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| 赫曼.冯.赫尔姆霍茨（Hermann von Helmholtz，1821——1894） | ||||||||||||||||||
纪念柏林爱乐音乐厅落成50周年庆典音乐会 |
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| 柏林爱乐音乐厅集美丽、庄严和卓越音响效果于一身，是一座古典音乐的圣殿。不仅如此，它的建筑和设计风格也对世界各地许多新建音乐厅起到了重要的影响作用。2013年10月，正值柏林爱乐落成50周年之际，柏林爱乐乐团、其首席指挥西蒙·拉特爵士以及许多重量级嘉宾携手献上了一场以“空间之声”为主题的大型庆典音乐会。 录制时间：2013年10月20日庆典音乐会：“柏林爱乐五十载——空间之声” | ||||||||||||||||||
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音乐历史上的今天
1894年9月8日，赫曼.冯.赫尔姆霍茨（Hermann von
Helmholtz，1821——1894）在柏林去世，终年73岁。他是音响效果学的创始人，也是检验镜的发明人。“赫尔姆霍茨的脑袋跟俾斯麦的大小相当，比瓦格纳的小一点儿，这两人都是大脑袋。算上血液的重量，这脑袋重1700克；不算血液，重1400克，比人脑的平均水平重100克。”（1895年3月7日出版的《心理学杂志》）。 |
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| 年轻的赫曼.冯.赫尔姆霍茨 | ||||||||||||||||||
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早年生活
赫尔姆霍茨是家中四个孩子中的老大，由于身体虚弱，他最初的七年是在家中度过的。他的父亲是波茨坦中学的哲学和文学教师，母亲则是宾夕法尼亚州创始人威廉·佩恩的后裔。从母亲那里，他继承了沉着冷静和内敛的性格，这一特质贯穿了他的一生。从父亲那里，他继承了丰富但复杂的知识背景。他的父亲教他古典语言，还教授法语、英语和意大利语。他还让他接触了伊曼努尔·康德和约翰·戈特利布·费希特的哲学，以及源自他们哲学见解的对自然的研究方法。在
19
世纪早期的研究者手中，这种“自然哲学”发展成为一种思辨科学，在这种科学中，人们认为科学结论可以由哲学思想推导得出，而非从对自然界观察所获得的实证数据中得出。赫尔姆霍茨后来的许多研究工作都致力于反驳这一观点。然而，他的经验主义思想始终深受其父亲所赋予的审美敏感性的深远影响，并且音乐和绘画在很大程度上也融入了他的科学研究之中。 |
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Early life Helmholtz was the eldest of four children and because of his delicate health was confined to home for his first seven years. His father was a teacher of philosophy and literature at the Potsdam Gymnasium, and his mother was descended from William Penn, the founder of Pennsylvania. From his mother came the calm and reserve that marked him all his life. From his father came a rich, but mixed, intellectual heritage. His father taught him the classical languages, as well as French, English, and Italian. He also introduced him to the philosophy of Immanuel Kant and Johann Gottlieb Fichte and to the approach to nature that flowed from their philosophical insights. This “Nature philosophy,” in the hands of early 19th-century investigators, became a speculative science in which it was felt that scientific conclusions could be deduced from philosophical ideas, rather than from empirical data gathered from observations of the natural world. Much of Helmholtz’s later work was devoted to refuting this point of view. His empiricism, however, was always deeply influenced by the aesthetic sensitivity passed on to him by his father, and music and painting played a large part in his science. |
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| 赫尔姆霍茨于 1856 年开始研究声学，其研究成果最终在 1863 年以《关于声音感觉作为音乐理论的生理基础》这一划时代著作的形式得以发表。赫尔姆霍茨将弗朗索瓦·傅里叶（1772 - 1837）的数学思想应用于音质（即音色）这一问题上。傅里叶发明了一种数学分析方法，证明任何周期性声波都可以表示为具有适当振幅、频率和相位的正弦波的总和。这为赫尔姆霍茨关于声音的简化理论铺平了道路，即所有复杂的声音都是由简单的音调组成的。赫尔姆霍茨还将这些想法应用到了人类对声音的感知上，他认为我们的耳朵对声音的分析方式与他的共鸣器类似，不同频率的振动从声音中被提取出来，并传递至不同的神经末梢。 | ||||||||||||||||||
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Helmholtz began
his work on acoustics in 1856, which culminated in the groundbreaking
publication of On the Sensation of Tone as a Physiological Basis for the
