Altered Sensations: Rudolph Koenig’s Acoustical Workshop in - download pdf or read online
By David Pantalony
Rudolph Koenig used to be one of many extra prolific and vibrant software makers within the popular nineteenth-century precision software exchange of Paris. starting his profession as a violin maker, in 1858 the younger Prussian immigrant shifted his skills in the direction of the turning out to be box of acoustics. Altered Sensations is a portrait of his vivid atelier, a spot of building, trade and scan. For over 40 years it used to be additionally a well-liked assembly position for scientists, artisans, musicians and lecturers. utilizing archival and assortment learn from throughout North American and Europe, David Pantalony has traced the cloth and social impacts of this house at the improvement of recent acoustics. specifically, he has precise the way during which Koenig changed, prolonged, unfold and challenged Hermann von Helmholtz's Sensations of Tone.
A huge a part of the study on Koenig comes from the particular items of his workshop which continue to exist in museums and collections world wide. the second one part of Altered Sensations presents a list Raisonné of Koenig’s complete line of tools, together with their heritage, info from particular examples, destinations, and references within the literature. This catalogue will function a realistic consultant for curators and researchers in addition to a complete review of nineteenth-century acoustical perform.
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Rudolph Koenig used to be one of many extra prolific and vibrant device makers within the well known nineteenth-century precision device alternate of Paris. starting his profession as a violin maker, in 1858 the younger Prussian immigrant shifted his skills in the direction of the starting to be box of acoustics. Altered Sensations is a portrait of his vivid atelier, a spot of development, trade and test.
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Additional info for Altered Sensations: Rudolph Koenig’s Acoustical Workshop in Nineteenth-Century Paris
There were plates with drawings of violin moulds of actual size, graduation maps (thickness contours) of model violins (Stradivarius), chisels or gouges for rough shaping, templates and forms for continuous fitting and checking of shape, oval planes for precision smoothing and shaping, rasps for shaping, gauging callipers for precision measurement of thickness, marking and measuring compasses, purfling chisels, violin maker’s knives, clamps, glues and varnishes. Making a violin involved measurement, countless corrections and comparisons with models and standards.
19. Millant (1972, p. 119) and Loudon (1901b, pp. 3–4). Today le Messie rests in a display case in the Hill Collection of Musical Instruments at the Ashmolean Museum, Oxford. 20. Campos (1998, p. 33). 21. I wish to thank Dennis Alexander, a Luthier of Aylmer, Quebec for his guidance on the art and traditions of violin making. 22. Heron-Allen (1885, p. 247). 23. , p. 126. 24. , pp. 125–139. 25. Millant (1972, p. 87). He once used the wood of an old bridge of Turin. Campos (1998, p. 25). 26. Heron-Allen (1885, p.
In 1827 it fell into the hands of the eccentric Italian violin collector, Luigi Tarisio, who guarded the violin in his apartment in Milan and often boasted of his possession on his selling trips to Paris. Upon Tarisio’s death in 1855, Vuillaume went to Milan and purchased the instrument, along with several others, from unsuspecting relatives. 19 In order to make faithful copies and do repairs, Vuillaume had dozens of skilled apprentices who were trained in precision woodwork. Even the smallest change in thickness or size of material had a significant impact on sound quality.
Altered Sensations: Rudolph Koenig’s Acoustical Workshop in Nineteenth-Century Paris by David Pantalony