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If magenta is replaced by other artificial dyes,—for example, scarlets,—the result is similar; in general, wool material absorbs dye readily, and uniting with it is permanently dyed. Cotton material, on the other hand, does not combine chemically with coloring matter and therefore is only faintly tinged with color, and loses this when washed. When silk and linen are tested, it is found that the former behaves in a general way as did wool, while the linen has more similarity to the cotton. That vegetable fibers, such as cotton and linen, should act differently toward coloring matter from animal fibers, such as silk and wool, is not surprising when we consider that the chemical nature of the two groups is very different; vegetable fibers contain only oxygen, carbon, and hydrogen, while animal fibers always contain nitrogen in addition, and in many cases sulphur as well.
227. The Selection of Dyes. When silk and wool, cotton and linen, are tested in various dye solutions, it is found that the former have, in general, a great affinity for coloring matter and acquire a permanent color, but that cotton and linen, on the other hand, have little affinity for dyestuffs. The color acquired by vegetable fibers is, therefore, usually faint.
There are, of course, many exceptions to the general statement that animal fibers dye readily and vegetable fibers poorly, because certain dyes fail utterly with woolen and silk material and yet are fairly satisfactory when applied to cotton and linen fabrics. Then, too, a dye which will color silk may not have any effect on wool in spite of the fact that wool, like silk, is an animal fiber; and certain dyestuffs to which cotton responds most beautifully are absolutely without effect on linen.
The nature of the material to be dyed determines the coloring matter to be used; in dyeing establishments a careful examination is made of all textiles received for dyeing, and the particular dyestuffs are then applied which long experience has shown to be best suited to the material in question. Where "mixed goods," such as silk and wool, or cotton and wool, are concerned, the problem is a difficult one, and the countless varieties of gorgeously colored mixed materials give evidence of high perfection in the art of dyeing and weaving.
Housewives who wish to do successful home dyeing should therefore not purchase dyes indiscriminately, but should select the kind best suited to the material, because the coloring principle which will remake a silk waist may utterly ruin a woolen skirt or a linen suit. Powders designed for special purposes may be purchased from druggists.
228. Indirect Dyeing. We have seen that it is practically impossible to color cotton and linen in a simple manner with any degree of permanency, because of the lack of chemical action between vegetable fibers and coloring matter. But the varied uses to which dyed articles are put make fastness of color absolutely necessary. A shirt, for example, must not be discolored by perspiration, nor a waist faded by washing, nor a carpet dulled by sweeping with a dampened broom. In order to insure permanency of dyes, an indirect method was originated which consisted of adding to the fibers a chemical capable of acting upon the dye and forming with it a colored compound insoluble in water, and hence "safe." For example, cotton material dyed directly in logwood solution has almost no value, but if it is soaked in a solution of oxalic acid and alum until it becomes saturated with the chemicals, and is then transferred to a logwood bath, the color acquired is fast and beautiful.
This method of indirect dyeing is known as the mordanting process; it consists of saturating the fabric to be dyed with chemicals which will unite with the coloring matter to form compounds unaffected by water. The chemicals are called mordants.
229. How Variety of Color is Secured. The color which is fixed on the fabric as a result of chemical action between mordant and dye is frequently very different from that of the dye itself. Logwood dye when used alone produces a reddish brown color of no value either for beauty or permanence; but if the fabric to be dyed is first mordanted with a solution of alum and oxalic acid and is then immersed in a logwood bath, it acquires a beautiful blue color.
Moreover, since the color acquired depends upon the mordant as well as upon the dye, it is often possible to obtain a wide range of colors by varying the mordant used, the dye remaining the same. For example, with alum and oxalic acid as a mordant and logwood as a dye, blue is obtained; but with a mordant of ferric sulphate and a dye of logwood, blacks and grays result. Fabrics immersed directly in alizarin acquire a reddish yellow tint; when, however, they are mordanted with certain aluminium compounds they acquire a brilliant Turkey red, when mordanted with chromium compounds, a maroon, and when mordanted with iron compounds, the various shades of purple, lilac, and violet result.
230. Color Designs in Cloth. It is thought that the earliest attempts at making "fancy materials" consisted in painting designs on a fabric by means of a brush. In more recent times the design was cut in relief on hard wood, the relief being then daubed with coloring matter and applied by hand to successive portions of the cloth. The most modern method of design-making is that of machine or roller printing. In this, the relief blocks are replaced by engraved copper rolls which rotate continuously and in the course of their rotation automatically receive coloring matter on the engraved portion. The cloth is to be printed is then drawn uniformly over the rotating roll, receiving color from the engraved design; in this way, the color pattern is automatically printed on the cloth with perfect regularity. In cases where the fabrics do not unite directly with the coloring matter, the design is supplied with a mordant and the impression made on the fabric is that of the mordant; when the fabric is later transferred to a dye bath, the mordanted portions, represented by the design, unite with the coloring matter and thus form the desired color patterns.
Unless the printing is well done, the coloring matter does not thoroughly penetrate the material, and only a faint blurred design appears on the back of the cloth; the gaudy designs of cheap calicoes and ginghams often do not show at all on the under side. Such carelessly made prints are not fast to washing or light, and soon fade. But in the better grades of material the printing is well done, and the color designs are fairly fast, and a little care in the laundry suffices to eliminate any danger of fading.
Color designs of the greatest durability are produced by the weaving together of colored yarns. When yarn is dyed, the coloring matter penetrates to every part of the fiber, and hence the patterns formed by the weaving together of well-dyed yarns are very fast to light and water.
If the color designs to be woven in the cloth are intricate, complex machinery is necessary and skillful handwork; hence, patterns formed by the weaving of colored yarns are expensive and less common than printed fabrics.
CHAPTER XXIV
CHEMICALS AS DISINFECTANTS AND PRESERVATIVES
231. The prevention of disease epidemics is one of the most striking achievements of modern science. Food, clothing, furniture, and other objects contaminated in any way by disease germs may be disinfected by chemicals or by heat, and widespread infection from persons suffering with a contagious disease may be prevented.
When disease germs are within the body, the problem is far from simple, because chemicals which would effectively destroy the germs would be fatal to life itself. But when germs are outside the body, as in water or milk, or on clothing, dishes, or furniture, they can be easily killed. One of the best methods of destroying germs is to subject them to intense heat. Contaminated water is made safe by boiling for a few minutes, because the strong heat destroys the disease-producing germs. Scalded or Pasteurized milk saves the lives of scores of babies, because the germs of summer complaint which lurk in poor milk are killed and rendered harmless in the process of scalding. Dishes used by consumptives, and persons suffering from contagious diseases, can be made harmless by thorough washing in thick suds of almost boiling water.
The bedding and clothing of persons suffering with diphtheria, tuberculosis, and other germ diseases should always be boiled and hung to dry in the bright sunlight. Heat and sunshine are two of the best disinfectants.
232. Chemicals. Objects, such as furniture, which cannot be boiled, are disinfected by the use of any one of several chemicals, such as sulphur, carbolic acid, chloride of lime, corrosive sublimate, etc.
One of the simplest methods of disinfecting consists in burning sulphur in a room whose doors, windows, and keyholes have been closed, so that the burning fumes cannot escape, but remain in the room long enough to destroy disease germs. This is probably the most common means of fumigation.
For general purposes, carbolic acid is one of the very best disinfectants, but must be used with caution, as it is a deadly poison except when very dilute.
Chloride of lime when exposed to the air and moisture slowly gives off chlorine, and can be used as a disinfectant because the gas thus set free attacks germs and destroys them. For this reason chloride of lime is an excellent disinfectant of drainpipes. Certain bowel troubles, such as diarrhoea, are due to microbes, and if the waste matter of a person suffering from this or similar diseases is allowed passage through the drainage system, much damage may be done. But a small amount of chloride of lime in the closet bowl will insure disinfection.
233. Personal Disinfection. The hands may gather germs from any substances or objects with which they come in contact; hence the hands should be washed with soap and water, and especially before eating. Physicians who perform operations wash not only their hands, but their instruments, sterilizing the latter by placing them in boiling water for several minutes.
