By David Pantalony
Rudolph Koenig used to be one of many extra prolific and vibrant tool makers within the well known nineteenth-century precision tool exchange of Paris. starting his occupation as a violin maker, in 1858 the younger Prussian immigrant shifted his skills in the direction of the becoming box of acoustics. Altered Sensations is a portrait of his shiny 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 fabric and social impacts of this house at the improvement of contemporary acoustics. specifically, he has unique the way within which Koenig transformed, prolonged, unfold and challenged Hermann von Helmholtz's Sensations of Tone.
A huge a part of the examine on Koenig comes from the particular items of his workshop which live to tell the tale in museums and collections worldwide. the second one component of Altered Sensations presents a listing Raisonné of Koenig’s whole line of tools, together with their historical past, info 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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Extra info for Altered Sensations: Rudolph Koenig’s Acoustical Workshop in Nineteenth-Century Paris
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.
Unfortunately, Rudolph could not channel these abilities toward a formal education. He had great difficulty with the classical languages, a main requirement for graduating from the humanist orientated Kneiphöpf Gymnasium. The end of the year report for 1849, when he was approaching his senior year, showed that there was a large emphasis on Greek, Latin and Hebrew. Aside from the formal language courses, there were three courses devoted solely to Ovid, Homer and Virgil. In English, the students read, among several items, the Christmas Carol by Dickens and the Prisoner of Chillon by Byron.
In fact, he and Marloye had a falling out over the lower the limit of hearing. Brenni (1995a). 53. Turner (1977). 54. N. Moigno in Tyndall (1869, pp. viii–xi). Also see Brenni (1995a). Notes 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 17 Tyndall (1869, pp. viii–xi). Quoted in Morse (1896, p. 108). Also see Warner (1998, p. 3). Brenni (1993–1996). Hackmann (1985, pp. 61–65). Pantalony (2004a) and Simon (2004). Brenni (1994b). Brenni (1994c). Blondel (1997). Charles A.