Theory of Music in 1863. Helmholtz applied the mathematical ideas of François Fourier (1772-1837) to the question of tonal quality, or timbre. Fourier had invented a type of mathematical analysis that demonstrated that any periodic sound wave can be represented as the sum of sine waves having the appropriate amplitude, frequency and phase. This led the way to Helmholtz's reductionist ideas about sound, whereby all complex sounds are composed of simple tones. Helmholtz further applied these ideas to the human perception of sound, arguing that our ears analyze sounds in a similar way to his resonators, with vibrations of different frequencies being extracted from the sound and sent to different nerve endings. |
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作为“现代声学之父”赫曼.冯.赫尔姆霍茨当之无愧 |
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赫尔曼·冯·赫尔姆霍茨在声学和音响学领域的贡献是奠基性和革命性的。他不仅是一位杰出的物理学家和生理学家，更是现代声学理论的创始人之一。 他的主要贡献可以概括为以下几个核心方面： 1. 开创性的著作《论音的感觉》（On the Sensations of Tone） 这本出版于1863年的巨著是赫尔姆霍茨在声学上最不朽的贡献。它首次系统地将声音的物理产生、传播与人的生理感知（心理学）联系起来，创立了心理声学（Psychoacoustics） 这门交叉学科。这本书至今仍是声学领域的经典必读文献。 2. 共振理论（Resonance Theory）与听觉的“部位说” 亥姆霍兹提出了解释人耳如何感知音高的共振学说，也称为“部位说”（Place Theory）。 · 核心思想：他认为耳蜗内的基底膜（Basilar Membrane） 就像一台精密的频谱分析仪。膜上不同部位的纤维会对不同频率的声音产生共振。 · 工作机制：高频率声音使耳蜗底部的纤维共振，而低频率声音使顶部的纤维共振。这些共振刺激不同的听觉神经纤维，大脑从而解读出不同的音高。 · 意义：这一理论虽然在后世被乔治·冯·贝凯希（Georg von Békésy）的“行波理论”（Traveling Wave Theory）修正和细化，但其核心思想——不同频率在基底膜上有对应的反应位置——是完全正确的，并为现代听觉生理学奠定了基础。 3. 对音色（Timbre）的科学解释 赫尔姆霍茨之前，音色（为何不同乐器演奏同一音高听起来却不同）是一个神秘的概念。 · 贡献：他运用傅里叶分析的原理，明确指出音色是由声音的谐波结构（即频谱）决定的。 · 理论：任何复杂的乐音都可以分解为一系列频率为基频整数倍的简谐振动（即谐波或泛音） 的叠加。不同乐器发出的同一个音高（基频相同），其谐波（如二次、三次谐波等）的强度（振幅）分布不同，这就形成了独特的音色。 · 工具：为了验证这一理论，他发明并使用了一系列精巧的声学仪器，其中最著名的是亥姆霍兹共鸣器（Helmholtz Resonator）。 4. 发明赫尔姆霍茨共鸣器（Helmholtz Resonator） 这是一个具有特定设计（有一个细颈和一个球状空腔）的器皿。 · 功能：每个共鸣器都被设计为只对某一个特定的频率（及其附近的窄带频率）产生强烈的共振。 · 用途：赫尔姆霍茨利用一组不同大小的共鸣器，像一套“声学滤镜”一样，去分析和测量复杂声音（如乐音）中所包含的各个频率成分。这是他验证音色谐波理论的关键实验工具。 5. 对和声与协和感的物理学解释 他从声学物理的角度深入分析了音乐理论中的问题。 · 贡献：解释了为什么某些音程（如八度、五度）是“协和”的，而另一些则是“不协和”的。 · 理论：他认为协和感源于声波振动的数学规律性。协和音程的两个音，其频率比是简单的整数比（如八度是2:1，五度是3:2），它们的谐波序列有大量重叠，听起来平滑。而不协和音程的频率比复杂，谐波相互之间会产生剧烈的“拍音”（beats），让人感到刺耳。这为和声学提供了坚实的科学基础。 总结 赫尔曼·冯·赫尔姆霍茨的贡献远不止于提出几个理论或发明几件仪器。他的伟大之处在于： · 跨学科融合：成功地将物理学、生理学和心理学融为一体，创造了心理声学。 · 定量化分析：首次用精确的物理和数学方法（如谐波分析、共振原理）来解释主观的听觉现象（如音高、音色、协和感）。 · 奠定现代基础：他的工作为后来的听觉研究、音乐声学、电声学（如扬声器设计）、语音识别和合成等技术领域奠定了最核心的理论基础。 因此，他被誉为“现代声学之父”是当之无愧的。——（田润德整理） |
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| 赫尔姆霍茨谐振器 Helmholtz Resonators | ||||||||||||||||||
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| 上图展示了设计精良且制造完善的消音器内部结构。平行管道上布满了小孔，以便让声音向侧面扩散。管道之间的间距经过精心设定，使得来自每根管道的不同频率的波相互干扰并相互抵消。管道末端的空腔是一个亥姆霍兹共鸣器，该名称是以德国科学家和医生赫尔曼·冯·赫尔姆霍茨的名字命名的。 | ||||||||||||||||||
| As the "father of modern acoustics", Hermann von Helmholtz truly deserves this title. | ||||||||||||||||||
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Hermann von
Helmholtz made foundational and revolutionary contributions in the
fields of acoustics and audiology. He was not only an outstanding
physicist and physiologist, but also one of the founders of modern