Cuts and wounds allow easy access to the body; a small cut has been known to cause death because of the bacteria which found their way into the open wound and produced disease. In order to destroy any germs which may have entered into the cut from the instrument, it is well to wash out the wound with some mild disinfectant, such as very dilute carbolic acid or hydrogen peroxide, and then to bind the wound with a clean cloth, to prevent later entrance of germs.
234. Chemicals as Food Preservatives. The spoiling of meats and soups, and the souring of milk and preserves, are due to germs which, like those producing disease, can be destroyed by heat and by chemicals.
Milk heated to the boiling point does not sour readily, and successful canning consists in cooking fruits and vegetables until all the germs are killed, and then sealing the cans so that germs from outside cannot find entrance and undo the work of the canner.
Some dealers and manufacturers have learned that certain chemicals will act as food preservatives, and hence they have replaced the safe method of careful canning by the quicker and simpler plan of adding chemicals to food. Catchup, sauces, and jellies are now frequently preserved in this way. But the chemicals which destroy bacteria frequently injure the consumer as well. And so much harm has been done by food preservatives that the pure food laws require that cans and bottles contain a labeled statement of the kind and quantity of chemicals used.
Even milk is not exempt, but is doctored to prevent souring, the preservative most generally used by milk dealers being formaldehyde. The vast quantity of milk consumed by young and old, sick and well, makes the use of formaldehyde a serious menace to health, because no constitution can endure the injury done by the constant use of preservatives.
The most popular and widely used preservatives of meats are borax and boric acid. These chemicals not only arrest decay, but partially restore to old and bad meat the appearance of freshness; in this way unscrupulous dealers are able to sell to the public in one form or other meats which may have undergone partial decomposition; sausage frequently contains partially decomposed meat, restored as it were by chemicals.
In jams and catchups there is abundant opportunity for preservatives; badly or partially decayed fruits are sometimes disinfected and used as the basis of foods sold by so-called good dealers. Benzoate of soda, and salicylic acid are the chemicals most widely employed for this purpose, with coal-tar dyes to simulate the natural color of the fruit.
Many of the cheap candies sold by street venders are not fit for consumption, since they are not only made of bad material, but are frequently in addition given a light dipping in varnish as a protection against the decaying influences of the atmosphere.
The only wise preservatives are those long known and employed by our ancestors; salt, vinegar, and spices are all food preservatives, but they are at the same time substances which in small amounts are not injurious to the body. Smoked herring and salted mackerel are chemically preserved foods, but they are none the less safe and digestible.
235. The Preservation of Wood and Metal. The decaying of wood and the rusting of metal are due to the action of air and moisture. When wood and metal are surrounded with a covering which neither air nor moisture can penetrate, decay and rust are prevented. Paint affords such a protective covering. The main constituent of paint is a compound of white lead or other metallic substance; this is mixed with linseed oil or its equivalent in order that it may be spread over wood and metal in a thin, even coating. After the mixture has been applied, it hardens and forms a tough skin fairly impervious to weathering. For the sake of ornamentation, various colored pigments are added to the paint and give variety of effect.
Railroad ties and street paving blocks are ordinarily protected by oil rather than paint. Wood is soaked in creosote oil until it becomes thoroughly saturated with the oily substance. The pores of the wood are thus closed to the entrance of air and moisture, and decay is avoided. Wood treated in this way is very durable. Creosote is poisonous to insects and many small animals, and thus acts as a preservation not only against the elements but against animal life as well.
CHAPTER XXV
DRUGS AND PATENT MEDICINES
236. Stimulants and Narcotics. Man has learned not only the action of substances upon each other, such as bleaching solution upon coloring matter, washing soda upon grease, acids upon bases, but also the effect which certain chemicals have upon the human body.
Drugs and their varying effects upon the human system have been known to mankind from remote ages; in the early days, familiar leaves, roots, and twigs were steeped in water to form medicines which served for the treatment of all ailments. In more recent times, however, these simple herb teas have been supplanted by complex drugs, and now medicines are compounded not only from innumerable plant products, but from animal and mineral matter as well. Quinine, rhubarb, and arnica are examples of purely vegetable products; iron, mercury, and arsenic are equally well known as distinctly mineral products, while cod-liver oil is the most familiar illustration of an animal remedy. Ordinarily a combination of products best serves the ends of the physician.
Substances which, like cod-liver oil, serve as food to a worn-out body, or, like iron, tend to enrich the blood, or, like quinine, aid in bringing an abnormal system to a healthy condition, are valuable servants and cannot be entirely dispensed with so long as man is subject to disease.
But substances which, like opium, laudanum, and alcohol, are not required by the body as food, or as a systematic, intelligent aid to recovery, but are taken solely for the stimulus aroused or for the insensibility induced, are harmful to man, and cannot be indulged in by him without ultimate mental, moral, and physical loss. Substances of the latter class are known as narcotics and stimulants.
237. The Cost of Health. In the physical as in the financial world, nothing is to be had without a price. Vigor, endurance, and mental alertness are bought by hygienic living; that is, by proper food, fresh air, exercise, cleanliness, and reasonable hours. Some people wish vigor, endurance, etc., but are unwilling to live the life which will develop these qualities. Plenty of sleep, exercise, and simple food all tend to lay the foundations of health. Many, however, are not willing to take the care necessary for healthful living, because it would force them to sacrifice some of the hours of pleasure. Sooner or later, these pleasure-seekers begin to feel tired and worn, and some of them turn to drugs and narcotics for artificial strength. At first the drugs seem to restore the lost energy, and without harm; however, the cost soon proves to be one of the highest Nature ever demands.
238. The Uncounted Cost. The first and most obvious effect of opium, for example, is to deaden pain and to arouse pleasure; but while the drug is producing these soothing sensations, it interferes with bodily functions. Secretion, digestion, absorption of food, and the removal of waste matters are hindered. Continued use of the drug leads to headache, exhaustion, nervous depression, and heart weakness. There is thus a heavy toll reckoned against the user, and the creditor is relentless in demanding payment.
Moreover, the respite allowed by a narcotic is exceedingly brief, and a depression which is long and deep inevitably follows. In order to overcome this depression, recourse is usually had to a further dose, and as time goes on, the intervals of depression become more frequent and lasting, and the necessity to overcome them increases. Thus without intention one finds one's self bound to the drug, its fast victim. The sanatoria of our country are crowded with people who are trying to free themselves of a drug habit into which they have drifted unintentionally if not altogether unknowingly. What is true of opium is equally applicable to other narcotics.
239. The Right Use of Narcotics. In the hands of the physician, narcotics are a great blessing. In some cases, by relieving pain, they give the system the rest necessary for overcoming the cause of the pain. Only those who know of the suffering endured in former times can fully appreciate the decrease in pain brought about by the proper use of narcotics.
240. Patent Medicines, Cough Sirups. A reputable physician is solicitous regarding the permanent welfare of his patient and administers carefully chosen and harmless drugs. Mere medicine venders, however, ignore the good of mankind, and flood the market with cheap patent preparations which delude and injure those who purchase, but bring millions of dollars to those who manufacture.
Practically all of these patent, or proprietary, preparations contain a large proportion of narcotics or stimulants, and hence the benefit which they seem to afford the user is by no means genuine; examination shows that the relief brought by them is due either to a temporary deadening of sensibilities by narcotics or to a fleeting stimulation by alcohol and kindred substances.
Among the most common ailments of both young and old are coughs and colds; hence many patent cough mixtures have been manufactured and placed on the market for the consumption of a credulous public. Such "quick cures" almost invariably contain one or more narcotic drugs, and not only do not relieve the cold permanently, but occasion subsequent disorders. Even lozenges and pastilles are not free from fraud, but have a goodly proportion of narcotics, containing in some cases chloroform, morphine, and ether.
The widespread use of patent cough medicines is due largely to the fact that many persons avoid consulting a physician about so trivial an ailment as an ordinary cold, or are reluctant to pay a medical fee for what seems a slight indisposition and hence attempt to doctor themselves.
