Altered Sensations: Rudolph Koenig’s Acoustical Workshop in by David Pantalony

By David Pantalony

Rudolph Koenig was once one of many extra prolific and vibrant software makers within the well known nineteenth-century precision device exchange of Paris. starting his occupation as a violin maker, in 1858 the younger Prussian immigrant shifted his skills in the direction of the growing to be box of acoustics. Altered Sensations is a portrait of his bright atelier, a spot of development, trade and test. For over 40 years it was once additionally a well-liked assembly position for scientists, artisans, musicians and lecturers. utilizing archival and assortment learn from throughout North American and Europe, David Pantalony has traced the cloth and social impacts of this area at the improvement of contemporary acoustics. particularly, he has particular the style during which Koenig converted, prolonged, unfold and challenged Hermann von Helmholtz's Sensations of Tone.

A huge a part of the learn on Koenig comes from the particular items of his workshop which live to tell the tale in museums and collections world wide. the second one component of Altered Sensations presents a listing Raisonné of Koenig’s whole line of tools, together with their background, information from particular examples, destinations, and references within the literature. This catalogue will function a pragmatic advisor for curators and researchers in addition to a accomplished evaluation of nineteenth-century acoustical perform.

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Additional info for Altered Sensations: Rudolph Koenig’s Acoustical Workshop in Nineteenth-Century Paris (Archimedes)

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He also created several instruments for demonstrating and testing these ideas. Notes 1. CR no. 134. NMAH, Smithsonian cat. no. 314, 589. Koenig (1865, p. 23); Koenig (1873, p. ) 2. Information about Koenig’s early life in Königsberg comes from the personal archives of the Neumann family in Bückeburg, Germany. One of the better sources on Koenig’s personal life are tributes by his niece, Helene Neumann, see Neumann (1932a,b,c). Dr. Eberhard Neumann-Redlin von Meding, the keeper of the family archives, has published an article on Koenig’s background and life, see Neumann-Redlin von Meding (2001).

36). 8 1 Training Tools, as the above language indicated, carried artisanal values as well as specific technical traditions. Words such as true, pure, perfect, defective, sweet and false were central to the maker’s vocabulary and culture, and revealed a powerful set of guiding ideals. The tests for the “truth of a string” or their “falseness” were as rigorous as cross-examination in a court of law. And the judgement was not just on the maker of the strings, but on the chooser as well. ”35 A just as rigorous set of ideals impelled violin makers to strive for the highest set of standards, well beyond appearances.

72 It is likely that an experienced pipe maker from a shop like Jaulin’s or Cavaillé-Coll’s worked for Koenig on these instruments, which were a major part of his business. Musical instrument making continued to be part of scientific acoustics. In the next chapter, we see how the study and practice of sound went through a dramatic change from a different context. Between 1856 and 1862 Hermann von Helmholtz built a theoretical edifice that linked the workings of the inner ear, an understanding of the psychological aspects of sound perception, and the physical behaviour of sound waves.

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