acoustic theory. His main contributions can be summarized in the following core aspects: 1. The pioneering work "On the Sensations of Tone" (published in 1863) is Helmholtz's most enduring contribution in acoustics. This monumental book systematically linked the physical generation and propagation of sound with the physiological perception (psychology) of humans, establishing the interdisciplinary field of psychoacoustics. This book remains a classic and must-read literature in the field of acoustics to this day. 2. Resonance Theory and the "Site Theory" of Hearing Helmholtz proposed a resonance theory to explain how the human ear perceives pitch, also known as the "site theory". · Core idea: He believed that the basilar membrane in the cochlea acts like a precise spectrum analyzer. Different parts of the membrane's fibers resonate to different frequencies of sound. · Working mechanism: High-frequency sounds cause the fibers at the bottom of the cochlea to resonate, while low-frequency sounds cause those at the top to resonate. These resonances stimulate different auditory nerve fibers, and the brain interprets them as different pitches. · Significance: Although this theory was later revised and refined by Georg von Bekesy's "Traveling Wave Theory", its core idea - that different frequencies have corresponding reaction positions on the basilar membrane - is entirely correct and laid the foundation for modern auditory physiology. 3. Scientific explanation of timbre Before Helmholtz, the concept of timbre (why different musical instruments sound different when playing the same pitch) was a mysterious one. · Contribution: He used the principle of Fourier analysis to clearly state that timbre is determined by the harmonic structure (i.e., the spectrum) of the sound. · Theory: Any complex sound can be decomposed into a series of harmonic vibrations (i.e., harmonics or overtones) of frequencies that are integer multiples of the fundamental frequency. For the same pitch (fundamental frequency) emitted by different musical instruments, the intensity (amplitude) distribution of their harmonics (such as the second and third harmonics, etc.) is different, thus forming a unique timbre. · Tools: To verify this theory, he invented and used a series of sophisticated acoustic instruments, among which the most famous is the Helmholtz Resonator. 4. Invention of the Helmholtz Resonator This is a vessel with a specific design (a thin neck and a spherical cavity). · Function: Each resonator is designed to resonate strongly only at a specific frequency (and a narrow band of frequencies nearby). · Application: Helmholtz used a set of different-sized resonators, like a "set of acoustic filters", to analyze and measure the various frequency components contained in complex sounds (such as musical tones). This was the key experimental tool he used to verify the harmonic theory of timbre. 5. Physics explanation of harmony and consonance He analyzed the problems in music theory from the perspective of acoustic physics. · Contribution: He explained why certain intervals (such as an octave, a fifth) are "consonant" and why others are "discordant". · Theory: He believed that consonance stems from the mathematical regularity of sound wave vibrations. The two notes of a consonant interval have a simple integer ratio of frequencies (for example, an octave is 2:1, and a fifth is 3:2), and their harmonic sequences have a lot of overlap, resulting in a smooth sound. In contrast, the frequency