Catarrh is a very prevalent disease in America, and consequently numerous catarrh remedies have been devised, most of which contain in a disguised form the pernicious drug, cocaine. Laws have been enacted which require on the labels a declaration of the contents of the preparation, both as to the kind of drug used and the amount, and the choice of accepting or refusing such mixtures is left to the individual. But the great mass of people are ignorant of the harmful nature of drugs in general, and hence do not even read the self-accusing label, or if they do glance at it, fail to comprehend the dangerous nature of the drugs specified there. In order to safeguard the uninformed purchaser and to restrict the manufacture of harmful patent remedies, some states limit the sale of all preparations containing narcotics and thus give free rein to neither consumer nor producer.
241. Soothing Sirups; Soft Drinks. The development of a race is limited by the mental and physical growth of its children, and yet thousands of its children are annually stunted and weakened by drugs, because most colic cures, teething concoctions, and soothing syrups are merely agreeably flavored drug mixtures. Those who have used such preparations freely, know that a child usually becomes fretful and irritable between doses, and can be quieted only by larger and more frequent supplies. A habit formed in this way is difficult to overcome, and many a child when scarcely over its babyhood had a craving which in later years may lead to systematic drug taking. And even though the pernicious drug craving is not created, considerable harm is done to the child, because its body is left weak and non-resistant to diseases of infancy and childhood.
Many of our soft drinks contain narcotics. The use of the coca leaf and the kola nut for such preparations has increased very greatly within the last few years, and doubtless legislation will soon be instituted against the indiscriminate sale of soft drinks.
242. Headache Powders. The stress and strain of modern life has opened wide the door to a multitude of bodily ills, among which may be mentioned headache. Work must be done and business attended to, and the average sufferer does not take time from his vocation to investigate the cause of the headache, but unthinkingly grasps at any remedy which will remove the immediate pain, and utterly disregards later injury. The relief afforded by most headache mixtures is due to the presence of antipyrin or acetanilid, and it has been shown conclusively that these drugs weaken heart action, diminish circulation, reduce the number of red corpuscles in the blood, and bring on a condition of chronic anemia. Pallid cheeks and blue lips are visible evidence of the too frequent use of headache powders.
The labels required by law are often deceptive and convey no adequate idea of the amount of drug consumed; for example, 240 grains of acetanilid to an ounce seems a small quantity of drug for a powder, but when one considers that there are only 480 grains in an ounce, it will be seen that each powder is one half acetanilid.
Powders taken in small quantities and at rare intervals are apparently harmless; but they never remove the cause of the trouble, and hence the discomfort soon returns with renewed force. Ordinarily, hygienic living will eliminate the source of the trouble, but if it does not, a physician should be consulted and medicine should be procured from him which will restore the deranged system to its normal healthy condition.
243. Other Deceptions. Nearly all patent medicines contain some alcohol, and in many, the quantity of alcohol is far in excess of that found in the strongest wines. Tonics and bitters advertised as a cure for spring fever and a worn-out system are scarcely more than cheap cocktails, as one writer has derisively called them, and the amount of alcohol in some widely advertised patent remedies is alarmingly large and almost equal to that of strong whisky.
Some conscientious persons who would not touch beer, wine, whisky, or any other intoxicating drink consume patent remedies containing large quantities of alcohol and thus unintentionally expose themselves to mental and physical danger. In all cases of bodily disorder, the only safe course is to consult a physician who has devoted himself to the study of the body and the methods by which a disordered system may be restored to health.
CHAPTER XXVI
NITROGEN AND ITS RELATION TO PLANTS
244. Nitrogen. A substance which plays an important part in animal and plant life is nitrogen. Soil and the fertilizers which enrich it, the plants which grow on it, and the animals which feed on these, all contain nitrogen or nitrogenous compounds. The atmosphere, which we ordinarily think of as a storehouse of oxygen, contains far more nitrogen than oxygen, since four fifths of its whole weight is made up of this element.
Nitrogen is colorless, odorless, and tasteless. Air is composed chiefly of oxygen and nitrogen; if, therefore, the oxygen in a vessel filled with air can be made to unite with some other substance or can be removed, there will be a residue of nitrogen. This can be done by floating on water a light dish containing phosphorus, then igniting the phosphorus, and placing an inverted jar over the burning substance. The phosphorus in burning unites with the oxygen of the air and hence the gas that remains in the jar is chiefly nitrogen. It has the characteristics mentioned above and, in addition, does not combine readily with other substances.
245. Plant Food. Food is the course of energy in every living thing and is essential to both animal and plant life. Plants get their food from the lifeless matter which exists in the air and in the soil; while animals get their food from plants. It is true that man and many other animals eat fleshy foods and depend upon them for partial sustenance, but the ultimate source of all animal food is plant life, since meat-producing animals live upon plant growth.
Plants get their food from the air, the soil, and moisture. From the air, the leaves take carbon dioxide and water and transform them into starchy food; from the soil, the roots take water rich in mineral matters dissolved from the soil. From the substances thus gathered, the plant lives and builds up its structure.
A food substance necessary to plant life and growth is nitrogen. Since a vast store of nitrogen exists in the air, it would seem that plants should never lack for this food, but most plants are unable to make use of the boundless store of atmospheric nitrogen, because they do not possess the power of abstracting nitrogen from the air. For this reason, they have to depend solely upon nitrogenous compounds which are present in the soil and are soluble in water. The soluble nitrogenous soil compounds are absorbed by roots and are utilized by plants for food.
246. The Poverty of the Soil. Plant roots are constantly taking nitrogen and its compounds from the soil. If crops which grow from the soil are removed year after year, the soil becomes poorer in nitrogen, and finally possesses too little of it to support vigorous and healthy plant life. The nitrogen of the soil can be restored if we add to it a fertilizer containing nitrogen compounds which are soluble in water. Decayed vegetable matter contains large quantities of nitrogen compounds, and hence if decayed vegetation is placed upon soil or is plowed into soil, it acts as a fertilizer, returning to the soil what was taken from it. Since man and all other animals subsist upon plants, their bodies likewise contain nitrogenous substances, and hence manure and waste animal matter is valuable as a fertilizer or soil restorer.
247. Bacteria as Nitrogen Gatherers. Soil from which crops are removed year after year usually becomes less fertile, but the soil from which crops of clover, peas, beans, or alfalfa have been removed is richer in nitrogen rather than poorer. This is because the roots of these plants often have on them tiny swellings, or tubercles, in which millions of certain bacteria live and multiply. These bacteria have the remarkable power of taking free nitrogen from the air in the soil and of combining it with other substances to form compounds which plants can use. The bacteria-made compounds dissolve in the soil water and are absorbed into the plant by the roots. So much nitrogen-containing material is made by the root bacteria of plants of the pea family that the soil in which they grow becomes somewhat richer in nitrogen, and if plants which cannot make nitrogen are subsequently planted in such a soil, they find there a store of nitrogen. A crop of peas, beans, or clover is equivalent to nitrogenous fertilizer and helps to make ready the soil for other crops.
248. Artificial Fertilizers. Plants need other foods besides nitrogen, and they exhaust the soil not only of nitrogen, but also of phosphorus and potash, since large quantities of these are necessary for plant life. There are many other substances absorbed from the soil by the plant, namely, iron, sodium, calcium, magnesium, but these are used in smaller quantities and the supply in the soil does not readily become exhausted.
Commercial fertilizers generally contain nitrogen, phosphorus, and potash in amounts varying with the requirements of the soil. Wheat requires a large amount of phosphorus and quickly exhausts the ground of that food stuff; a field which has supported a crop of wheat is particularly poor in phosphorus, and a satisfactory fertilizer for that land would necessarily contain a large percentage of phosphorus. The fertilizer to be used in a soil depends upon the character of the soil and upon the crops previously grown on it.
The quantity of fertilizer needed by the farmers of the world is enormous, and the problem of securing the necessary substances in quantities sufficient to satisfy the demand bids fair to be serious. But modern chemistry is at work on the problem, and already it is possible to make some nitrogen compounds on a commercial scale. When nitrogen gas is in contact with heated calcium carbide, a reaction takes place which results in the formation of calcium nitride, a compound suitable for enriching the soil. There are other commercial methods for obtaining nitrogen compounds which are suitable for absorption by plant roots.
