them visible
- SUMMARY OF CHAPTER IV
- CHAPTER V
- § 1. Longitudinal Vibrations of Wires and Rods: Conversion of Longitudinal into Transverse Vibrations
- § 2. Longitudinal Pulses in Iron and Brass: their Relative Velocities determined
- § 3. Longitudinal Vibrations of Rods fixed at One End: Musical Instruments formed on this Principle
- § 4. Vibrations of Rods free at Both Ends
- § 5. Fracture of Glass Tube by Sonorous Vibrations
- § 6. Action of Sonorous Vibrations on Polarized Light
- § 7. Vibrations of Rods of Wood: Determination of Relative Velocities in Different Woods
- RESONANCE § 8. Experiments with Resonant Jars. Analysis and Explanation
- § 9. Reinforcement of Bell by Resonance
- § 10. Expenditure of Motion in Resonance
- § 11. Resonators of Helmholtz
- ORGAN-PIPES § 12. Principles of Resonance applied to Organ-Pipes
- § 13. Vibrations of Stopped Pipes: Modes of Division: Overtones
- § 14. Vibrations of Open Pipes: Modes of Division: Overtones
- § 15. Velocity of Sound in Gases, Liquids, and Solids determined by Musical Vibrations
- REEDS AND REED-PIPES
- § 16. The Voice
- § 17. Vowel Sounds
- § 18. Kundt’s Experiments: New Modes of determining Velocity of Sound
- § 19. Explanation of a Difficulty
- ADDENDUM REGARDING RESONANCE
- SUMMARY OF CHAPTER V
- CHAPTER VI
- § 1. Rhythm of Friction: Musical Flow of a Liquid through a Small Aperture
- § 2. Musical Flames
- § 3. Experimental Analysis of Musical Flame
- § 4. Rate of Vibration of Flame: Toepler’s Experiment
- § 5. Harmonic Sounds of Flame
- § 6. Action of Extraneous Sounds on Flame: Experiments of Schaffgotsch and Tyndall
- SENSITIVE NAKED FLAMES § 7. Discovery of Sensitive Flames by Le Conte
- § 8. Experiments on Fish-tail and Bat’s-wing Flames
- § 9. Experiments on Flames from Circular Apertures
- § 10. Seat of Sensitiveness
- § 11. Influence of Pitch
- § 12. The Vowel-flame
- § 13. Mr. Philip Harry’s Sensitive Flame
- § 14. Sensitive Smoke-jets
- § 15. Constitution of Liquid Veins: Sensitive Water-jets
- SUMMARY OF CHAPTER VI
- NAKED FLAMES
- CHAPTER VII
- PART I
- § 1. Introduction
- § 2. Instruments and Observations
- § 3. Contradictory Results
- § 4. Solution of Contradictions
- § 5. Other Remarkable Instances of Acoustic Opacity
- § 6. Echoes from Invisible Acoustic Clouds
- § 7. Experimental Demonstration of Reflection from Gases
- § 8. Reflection from Vapors
- PART II
- § 1. Action of Hail and Rain
- § 2. Action of Snow
- § 3. Passage of Sound through Textile Fabrics, and through Artificial Showers
- § 4. Action of Fog. Observations in London
- § 5. Observations at the South Foreland
- § 6. Experiments on Artificial Fogs
- § 7. Action of Wind
- § 8. Atmospheric Selection
- § 9. Concluding Remarks
- NOTE
- SUMMARY OF CHAPTER VII
- CHAPTER VIII
- § 1. Interference of Water-Waves
- § 2. Interference of Sound
- § 3. Experimental Illustrations
- § 4. Interference of Waves from Organ-pipes
- § 5. Lissajous’s Illustration of Beats of Two Tuning-forks
- § 6. Interference of Waves from a Vibrating Disk. Hopkins’s and Lissajous’s Illustrations
- § 7. Quenching the Sound of one Prong of a Tuning-fork by that of the other
- RESULTANT TONES
- SUMMARY OF CHAPTER VIII
- CHAPTER IX
- § 1. The Facts of Musical Consonance
- § 2. The Theory of Musical Consonance. Pythagoras and Euler
- § 3. Sympathetic Vibrations
- § 4. Sympathetic Vibration in Relation to the Human Ear
- § 5. Consonant Intervals in Relation to the Human Ear