ratio of an dissonant interval is complex, and the harmonics interact with each other, generating intense "beats" that make the sound harsh. This provides a solid scientific foundation for harmony studies. Summary Hermann von Helmholtz's contributions went far beyond merely proposing a few theories or inventing a few instruments. His greatness lies in: · Interdisciplinary integration: Successfully integrating physics, physiology, and psychology, creating psychoacoustics. · Quantitative analysis: The first to use precise physical and mathematical methods (such as harmonic analysis, resonance principles) to explain subjective auditory phenomena (such as pitch, timbre, consonance). · Establishing the modern foundation: His work laid the most fundamental theoretical foundation for subsequent auditory research, music acoustics, electroacoustics (such as speaker design), speech recognition and synthesis, and other technical fields. Therefore, it is well-deserved that he is called "the father of modern acoustics". |
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| 赫尔姆霍茨著作《关于音调的感受》封面 | ||||||||||||||||||
| Pedro's father, Prince Joao (Joao VI) | ||||||||||||||||||
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| 赫尔姆霍茨的重要著作《作为乐理的的生理学基础的音调感受的研究》1863年出版 | ||||||||||||||||||
| 《关于音调的感受》是世界范围内最伟大的科学经典之一。这本书将自然科学与音乐理论紧密联系起来。在其首次出版近一个世纪后，它仍是研究生理声学（音乐理论的科学基础）的标准教材，也是音乐家和音乐学习者知识的宝库。作为美学领域的一部重要著作，它在确立音乐的物理理论方面做出了重要贡献。它将复杂的科学概念以简单易懂的方式解释给普通读者听。这本书的前两部分涉及音乐的物理学和生理学。第一部分概述了声音的感觉、振动、共鸣现象以及其他现象。第二部分涵盖了复合音和拍频，并发展了亥姆霍兹著名的理论，解释了为什么和谐的和弦是按照小整数比例构成的（这一问题自毕达哥拉斯以来一直未得到解决）。第三部分包含了作者关于音乐音调之间关系的美学理论。在对历史上各种音乐风格的原理（如毕达哥拉斯体系、教会体系、中国体系、阿拉伯体系、波斯体系等）进行了研究之后，他详细探讨了我们自身的音阶体系（音阶、不和谐音、各声部的进行方式）。这部 576 页的著作中，重要观点通过大量的图表、示意图、表格和音乐实例进行了详尽的阐释。33 个附录讨论了音高、声学和音乐，其中包括一份非常有价值的欧洲 14 世纪至 19 世纪音高历史的研究表格。——由耶鲁大学的亨利·马根纳教授撰写的新序言。68 幅插图。43 段音乐分析。索引。19 + 576 页。61/4 x 91/4。(1954年再版说明） | ||||||||||||||||||
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ON THE SENSATIONS OF TONE is one of the world's greatest scientific classics. This book bridges the gap between the natural sciences and music theory. Nearly a century after its first publication, it is still a standard text for the study of physiological acoustics—the scientific basis of musical theory-and a treasury of knowledge for musicians and students of music. A major work in the realm of aesthetics, it _rnakes important contributions to physics, anatomy, and physiology in its establishment of the physical theory of music. Difficult scientific concepts are explained simply and easily for the general reader. The first two parts of this book deal with the physics and physiology of music. Part l explains the sensation of sound in general, vibrations, sympathetic resonances, and other phenomena. Part ll covers combinational tones and beats, and develops Helmholtz’s famous theory explaining why harmonious chords are in the ratios of small whole numbers (a problem unsolved since Pythagoras). Part Ill contains the author's aesthetic theory on the relationship of musical tones. After a survey of the different principles of musical styles in history (tonal systems of Pythag- oras, the Church, the Chinese, Arabs, Persians, and others), he makes a detailed study of our own tonal system (keys, discords, progression of parts). Important points in this 576-page work are profusely illustrated with scores of graphs, diagrams, tables, and musical examples. 