Phosphorus is obtained from bone ash and from phosphate rock which is widely distributed over the surface of the earth. Bone ash and thousands of tons of phosphate rock are treated with sulphuric acid to form a phosphorus compound which is soluble in soil water and which, when added to soil, will be usable by the plants growing there.
The other important ingredient of most fertilizers is potash. Wood ashes are rich in potash and are a valuable addition to the soil. But the amount of potash thus obtained is far too limited to supply the needs of agriculture; and to-day the main sources of potash are the vast deposits of potassium salts found in Prussia.
Although Germany now furnishes the American farmer with the bulk of his potash, she may not do so much longer. In 1911 an indirect potash tax was levied by Germany on her best customer, the United States, to whom 15 million dollars' worth of potash had been sold the preceding year. This led Americans to inquire whether potash could not be obtained at home.
Geologists say that long ages ago Germany was submerged, that the waters slowly evaporated and that the various substances in the sea water were deposited in thick layers. The deposits thus left by the evaporation of the sea water gradually became hidden by sediment and soil, and lost to sight. From such deposits, potash is obtained. Geologists tell us that our own Western States were once submerged, and that the waters evaporated and disappeared from our land very much as they did from Germany. The Great Salt Lake of Utah is a relic of a great body of water. If it be true that waters once covered our Western States, there may be buried deposits of potash there, and to-day the search for the hidden treasure is going on with the energy and enthusiasm characteristic of America.
Another probable source of potash is seaweed. The sea is a vast reservoir of potash, and seaweed, especially the giant kelp, absorbs large quantities of this potash. A ton of dried kelp (dried by sun and wind) contains about 500 pounds of pure potash. The kelps are abundant, covering thousands of square miles in the Pacific Ocean, from Mexico to the Arctic Ocean.
CHAPTER XXVII
SOUND
249. The Senses. All the information which we possess of the world around us comes to us through the use of the senses of sight, hearing, taste, touch, and smell. Of the five senses, sight and hearing are generally considered the most valuable. In preceding Chapters we studied the important facts relative to light and the power of vision; it remains for us to study Sound as we studied Light, and to learn what we can of sound and the power to hear.
250. How Sound is Produced. If one investigates the source of any sound, he will always find that it is due to motion of some kind. A sudden noise is traced to the fall of an object, or to an explosion, or to a collision; in fact, is due to the motion of matter. A piano gives out sound whenever a player strikes the keys and sets in motion the various wires within the piano; speech and song are caused by the motion of chest, vocal cords, and lips.
If a large dinner bell is rung, its motion or vibration may be felt on touching it with the finger. If a tuning fork is made to give forth sound by striking it against the knee, or hitting it with a rubber hammer, and is then touched to the surface of water, small sprays of water will be thrown out, showing that the prongs of the fork are in rapid motion. (A rubber hammer is made by putting a piece of glass tubing through a rubber cork.)
If a light cork ball on the end of a thread is brought in contact with a sounding fork, the ball does not remain at rest, but vibrates back and forth, being driven by the moving prongs.
These simple facts lead us to conclude that all sound is due to the motion of matter, and that a sounding body of any kind is in rapid motion.
251. Sound is carried by Matter. In most cases sound reaches the ear through the air; but air is not the only medium through which sound is carried. A loud noise will startle fish, and cause them to dart away, so we conclude that the sound must have reached them through the water. An Indian puts his ear to the ground in order to detect distant footsteps, because sounds too faint to be heard through the air are comparatively clear when transmitted through the earth. A gentle tapping at one end of a long table can be distinctly heard at the opposite end if the ear is pressed against the table; if the ear is removed from the wood, the sound of tapping is much fainter, showing that wood transmits sound more readily than air. We see therefore that sound can be transmitted to the ear by solids, liquids, or gases.
Matter of any kind can transmit sound to the ear. The following experiments will show that matter is necessary for transmission. Attach a small toy bell to a glass rod (Fig. 166) by means of a rubber tube and pass the rod through one of two openings in a rubber cork. Insert the cork in a strong flask containing a small quantity of water and shake the bell, noting the sound produced. Then heat the flask, allowing the water to boil briskly, and after the boiling has continued for a few minutes remove the flame and instantly close up the second opening by inserting a glass stopper. Now shake the flask and note that the sound is very much fainter than at first. As the flask was warmed, air was rapidly expelled; so that when the flask was shaken the second time, less air was present to transmit the sound. If the glass stopper is removed and the air is allowed to reenter the flask, the loudness of the sound immediately increases.
Since the sound of the bell grows fainter as air is removed, we infer that there would be no sound if all the air were removed from the flask; that is to say, sound cannot be transmitted through empty space or a vacuum. If sound is to reach our ears, it must be through the agency of matter, such as wood, water, or air, etc.
252. How Sound is transmitted through Air. We saw in Section 250 that sound can always be traced to the motion or vibration of matter. It is impossible to conceive of an object being set into sudden and continued motion without disturbing the air immediately surrounding it. A sounding body always disturbs and throws into vibration the air around it, and the air particles which receive motion from a sounding body transmit their motion to neighboring particles, these in turn to the next adjacent particles, and so on until the motion has traveled to very great distances. The manner in which vibratory motion is transmitted by the atmosphere must be unusual in character, since no motion of the air is apparent, and since in the stillness of night when "not a breath of air" is stirring, the shriek of a railroad whistle miles distant may be heard with perfect clearness. Moreover, the most delicate notes of a violin can be heard in the remotest corners of a concert hall, when not the slightest motion of the air can be seen or felt.
In our study of the atmosphere we saw that air can be compressed and rarefied; in other words, we saw that air is very elastic. It can be shown experimentally that whenever an elastic body in motion comes in contact with a body at rest, the moving body transfers its motion to the second body and then comes to rest itself. Let two billiard balls be suspended in the manner indicated in Figure 167. If one of the balls is drawn aside and is then allowed to fall against the other, the second ball is driven outward to practically the height from which the first ball fell and the first ball comes to rest.
If a number of balls are arranged in line as in Figure 168 or Figure 169, and the end ball is raised and then allowed to fall, or if A is pushed against C, the last ball B will move outward alone, with a force nearly equal to that originally possessed by A and to a distance nearly equal to that through which A moved. But there will be no visible motion of the intervening balls. The force of the moving ball A is given to the second ball, and the second ball in turn gives the motion to the third, and so on throughout the entire number, until B is reached. But B has no ball to give its motion to, hence B itself moves outward, and moves with a force nearly equal to that originally imparted by A and to a distance nearly equal to that through which A fell. Motion at A is transmitted to B without any perceptible motion of the balls lying between these points. Similarly the particles of air set into motion by a sounding body impart their motion to each other, the motion being transmitted onward without any perceptible motion of the air itself. When this motion reaches the ear, it sets the drum of the ear into vibration, and these vibrations are in turn transmitted to the auditory nerves, which interpret the motion as sound.
253. Why Sound dies away with Distance. Since the last ball B is driven outward with a force nearly equal to that possessed by A, it would seem that the effect on the ear drum should be independent of distance and that a sound should be heard as distinctly when remote as when near. But we know from experience that this is not true, because the more distant the source of sound, the fainter the impression; and finally, if the distance between the source of sound and the hearer becomes too great, the sound disappears entirely and nothing is heard. The explanation of this well-known fact is found in a further study of the elastic balls (Fig. 170). If A hits two balls instead of one, the energy possessed by A is given in part to one ball, and in part to the other, so that neither obtains the full amount. These balls, having each received less than the original energy, have less to transmit; each of these balls in turn meets with others, and hence the motion becomes more and more distributed, and distant balls receive less and less impetus. The energy finally given becomes too slight to affect neighboring balls, and the system comes to rest. This is what occurs in the atmosphere; a moving air particle meets not one but many adjacent air particles, and each of these receives a portion of the original energy and transmits a portion. When the original disturbance becomes scattered over a large number of air particles, the energy given to any one air particle becomes correspondingly small, and finally the energy becomes so small that further particles are not affected; beyond this limit the sound cannot be heard.
If an air particle transmitted motion only to those air particles directly in line with it, we should not be able to detect sound unless the ear were in direct line with the source. The fact that an air particle divides its motion among all particles which it touches, that is, among those on the sides as well as those in front, makes it possible to hear sound in all directions. A good speaker is heard not only by those directly in front of him, but by those on the side, and even behind him.
