Provide a long, flat glass ruler or rod, as in the engraving, and cement it with mastic to the edge of a drinking-glass fixed into a wooden stand; support the other end of the rod very lightly on a piece of cork, and strew its upper surface with sand; set the glass in vibration by a bow, at a point opposite where the rod meets it, and the motions will be communicated to the rod without any change in their direction. If the apparatus be inverted, and sand be strewed on the under side of the rod, the figures will be seen to correspond with those produced on the upper surface.
Provide two discs of metal or glass, precisely of the same dimensions, and a glass or metal rod; cement the two discs at their centres to the two ends of the rod, as in the engraving, and strew their upper surfaces with sand. Cause one of the discs, viz. the upper one, to vibrate by a bow, and its vibration will be exactly imitated by the lower disc, and the sand strewed over both will arrange itself in precisely the same forms on both discs. But if, separately, they do not agree in their tones, the figures on them will not correspond.
Pour sparkling champagne into a glass until it is half full, when the glass will lose its power of ringing by a stroke upon itsedges, and will emit only a disagreeable and puffy sound. Nor will the glass ring while the wine is brisk, and filled with air-bubbles; but, as the effervescence subsides, the sound will become clearer and clearer, and when the air bubbles have entirely disappeared, the glass will ring as usual. If a crumb of bread be thrown into the champagne, and effervescence be re-produced, the glass will again cease to ring. The same experiment will also succeed with soda-water, ginger wine, or any other effervescing liquid.
If a line of broad palisades, set edgewise in a line directed from the ear, and at even distances from each other, be struck at the end nearest the auditor, they will reflect the sound of the blow, and produce a succession of echoes: these, from the equal distance of the palisades, will reach the ear at equal intervals of time, and will, therefore, produce the effect of a number of impulses originating in one point. Thus, a musical note will be heard.
If you cause the tongue of this little instrument to vibrate, it will produce a very low sound; but, if you place it before a cavity, (as the mouth,) containing a column of air, which vibrates much faster, but in the proportion of any simple multiple, it will then produce other higher sounds, dependent upon the reciprocation of that portion of the air. Now, the bulk of air in the mouth can be altered in its form, size, and other circumstances, so as to produce by reciprocation, many different sounds; and these are the sounds belonging to the Jew’s Harp.
A proof of this fact has been given by Mr. Eulenstein, who fitted into a long metallic tube a piston, which, being moved, could be made to lengthen or shorten the efficient column of air within at pleasure. A Jew’s Harp was then so fixed that it could be made to vibrate before the mouth of the tube, and it was found that the column of air produced a series of sounds, according as it was lengthened or shortened; a sound being produced whenever the length of the column was such that its vibrations were a multiple of those of the Jew’s Harp.
Place a garden-snail upon a pane of glass, and in drawing itself along, it will frequently produce sounds similar to those of musical glasses.
Make one string to sound, and its vibrations will, with much force, be transferred to the next string: this transference may be seen by placing a saddle of paper (like an inverted v, Λ) upon the string, at first in a state of rest. When this stringhearsthe other, the saddle will be shaken, or fall off; when both strings are in harmony, the paper will be very little, or not at all, shaken.
Provide a straight rod of glass or metal; strike it at the end in the direction of its length, or rub it lengthwise with a moistened finger, and it will yield a musical sound, which, unless its length be very great, will be of an extremely acute pitch; much more so than in the case of a column of air of the same length, as in aflute. The reason of this is the greater velocity with which sound is propagated in solids than in the air. If the rod be metal, the friction will be found to succeed best when made with a bit of cloth, sprinkled with powdered resin; or, if of glass, the cloth or the finger may be moistened and touched with some very fine sand or pumice powder.
Generally speaking, a fiddle-bow, well resined, is the readiest and most convenient means of setting solid bodies in vibration. To bring out their gravest or fundamental tones, the bow must be pressed hard and drawn slowly; but, for the higher harmonies, a short, swift stroke, with light pressure, is most proper.
Take a common tuning-fork, and on one of its branches fasten with sealing-wax a circular piece of card, of the size of a small wafer, or sufficient nearly to cover the aperture of a pipe, as the sliding of the upper end of a flute with the mouth stopped: it may be tuned in unison with the loaded tuning-fork (a C fork), by means of the moveable stopper or card, or the fork may be loaded till the unison is perfect. Then set the fork in vibration by a blow on the unloaded branch, and hold the card closely over the mouth of the pipe, as in the engraving, when a note of surprising clearness and strength will be heard. Indeed, a flute may be made to “speak” perfectly well, by holding close to the opening a vibrating tuning-fork, while the fingering proper to the note of the fork is at the same time performed.
Provide two glass bottles, and tune them by pouring water into them, so that each corresponds to the sound of a different tuning-fork. Then apply both tuning-forks to the mouth of each bottle alternately, when that sound only will be heard, in each case, which is reciprocated by the unisonant bottle, or, in other words, by that bottle which contains a column of air susceptible of vibrating in unison with the fork.