- § 6. Graphic Representation of Consonance and Dissonance
- § 7. Composition of Vibrations
- SUMMARY OF CHAPTER IX
- APPENDICES
- APPENDIX I
- APPENDIX II
- FOOTNOTES:
- INDEX
- 7
- 8
- 9
- 10
- 11
- 12
- 13
- 14
- 15
- 16
- 17
- 18
- 19
- 20
- 21
- 22
- 23
- 24
- 25
- 26
- 27
- 28
- 29
- 30
- 31
- 32
- 33
- 34
- 37
- 38
- 39
- 40
- 41
- 42
- 43
- 44
- 45
- 46
- 47
- 48
- 49
- 50
- 51
- 52
- 53
- 54
- 55
- 56
- 57
- 58
- 59
- 60
- 61
- 62
- 63
- 64
- 65
- 66
- 67
- 68
- 69
- 70
- 71
- 72
- 73
- 74
- 75
- 76
- 77
- 78
- 79
- 80
- 81
- 82
- 83
- 84
- 85
- 86
- 87
- 88
- 89
- 91
- 92
- 93
- 95
- 96
- 97
- 99
- 100
- 102
- 103
- 104
- 105
- 106
- 107
- 108
- 109
- 110
- 111112
- 115
- 116
- 117
- 118
- 119
- 120
- 123
- 124
- 125
- 126
- 127
- 128
- 129
- 130
- 131
- 132
- 133
- 134
- 135
- 136
- 138
- 139
- 140
- 141
- 142
- 143
- 144
- 145
- 146
- 147
- 148
- 149
- 150
- 151
- 153
- 154
- 155
- 156
- 157
- 158
- 159
- 160
- 161
- 162
- 163
- 164
- 165
- 167
- 168
- 169
- 170
- 171
- 172
- 173
- 174
- 175
- 176
- 177
- 178
- 179
- 180
- 181
- 182183
- 184
- 186
- 187
- 188
- 189
- 190
- 191
- 192
- 193
- 194
- 195
- 196
- 197
- 198
- 199
- 200
- 201
- 202
- 203
- 204
- 206
- 207
- 208
- 209
- 211
- 212
- 213
- 214
- 215
- 216
- 217
- 218
- 219
- 220
- 221
- 222
- 223
- 224
- 225
- 226
- 227
- 228
- 229
- 230
- 231
- 232
- 233
- 234
- 235
- 236
- 237
- 238
- 239
- 240
- 241
- 242
- 243
- 244
- 245
- 246
- 247
- 248
- 249
- 250
- 251
- 252
- 253
- 254
- 255
- 256
- 257
- 258
- 259
- 260
- 262
- 263
- 265
- 266
- 268
- 269
- 270
- 271
- 272
- 273
- 274
- 275
- 276
- 277
- 278
- 279
- 280
- 281
- 282
- 284
- 285
- 286
- 287
- 288
- 289
- 290
- 291
- 292
- 293
- 294
- 295
- 296
- 297
- 298
- 299
- 300
- 301
- 302
- 303
- 304
- 305
- 306
- 307
- 308
- 309
- 310
- 311
- 312
- 313
- 314
- 315
- 316
- 317
- 318
- 319
- 320
- 321
- 323
- 324
- 325
- 326
- 328
- 329
- 330
- 332
- 333
- 336
- 337
- 338
- 339
- 340
- 341
- 342
- 343
- 345
- 346
- 347
- 348
- 349
- 350
- 351
- 352
- 354
- 355
- 356
- 357
- 358
- 359
- 360
- 361
- 362
- 363
- 364
- 365
- 366
- 368
- 369
- 370
- 371
- 372
- 373
- 374
- 375
- 376
- 377
- 378
- 379
- 380
- 381
- 384
- 385
- 386
- 387
- 389
- 390
- 392
- 393
- 394
- 395
- 396
- 397
- 398
- 399
- 400
- 401
- 402
- 403
- 404
- 405
- 406
- 407
- 408
- 409
- 410
- 411
- 412413
- 414
- 416
- 417
- 418
- 419
- 420
- 421
- 422
- 423
- 424
- 425
- 426
- 427
- 428
- 429
- 430
- 431
- 432
- 433
- 434
- 435
- 436
- 437
- 439
- 441
- 442
- 443
- 444
- 445446
- 447
- 448
- 449
- 450
- 451
- 452
- 453
- 454
- 455
- 456
- 457
- 458
- 459
- 460
- 461
- 462
- 463
- 464
- 465
- 466
- 467
- 468
- 469
- 470
- 471
- 472
- 473
- 474
- 475
- 476
- 477
- 478
- 479
- 480
How to Listen
- 1. Click "Listen Free" above
- 2. The book opens in CastReader's browser reader
- 3. Click the play button — AI narration starts with word highlighting
- 4. Use "Send to Phone" to continue listening on your phone
More by John Tyndall
FAQ
Is this audiobook really free?
Yes. "Sound" is a public domain work from Project Gutenberg. CastReader converts it to audio using AI text-to-speech for free. No account or payment needed.
What does the AI voice sound like?
CastReader uses Kokoro TTS, a natural-sounding AI voice. It handles punctuation, names, and dialogue naturally. Most listeners forget it's AI after a few minutes.
Can I listen on my phone?
Yes. Open the book, then use "Send to Phone" to stream audio to your phone via Telegram. No app download needed.