254. Velocity of Sound. The transmission of motion from particle to particle does not occur instantaneously, but requires time. If the distance is short, so that few air particles are involved, the time required for transmission is very brief, and the sound is heard at practically the instant it is made. Ordinarily we are not conscious that it requires time for sound to travel from its source to our ears, because the distance involved is too short. At other times we recognize that there is a delay; for example, thunder reaches our ears after the lightning which caused the thunder has completely disappeared. If the storm is near, the interval of time between the lightning and the thunder is brief, because the sound does not have far to travel; if the storm is distant, the interval is much longer, corresponding to the greater distance through which the sound travels. Sound does not move instantaneously, but requires time for its transmission. The report of a distant cannon is heard after the flash and smoke are seen; the report of a near cannon is heard the instant the flash is seen.
The speed with which sounds travels through the air, or its velocity, was first measured by noting the interval (54.6 seconds) which elapsed between the flash of a cannon and the sound of the report. The distance of the cannon from the observer was measured and found to be 61,045 feet, and by dividing this distance by the number of seconds, we find that the distance traveled by sound in one second is approximately 1118 feet.
High notes and low notes, soft notes and shrill notes, all travel at the same rate. If bass notes traveled faster or slower than soprano notes, or if the delicate tones of the violin traveled faster or slower than the tones of a drum, music would be practically impossible, because at a distance from the source of sound the various tones which should be in unison would be out of time—some arriving late, some early.
255. Sound Waves. Practically everyone knows that a hammock hung with long ropes swings or vibrates more slowly than one hung with short ropes, and that a stone suspended by a long string swings more slowly than one suspended by a short string. No two rocking chairs vibrate in the same way unless they are exactly alike in shape, size, and material. An object when disturbed vibrates in a manner peculiar to itself, the vibration being slow, as in the case of the long-roped swing, or quick, as in the case of the short-roped swing. The time required for a single swing or vibration is called the period of the body, and everything that can vibrate has a characteristic period. Size and shape determine to a large degree the period of a body; for example, a short, thick tuning fork vibrates more rapidly than a tall slender fork.
Some tuning forks when struck vibrate so rapidly that the prongs move back and forth more than 5000 times per second, while other tuning forks vibrate so slowly that the vibrations do not exceed 50 per second. In either case the distance through which the prongs move is very small and the period is very short, so that the eye can seldom detect the movement itself. That the prongs are in motion, however, is seen by the action of a pith ball when brought in contact with the prongs (see Section 250).
The disturbance created by a vibrating body is called a wave.
256. Waves. While the disturbance which travels out from a sounding body is commonly called a wave, it is by no means like the type of wave best known to us, namely, the water wave.
If a closely coiled heavy wire is suspended as in Figure 173 and the weight is drawn down and then released, the coil will assume the appearance shown; there is clearly an overcrowding or condensation in some places, and a spreading out or rarefaction in other places. The pulse of condensation and rarefaction which travels the length of the wire is called a wave, although it bears little or no resemblance to the familiar water wave. Sound waves are similar to the waves formed in the stretched coil.
Sound waves may be said to consist of a series of condensations and rarefactions, and the distance between two consecutive condensations and rarefactions may be defined as the wave length.
257. How One Sounding Body produces Sound in Another Body. In Section 255 we saw that any object when disturbed vibrates in a manner peculiar to itself,—its natural period,—a long-roped hammock vibrating slowly and a short-roped hammock vibrating rapidly. From observation we learn that it requires but little force to cause a body to vibrate in its natural period. If a sounding body is near a body which has the same period as itself, the pulses of air produced by the sounding body will, although very small, set the second body into motion and cause it to make a faint sound. When a piano is being played, we are often startled to find that a window pane or an ornament responds to some note of the piano. If two tuning forks of exactly identical periods (that is, of the same frequency) are placed on a table as in Figure 174, and one is struck so as to give forth a clear sound, the second fork will likewise vibrate, even though the two forks may be separated by several feet of air. We can readily see that the second fork is in motion, although it has not been struck, because it will set in motion a pith ball suspended beside it; at first the pith ball does not move, then it moves slightly, and finally bounces rapidly back and forth. If the periods of the two forks are not identical, but differ in the slightest degree, the second fork will not respond to the first fork, no matter how long or how loud the sound of the first fork. If we suppose that the fork vibrates 256 times each second, then 256 gentle pulses of air are produced each second, and these, traveling outward through the air, reach the silent fork and tend to set it in motion. A single pulse of air could not move the solid, heavy prongs, but the accumulated action of 256 vibrations per second soon makes itself felt, and the second fork begins to vibrate, at first gently, then gradually stronger, and finally an audible tone is given forth.
The cumulative power of feeble forces acting frequently at definite intervals is seen in many ways in everyday life. A small boy can easily swing a much larger boy, provided he gives the swing a gentle push in the right direction every time it passes him. But he must be careful to push at the proper instant, since otherwise his effort does not count for much; if he pushes forward when the swing is moving backward, he really hinders the motion; if he waits until the swing has moved considerably forward, his push counts for little. He must push at the proper instant; that is, the way in which his hand moves in giving the push must correspond exactly with the way in which the swing would naturally vibrate. A very striking experiment can be made by suspending from the ceiling a heavy weight and striking this weight gently at regular, properly timed intervals with a small cork hammer. Soon the pendulum, or weight, will be set swinging.
258. Borrowed Sound. Picture frames and ornaments sometimes buzz and give forth faint murmurs when a piano or organ is played. The waves sent out by a sounding body fall upon all surrounding objects and by their repeated action tend to throw these bodies into vibration. If the period of any one of the objects corresponds with the period of the sounding body, the gentle but frequent impulses affect the object, which responds by emitting a sound. If, however, the periods do not correspond, the action of the sound waves is not sufficiently powerful to throw the object into vibration, and no sound is heard. Bodies which respond in this way are said to be sympathetic and the response produced is called resonance. Seashells when held to the ear seem to contain the roar of the sea; this is because the air within the shell is set into sympathetic vibrations by some external tone. If the seashell were held to the ear in an absolutely quiet room, no sound would be heard, because there would be no external forces to set into vibration the air within the shell.
Tuning forks do not produce strong tones unless mounted on hollow wooden boxes (Fig. 175), whose size and shape are so adjusted that resonance occurs and strengthens the sound. When a human being talks or sings, the air within the mouth cavity is thrown into sympathetic vibration and strengthens the otherwise feeble tone of the speaker.
259. Echo. If one shouts in a forest, the sound is sometimes heard a second time a second or two later. This is because sound is reflected when it strikes a large obstructing surface. If the sound waves resulting from the shout meet a cliff or a mountain, they are reflected back, and on reaching the ear produce a later sensation of sound.
By observation it has been found that the ear cannot distinguish sounds which are less than one tenth of a second apart; that is, if two sounds follow each other at an interval less than one tenth of a second, the ear recognizes not two sounds, but one. This explains why a speaker can be heard better indoors than in the open air. In the average building, the walls are so close that the reflected waves have but a short distance to travel, and hence reach the ear at practically the same time as those which come directly from the speaker. In the open, there are no reflecting walls or surfaces, and the original sound has no reenforcement from reflection.
If the reflected waves reach the ear too late to blend with the original sound, that is, come later than one tenth of a second after the first impression, an echo is heard. What we call the rolling of thunder is really the reflection and re-reflection of the original thunder from cloud and cliff.
Some halls are so large that the reflected sounds cause a confusion of echoes, but this difficulty can be lessened by hanging draperies, which break the reflection.
260. Motion does not always produce Sound. While we know that all sound can be traced to motion, we know equally well that motion does not always produce sound. The hammock swinging in the breeze does not give forth a sound; the flag floating in the air does not give forth a sound unless blown violently by the wind; a card moved slowly through the air does not produce sound, but if the card is moved rapidly back and forth, a sound becomes audible.
Motion, in order to produce sound, must be rapid; a ball attached to a string and moved slowly through the air produces no sound, but the same ball, whirled rapidly, produces a distinct buzz, which becomes stronger and stronger the faster the ball is whirled.