Apartments of a circular or elliptical form are best calculated for the exhibition of this phenomenon. If a person stand near the wall, with his face turned to it, and whisper a few words, they may be more distinctly heard at nearly the opposite side of the apartment, than if the listener was situated nearer to the speaker.
Provide a species of whistle, common as a child’s toy or a sportsman’s call, in the form of a hollow cylinder, about three-fourths of an inch in diameter, closed at both ends by flat circular plates, with holes in their centres. Hold this toy between the teeth and lips; blow through it, and you may produce sounds varying in pitch with the force with which you blow. If the air be cautiously graduated, all the sounds within the compass of a double octave may be produced from it; and, if great precaution be taken in the management of the wind, tones even yet graver may be brought out. This simple instrument or toy, has, indeed, the greatest resemblance to the larynx, which is the organ of voice.
A speaking-machine has been invented in Germany, with whichhave been distinctly pronounced the words,mamma,papa,mother,father,summer. This instrument consists of a pair of bellows, to which is adapted a tube terminating in a bell, the aperture of which is regulated by the hand, so as to produce the articulate sounds.
Whisper along the bare wall of an apartment, and you will be heard much further than in the middle of the room; for the trough or angle between the wall and the floor, forms two sides of a square pipe which conveys the sound.
The experiment with the glass of champagne (page 40) has been employed by Humboldt, in explanation of the greater audibility of distant sounds by night than by day. This he attributes to the uniformity of temperature in the atmosphere by night, when currents of air no longer rise and disturb its equilibrium; as the air-bubbles in the champagne interfere with the vibration within the glass. Again, the universal and dead silence generally prevalent at night, renders our auditory nerves sensible to sounds which would otherwise escape them, and which are inaudible among the continual hum of noises which is always going on in the day time.
If a noise be made in a narrow passage, or apartment of regular form, the echoes will be repeated at equal very small intervals, and will always impress the ear with a musical note. This is, doubtless, one of the means which blind persons have of judging of the size and shape of any room they happen to be in.
The main secret of this surprising art simply consists in first making a strong and deep inspiration, by which a considerable quantity of air is introduced into the lungs, to be afterwards acted upon by the flexible powers of the larynx, or cavity situated behind the tongue, and the trachea, or windpipe: thus prepared, the expiration should be slow and gradual. Any person, by practice, can, therefore, obtain more or less expertness in this exercise; in which, though not apparently, the voice is still modified by the mouth and tongue; and it is in the concealment of this aid, that much of the perfection of ventriloquism lies.
But the distinctive character of ventriloquism consists in its imitations being performed by the voiceseemingto come from the stomach: hence its name, fromventer, the stomach, andloquor, to speak. Although the voice does not actually come from that region, in order to enable the ventriloquist to utter sounds from the larynx without moving the muscles of his face, he strengthens them by a powerful action of the abdominal muscles. Hence, he speaks by means of his stomach; although the throat is the real source from whence the sound proceeds. It should, however, be added, that this speaking distinctly, without any movement of the lips at all, is the highest perfection of ventriloquism, and has but rarely been attained. Thus, MM. St. Gille and Louis Brabant, two celebrated French ventriloquists, appeared to be absolutely mute while exercising their art, and no change in their countenances could be discovered.
It has lately been shown, that some ventriloquists have acquired by practice the power of exercising the veil of the palate in such a manner, that, by raising or depressing it, they dilate or contract the inner nostrils. If they are closely contracted, the sound producedis weak, dull, and seems to be more or less distant; if, on the contrary, these cavities are widely dilated, the sound will be strengthened, the voice become loud, and apparently close to us.
Another of the secrets of ventriloquism, is the uncertainty with respect to the direction of sounds. Thus, if we place a man and a child in the same angle of uncertainty, and the man speaks with the accent of a child, without any corresponding motion in his mouth or face, we shall necessarily believe that the voice comes from the child. In this case, the belief is so strengthened by the imagination; for if we were directed to a statue, as the source from which we were to expect sounds to issue, we should still be deceived, and refer the sounds to the lifeless stone or marble. This illusion will be greatly assisted by the voice being totally different in tone and character from that of the man from whom it really comes. Thus, we see how easy is the deception when the sounds are required to proceed from any given object, and are such as they actually yield.
The ventriloquists of our time, as M. Alexander and M. Fitz-James, have carried their art still further. They have not only spoken by the muscles of the throat and the abdomen, without moving those of the face, but have so far overcome the uncertainty of sound, as to become acquainted with modifications of distance, obstruction, and other causes, so to imitate them with the greatest accuracy. Thus, each of these artists has succeeded in carrying on a dialogue; and each, in his own single person and with his own single voice, has represented a scene apparently with several actors. These ventriloquists have likewise possessed such power over their faces and figures, that, aided by rapid changes of dress, their personal identity has scarcely been recognised among the range of personations.
Vocal imitations are much less striking and ingenious than the feats of ventriloquism. Extraordinary varieties of voice may be produced, by speaking with a more acute or grave pitch than usual, and by different contractions of the mouth. Thus may be imitated the grinding of cutlery on a wheel, the sawing of wood, the frying of a pancake, the uncorking of a bottle, and the gurgling noise in emptying its contents.
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