By David Pantalony
Rudolph Koenig was once one of many extra prolific and vibrant software makers within the popular nineteenth-century precision tool exchange of Paris. starting his profession as a violin maker, in 1858 the younger Prussian immigrant shifted his abilities 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. For over 40 years it used to be additionally a well-liked assembly position for scientists, artisans, musicians and academics. utilizing archival and assortment learn from throughout North American and Europe, David Pantalony has traced the fabric and social impacts of this area at the improvement of recent acoustics. particularly, he has unique the way during 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 world wide. the second one portion of Altered Sensations presents a list Raisonné of Koenig’s whole line of tools, together with their background, 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 finished review of nineteenth-century acoustical perform.
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Extra info for Altered Sensations: Rudolph Koenig’s Acoustical Workshop in Nineteenth-Century Paris
The acoustical maker Albert Marloye had retired in the early 1850 s and one of the largest makers, Pixii, and their successors, Fabre et Kunemann, continued making these instruments for a short time. Their 1855 catalogue states: “Un des meilleurs élèves de M. ”47 That “student of Vuillaume” making “pipes and tuning forks” must have been Koenig. 48 The violin market was vast and competitive; the scientific instrument trade, by contrast, was smaller but growing. After doing contract work for Fabre and Kunemann, the 25-year old saw an opportunity to develop his own business.
61–65). Pantalony (2004a) and Simon (2004). Brenni (1994b). Brenni (1994c). Blondel (1997). Charles A. Young Diary 1853, p. 45, Young Papers, DCSC. Also see Pantalony (2004a). King Collection of Historic Scientific Instruments, acc. no. 34464. Also see Pantalony (2004a). Brenni (1995c, p. 119). King Collection of Historic Scientific Instruments, acc. no. 34026. David M. Stewart Museum (2002). Brenni (1991). Warner (1998, p. 294). Loudon (1901b, p. 5). See Mach’s apparatus with two reed mechanisms (University of Coimbra) signed “J.
11. 12. 13. 14. 15. 16. Henry Crew to Miller (1935), Miller Papers, Physics Department, Case University. C. McLennan to James Loudon, Sept. 4, 1898. UTA-JLP. Miller (1935, p. 91). Bedini (1961, 1966). In addition there are studies that place Divini and Campani in the context of seventeenth-century astronomy, see Bonelli (1981) and Helden (1994). Ames-Lewis (1983), Cadogan (2000), and Ladis (1995). Wackernagel (1981, pp. 308, 316, 320). McConnell (1994, 2007). Morrison-Low (2007, pp. 175–201). Jackson (2000).