261. Noise and Music. When the rapid motions which produce sound are irregular, we hear noise; when the motions are regular and definite, we have a musical tone; the rattling of carriage wheels on stones, the roar of waves, the rustling of leaves are noise, not music. In all these illustrations we have rapid but irregular motion; no two stones strike the wheel in exactly the same way, no two waves produce pulses in the air of exactly the same character, no two leaves rustle in precisely the same way. The disturbances which reach the ear from carriage, waves, and leaves are irregular both in time and strength, and irritate the ear, causing the sensation which we call noise.
The tuning fork is musical. Here we have rapid, regular motion; vibrations follow each other at perfectly definite intervals, and the air disturbance produced by one vibration is exactly like the disturbance produced by a later vibration. The sound waves which reach the ear are regular in time and kind and strength, and we call the sensation music.
To produce noise a body must vibrate in such a way as to give short, quick shocks to the air; to produce music a body must not only impart short, quick shocks to the air, but must impart these shocks with unerring regularity and strength. A flickering light irritates the eye; a flickering sound or noise irritates the ear; both are painful because of the sudden and abrupt changes in effect which they cause, the former on the eye, the latter on the ear.
The only thing essential for the production of a musical sound is that the waves which reach the ear shall be rapid and regular; it is immaterial how these waves are produced. If a toothed wheel is mounted and slowly rotated, and a stiff card is held against the teeth of the wheel, a distinct tap is heard every time the card strikes the wheel. But if the wheel is rotated rapidly, the ear ceases to hear the various taps and recognizes a deep continuous musical tone. The blending of the individual taps, occurring at regular intervals, has produced a sustained musical tone. A similar result is obtained if a card is drawn slowly and then rapidly over the teeth of a comb.
That musical tones are due to a succession of regularly timed impulses is shown most clearly by means of a rotating disk on which are cut two sets of holes, the outer set equally spaced, and the inner set unequally spaced (Fig. 176).
If, while the disk is rotating rapidly, a tube is held over the outside row and air is blown through the tube, a sustained musical tone will be heard. If, however, the tube is held, during the rotation of the disk, over the inner row of unequally spaced holes, the musical tone disappears, and a series of noises take its place. In the first case, the separate puffs of air followed each other regularly and blended into one tone; in the second case, the separate puffs of air followed each other at uncertain and irregular intervals and the result was noise.
Sound possesses a musical quality only when the waves or pulses follow each other at absolutely regular intervals.
262. The Effect of the Rapidity of Motion on the Musical Tone Produced. If the disk is rotated so slowly that less than about 16 puffs are produced in one second, only separate puffs are heard, and a musical tone is lacking; if, on the other hand, the disk is rotated in such a way that 16 puffs or more are produced in one second, the separate puffs will blend together to produce a continuous musical note of very low pitch. If the speed of the disk is increased so that the puffs become more frequent, the pitch of the resulting note rises; and at very high speeds the notes produced become so shrill and piercing as to be disagreeable to the ear. If the speed of the disk is lessened, the pitch falls correspondingly; and if the speed again becomes so low that less than 16 puffs are formed per second, the sustained sound disappears and a series of intermittent noises is produced.
263. The Pitch of a Note. By means of an apparatus called the siren, it is possible to calculate the number of vibrations producing any given musical note, such, for example, as middle C on the piano. If air is forced continuously against the disk as it rotates, a series of puffs will be heard (Fig. 177).
If the disk turns fast enough, the puffs blend into a musical sound, whose pitch rises higher and higher as the disk moves faster and faster, and produces more and more puffs each second.
The instrument is so constructed that clockwork at the top registers the number of revolutions made by the disk in one second. The number of holes in the disk multiplied by the number of revolutions a second gives the number of puffs of air produced in one second. If we wish to find the number of vibrations which correspond to middle C on the piano, we increase the speed of the disk until the note given forth by the siren agrees with middle C as sounded on the piano, as nearly as the ear can judge; we then calculate the number of puffs of air which took place each second at that particular speed of the disk. In this way we find that middle C is due to about 256 vibrations per second; that is, a piano string must vibrate 256 times per second in order for the resultant note to be of pitch middle C. In a similar manner we determine the following frequencies:—
do re mi fa sol la si do C D E F G A B C' 256 288 320 341 384 427 480 512
The pitch of pianos, from the lowest bass note to the very highest treble, varies from 27 to about 3500 vibrations per second. No human voice, however, has so great a range of tone; the highest soprano notes of women correspond to but 1000 vibrations a second, and the deepest bass of men falls but to 80 vibrations a second.
While the human voice is limited in its production of sound,—rarely falling below 80 vibrations a second and rarely exceeding 1000 vibrations a second,—the ear is by no means limited to that range in hearing. The chirrup of a sparrow, the shrill sound of a cricket, and the piercing shrieks of a locomotive are due to far greater frequencies, the number of vibrations at times equaling 38,000 per second or more.
264. The Musical Scale. When we talk, the pitch of the voice changes constantly and adds variety and beauty to conversation; a speaker whose tone, or pitch, remains too constant is monotonous and dull, no matter how brilliant his thoughts may be.
While the pitch of the voice changes constantly, the changes are normally gradual and slight, and the different tones merge into each other imperceptibly. In music, however, there is a well-defined interval between even consecutive notes; for example, in the musical scale, middle C (do) with 256 vibrations is followed by D (re) with 288 vibrations, and the interval between these notes is sharp and well marked, even to an untrained ear. The interval between two notes is defined as the ratio of the frequencies; hence, the interval between C and D (do and re) is 288/256, or 9/8. Referring to Section 263, we see that the interval between C and E is 320/256, or 5/4, and the interval between C and C' is 512/256, or 2; the interval between any note and its octave is 2.
The successive notes in one octave of the musical scale are related as follows:—
Key of C C D E F G A B C' No. of vibrations per sec. 256 288 320 341 384 427 480 512 Interval 9/8 5/4 4/3 3/2 5/3 15/8 2
The intervals of F and A are not strictly 4/3 and 5/3, but are nearly so; if F made 341.3 vibrations per second instead of 341; and if A made 426.6 instead of 427, then the intervals would be exactly 4/3 and 5/3. Since the real difference is so slight, we can assume the simpler ratios without appreciable error.
Any eight notes whose frequencies are in the ratio of 9/8, 5/4, etc., will when played in succession give the familiar musical scale; for example, the deepest bass voice starts a musical scale whose notes have the frequencies 80, 90, 100, 107, 120, 133, 150, 160, but the intervals here are identical with those of a higher scale; the interval between C and D, 80 and 90, is 9/8, just as it was before when the frequencies were much greater; that is, 256 and 288. In singing "Home, Sweet Home," for example, a bass voice may start with a note vibrating only 132 times a second; while a tenor may start at a higher pitch, with a note vibrating 198 times per second, and a soprano would probably take a much higher range still, with an initial frequency of 528 vibrations per second. But no matter where the voices start, the intervals are always identical. The air as sung by the bass voice would be represented by A. The air as sung by the tenor voice would be represented by B. The air as sung by the soprano voice would be represented by C.
CHAPTER XXVIII
MUSICAL INSTRUMENTS
265. Musical instruments maybe divided into three groups according to the different ways in which their tones are produced:—
First. The stringed instruments in which sound is produced by the vibration of stretched strings, as in the piano, violin, guitar, mandolin.
Second. The wind instruments in which sound is produced by the vibrations of definite columns of air, as in the organ, flute, cornet, trombone.
Third. The percussion instruments, in which sound is produced by the motion of stretched membranes, as in the drum, or by the motion of metal disks, as in the tambourines and cymbals.
266. Stringed Instruments. If the lid of a piano is opened, numerous wires are seen within; some long, some short, some coarse, some fine. Beneath each wire is a small felt hammer connected with the keys in such a way that when a key is pressed, a string is struck by a hammer and is thrown into vibration, thereby producing a tone.
If we press the lowest key, that is, the key giving forth the lowest pitch, we see that the longest wire is struck and set into vibration; if we press the highest key, that is, the key giving the highest pitch, we see that the shortest wire is struck. In addition, it is seen that the short wires which produce the high tones are fine, while the long wires which produce the low tones are coarse. The shorter and finer the wire, the higher the pitch of the tone produced. The longer and coarser the wire, the lower the pitch of the tone produced.
The constant striking of the hammers against the strings stretches and loosens them and alters their pitch; for this reason each string is fastened to a screw which can be turned so as to tighten the string or to loosen it if necessary. The tuning of the piano is the adjustment of the strings so that each shall produce a tone of the right pitch. When the strings are tightened, the pitch rises; when the strings are loosened, the pitch falls.
What has been said of the piano applies as well to the violin, guitar, and mandolin. In the latter instruments the strings are few in number, generally four, as against eighty-eight in the piano; the hammer of the piano is replaced in the violin by the bow, and in the guitar by the fingers; varying pitches on any one string are obtained by sliding a finger of the left hand along the wire, and thus altering its length.
Frequent tuning is necessary, because the fine adjustments are easily disturbed. The piano is the best protected of all the stringed instruments, being inclosed by a heavy framework, even when in use.
267. Strings and their Tones. Fasten a violin string to a wooden frame or box, as shown in Figure 181, stretching it by means of some convenient weight; then lay a yardstick along the box in order that the lengths may be determined accurately. If the stretched string is plucked with the fingers or bowed with the violin bow, a clear musical sound of definite pitch will be produced. Now divide the string into two equal parts by inserting the bridge midway between the two ends; and pluck either half as before. The note given forth is of a decidedly higher pitch, and if by means of the siren we compare the pitches in the two cases, we find that the note sounded by the half wire is the octave of the note sounded by the entire wire; the frequency has been doubled by halving the length. If now the bridge is placed so that the string is divided into two unequal portions such as 1:3 and 2:3, and the shorter portion is plucked, the pitch will be still higher; the shorter the length plucked, the higher the pitch produced. This movable bridge corresponds to the finger of the violinist; the finger slides back and forth along the string, thus changing the length of the bowed portion and producing variations in pitch.
If there were but one string, only one pitch could be sounded at any one time; the additional strings of the violin allow of the simultaneous production of several tones.
268. The Freedom of a String. Some stringed instruments give forth tones which are clear and sweet, but withal thin and lacking in richness and fullness. The tones sounded by two different strings may agree in pitch and loudness and yet produce quite different effects on the ear, because in one case the tone may be much more pleasing than in the other. The explanation of this is, that a string may vibrate in a number of different ways.
Touch the middle of a wire with the finger or a pencil (Fig. 182), thus separating it into two portions and draw a violin bow across the center of either half. Only one half of the entire string is struck, but the motion of this half is imparted to the other half and throws it into similar motion, and if a tiny A-shaped piece of paper or rider is placed upon the unbowed half, it is hurled off.
If the wire is touched at a distance of one third its length and a bow is drawn across the middle of the smaller portion, the string will vibrate in three parts; we cannot always see these various motions in different parts of the string, but we know of their existence through the action of the riders.
Similarly, touching the wire one fourth of its length from an end makes it vibrate in four segments; touching it one fifth of its length makes it vibrate in five segments.
In the first case, the string vibrated as a whole string and also as two strings of half the length; hence, three tones must have been given out, one tone due to the entire string and two tones due to the segments. But we saw in Section 267 that halving the length of a string doubles the pitch of the resulting tone, and produces the octave of the original tone; hence a string vibrating as in Figure 183 gives forth three tones, one of which is the fundamental tone of the string, and two of which are the octave of the fundamental tone. Hence, the vibrating string produces two sensations, that of the fundamental note and of its octave.
When a string is plucked in the middle without being held, it vibrates simply as a whole (Fig. 184), and gives forth but one note; this is called the fundamental. If the string is made to vibrate in two parts, it gives forth two notes, the fundamental, and a note one octave higher than the fundamental; this is called the first overtone. When the string is made to move as in Figure 183, three distinct motions are called forth, the motion of the entire string, the motion of the portion plucked, and the motion of the remaining unplucked portion of the string. Here, naturally, different tones arise, corresponding to the different modes of vibration. The note produced by the vibration of one third of the original string is called the second overtone.
The above experiments show that a string is able to vibrate in a number of different ways at the same time, and to emit simultaneously a number of different tones; also that the resulting complex sound consists of the fundamental and one or more overtones, and that the number of overtones present depends upon how and where the string is plucked.
269. The Value of Overtones. The presence of overtones determines the quality of the sound produced. If the string vibrates as a whole merely, the tone given out is simple, and seems dull and characterless. If, on the other hand, it vibrates in such a way that overtones are present, the tone given forth is full and rich and the sensation is pleasing. A tuning fork cannot vibrate in more than one way, and hence has no overtones, and its tone, while clear and sweet, is far less pleasing than the same note produced by a violin or piano. The untrained ear is not conscious of overtones and recognizes only the strong dominant fundamental. The overtones blend in with the fundamental and are so inconspicuously present that we do not realize their existence; it is only when they are absent that we become aware of the beauty which they add to the music. A song played on tuning forks instead of on strings would be lifeless and unsatisfying because of the absence of overtones.
It is not necessary to hold finger or pencil at the points 1:3, 1:4, etc., in order to cause the string to vibrate in various ways; if a string is merely plucked or bowed at those places, the result will be the same. It is important to remember that no matter where a string of definite length is bowed, the note most distinctly heard will be the fundamental; but the quality of the emitted tone will vary with the bowing. For example, if a string is bowed in the middle, the effect will be far less pleasing than though it were bowed near the end. In the piano, the hammers are arranged so as to strike near one end of the string, at a distance of about 1:7 to 1:9; and hence a large number of overtones combine to reenforce and enrich the fundamental tone.
270. The Individuality of Instruments. It has been shown that a piano string when struck by a hammer, or a violin string when bowed, or a mandolin string when plucked, vibrates not only as a whole, but also in segments, and as a result gives forth not a simple tone, as we are accustomed to think, but a very complex tone consisting of the fundamental and one or more overtones. If the string whose fundamental note is lower C (128 vibrations per second) is thrown into vibration, the tone produced may contain, in addition to the prominent fundamental, any one or more of the following overtones: C', G'', C'', E'', C''', etc.
The number of overtones actually present depends upon a variety of circumstances: in the piano, it depends largely upon the location of the hammer; in the violin, upon the place and manner of bowing. Mechanical differences in construction account for prominent and numerous overtones in some instruments and for feeble and few overtones in others. The oboe, for example, is so constructed that only the high overtones are present, and hence the sound gives a "pungent" effect; the clarinet is so constructed that the even-numbered overtones are killed, and the presence of only odd-numbered overtones gives individuality to the instrument. In these two instruments we have vibrating air columns instead of vibrating strings, but the laws which govern vibrating strings are applicable to vibrating columns of air, as we shall see later. It is really the presence or absence of overtones which enables us to distinguish the note of the piano from that of the violin, flute, or clarinet. If overtones could be eliminated, then middle C, or any other note on the piano, would be indistinguishable from that same note sounded on any other instrument. The fundamental note in every instrument is the same, but the overtones vary with the instrument and lend individuality to each. The presence of high overtones in the oboe and the presence of odd-numbered overtones in the clarinet enable us to distinguish without fail the sounds given out by these instruments.
The richness and individuality of an instrument are due, not only to the overtones which accompany the fundamental, but also to the "forced" vibrations of the inclosing case, or of the sounding board. If a vibrating tuning fork is held in the hand, the sound will be inaudible except to those quite near; if, however, the base of the fork is held against the table, the sound is greatly intensified and becomes plainly audible throughout the room.
The vibrations of the fork are transmitted to the table top and throw it into vibrations similar to its own, and these additional vibrations intensify the original sound. Any fork, no matter what its frequency, can force the surface of the table into vibration, and hence the sound of any fork will be intensified by contact with a table or box.
This is equally true of strings; if stretched between two posts and bowed, the sound given out by a string is feeble, but if stretched over a sounding board, as in the piano, or over a wooden shell, as in the violin, the sound is intensified. Any note of the instrument will force the sounding body to vibrate, thus reenforcing the volume of sound, but some tones, or modes of vibration, do this more easily than others, and while the sounding board or shell always responds, it responds in varying degree. Here again we have not only enrichment of sound but also individuality of instruments.
271. The Kinds of Stringed Instruments. Stringed instruments may be grouped in the following three classes:—
a. Instruments in which the strings are set into motion by hammers—piano.
b. Instruments in which the strings are set into motion by bowing—violin, viola, violoncello, double bass.
c. Instruments in which the strings are set into motion by plucking—harp, guitar, mandolin.
a. The piano is too well known to need comment. In passing, it may be mentioned that in the construction of the modern concert piano approximately 40,000 separate pieces of material are used. The large number of pieces is due, partly, to the fact that the single string corresponding to any one key is usually replaced by no less than three or four similar strings in order that greater volume of sound may be obtained. The hammer connected to a key strikes four or more strings instead of one, and hence produces a greater volume of tone.
b. The viola is larger than the violin, has heavier and thicker strings, and is pitched to a lower key; in all other respects the two are similar. The violoncello, because of the length and thickness of its strings, is pitched a whole octave lower than the violin; otherwise it is similar. The unusual length and thickness of the strings of the double bass make it produce very low notes, so that it is ordinarily looked upon as the "bass voice" of the orchestra.
c. The harp has always been considered one of the most pleasing and perfect of musical instruments. Here the skilled performer has absolutely free scope for his genius, because his fingers can pluck the strings at will and hence regulate the overtones, and his feet can regulate at will the tension, and hence the pitch of the strings.
Guitar and mandolin are agreeable instruments for amateurs, but are never used in orchestral music.
272. Wind Instruments. In the so-called wind instruments, sound is produced by vibrating columns of air inclosed in tubes or pipes of different lengths. The air column is thrown into vibration either directly, by blowing across a narrow opening at one end of a pipe as in the case of the whistle, or indirectly, by exciting vibrations in a thin strip of wood or metal, called a reed, which in turn communicates its vibrations to the air column within.
The shorter the air column, the higher the pitch. This agrees with the law of vibrating strings which gives high pitches for short lengths.
The pitch of the sound emitted by a column of air vibrating within a pipe varies according to the following laws:
1. The shorter the pipe, the higher the pitch.
2. The pitch of a note emitted by an open pipe is one octave higher than that of a closed pipe of equal length.
3. Air columns vibrate in segments just as do strings, and the tone emitted by a pipe of given length is complex, consisting of the fundamental and one or more overtones. The greater the number of overtones present, the richer the tone produced.
273. How the Various Pitches are Produced. With a pipe of fixed length, for example, the clarinet (Fig. 189, 1), different pitches are obtained by pressing keys which open holes in the tube and thus shorten or lengthen the vibrating air column and produce a rise or fall in pitch. Changes in pitch are also produced by variation in the player's breathing. By blowing hard or gently, the number of vibrations of the reed is increased or decreased and hence the pitch is altered.
In the oboe (Fig. 189, 2) the vibrating air column is set into motion by means of two thin pieces of wood or metal placed in the mouthpiece of the tube. Variations in pitch are produced as in the clarinet by means of stops and varied breathing. In the flute, the air is set into motion by direct blowing from the mouth, as is done, for instance, when we blow into a bottle or key.
The sound given out by organ pipes is due to air blown across a sharp edge at the opening of a narrow tube. The air forced across the sharp edge is thrown into vibration and communicates its vibration to the air within the organ pipe. For different pitches, pipes of different lengths are used: for very low pitches long, closed pipes are used; for very high pitches short, open pipes are used. The mechanism of the organ is such that pressing a key allows the air to rush into the communicating pipe and a sound is produced characteristic of the length of the pipe.
In the brass wind instruments such as horn, trombone, and trumpet, the lips of the player vibrate and excite the air within. Varying pitches are obtained partly by the varying wind pressure of the musician; if he breathes fast, the pitch rises; if he breathes slowly, the pitch falls. All of these instruments, however, except the trombone possess some valves which, on being pressed, vary the length of the tube and alter the pitch accordingly. In the trombone, valves are replaced by a section which slides in and out and shortens or lengthens the tube.
274. The Percussion Instruments. The percussion instruments, including kettledrums, bass drums, and cymbals, are the least important of all the musical instruments; and are usually of service merely in adding to the excitement and general effect of an orchestra.
In orchestral music the various instruments are grouped somewhat as shown in Figure 192.
CHAPTER XXIX
SPEAKING AND HEARING
275. Speech. The human voice is the most perfect of musical instruments. Within the throat, two elastic bands are attached to the windpipe at the place commonly called Adam's apple; these flexible bands have received the name of vocal cords, since by their vibration all speech is produced. In ordinary breathing, the cords are loose and are separated by a wide opening through which air enters and leaves the lungs. When we wish to speak, muscular effort stretches the cords, draws them closer together, and reduces the opening between them to a narrow slit, as in the case of the organ pipe. If air from the lungs is sent through the narrow slit, the vocal cords or bands are thrown into rapid vibration and produce sound. The pitch of the sound depends upon the tension of the stretched membranes, and since this can be altered by muscular action, the voice can be modulated at will. In times of excitement, when the muscles of the body in general are in a state of great tension, the pitch is likely to be uncommonly high.
Women's voices are higher than men's because the vocal cords are shorter and finer; even though muscular tension is relaxed and the cords are made looser, the pitch of a woman's voice does not fall so low as that of a man's voice since his cords are naturally much longer and coarser. The difference between a soprano and an alto voice is merely one of length and tension of the vocal cords.
Successful singing is possible only when the vocal cords are readily flexible and when the singer can supply a steady, continuous blast of air through the slit between the cords. The hoarseness which frequently accompanies cold in the head is due to the thickening of the mucous membrane and to the filling up of the slit with mucus, because when this happens, the vocal cords cannot vibrate properly.
The sounds produced by the vocal cords are transformed into speech by the help of the tongue and lips, which modify the shape of the mouth cavity. Some of the lower animals have a speaking apparatus similar to our own, but they cannot perfectly transform sound into speech. The birds use their vocal cords to beautiful advantage in singing, far surpassing us in many ways, but the power of speech is lacking.
276. The Ear. The pulses created in the air by a sounding body are received by the ear and the impulses which they impart to the auditory nerve pass to the brain and we become conscious of a sound. The ear is capable of marvelous discrimination and accuracy. "In order to form an idea of the extent of this power imagine an auditor in a large music hall where a full band and chorus are performing. Here, there are sounds mingled together of all varieties of pitch, loudness, and quality; stringed instruments, wood instruments, brass instruments, and voices, of many different kinds. And in addition to these there may be all sorts of accidental and irregular sounds and noises, such as the trampling and shuffling of feet, the hum of voices, the rustle of dress, the creaking of doors, and many others. Now it must be remembered that the only means the ear has of becoming aware of these simultaneous sounds is by the condensations and rarefactions which reach it; and yet when the sound wave meets the nerves, the nerves single out each individual element, and convey to the mind of the hearer, not only the tones and notes of every instrument in the orchestra, but the character of every accidental noise; and almost as distinctly as if each single tone or noise were heard alone."—POLE.
277. The Structure of the Ear. The external portion of the ear acts as a funnel for catching sound waves and leading them into the canal, where they strike upon the ear drum, or tympanic membrane, and throw it into vibration. Unless the ear drum is very flexible there cannot be perfect response to the sound waves which fall upon it; for this reason, the glands of the canal secrete a wax which moistens the membrane and keeps it flexible. Lying directly back of the tympanic membrane is a cavity filled with air which enters by the Eustachian tube; from the throat air enters the Eustachian tube, moves along it, and passes into the ear cavity. The dull crackling noise noticed in the ear when one swallows is due to the entrance and exit of air in the tube. Several small bones stretch across the upper portion of the cavity and make a bridge, so to speak, from the ear drum to the far wall of the cavity. It is by means of these three bones that the vibrations of the ear drum are transmitted to the inner wall of the cavity. Behind the first cavity is a second cavity so complex and irregular that it is called the labyrinth of the ear. This labyrinth is filled with a fluid in which are spread out the delicate sensitive fibers of the auditory nerves; and it is to these that the vibrations must be transmitted. |
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