33 appendices discuss pitch, acoustics, and music, and include a very valuable table and study of the history of pitch in Europe between the 14th and 19th centuries. - New introduction by Professor Henry Margenau of Yale. 68 figures. 43 musical passages analyzed. Index. xix + 576pp. 61/a x 91/4. |
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| 2024 年 7 月 20 日，德国柏林，洪堡大学的标志性主楼，入口区域矗立着亥姆霍兹纪念碑。 | ||||||||||||||||||
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Berlin, Germany, July 20, 2024,
historic main building of Humboldt University with Helmholtz
monument in the entrance area Captions are provided by our contributors. |
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Today in
music history On September 8, 1894, Hermann von Helmholtz (1821 - 1894) passed away in Berlin, at the age of 73. He was the founder of acoustics and also the inventor of the reflecting mirror. "Helmholtz's head was about the size of Bismarck's, a little smaller than Wagner's. Both of these men had big heads. Including the weight of blood, this head weighed 1700 grams; without blood, it weighed 1400 grams, which was 100 grams heavier than the average human brain." (Published in the Journal of Psychology on March 7, 1895). Hermann von Helmholtz Hermann von Helmholtz was a German physicist, physiologist and psychologist. He was later hailed as the greatest scientist after Darwin. He was born in Potsdam, near Berlin, Germany. He died in Charlottenburg, Berlin due to illness. Life His father taught philosophy at the Potsdam High School, and his mother was a descendant of William Penn, the founder of Pennsylvania, USA. Among his four brothers, he was the eldest. He was intelligent and studious when he was a teenager, but due to his frail health, he received education at home. After graduating from high school in 1838, due to financial reasons, he was unable to enter university. Instead, he obtained a scholarship to enter the Royal Medical School of Berlin. During his studies, he also attended many chemistry and physiology courses at the University of Berlin and self-studied the mathematical works of P. Laplace, J. Biot and D. Bernoulli, as well as the philosophical works of I. Kant. After obtaining his medical degree in 1842, he served as a military doctor in Potsdam for 7 years. His task was quite easy, so he had time to establish a laboratory in the military camp and conduct research in mathematics and physics. In 1847, he delivered a paper titled "On the Conservation of Force" (ueber die erhaltung der kraft) at the Berlin Physical Society, discussing his basic ideas on energy conservation - transformation, and was recognized as one of the discoverers of the law of conservation of energy. In 1849, he was appointed as a professor of physiology and general pathology at the University of Königsberg. In 1855, he became a professor of anatomy and physiology at the University of Bonn, and in 1858, he became a professor of physiology at Heidelberg. In 1871, he succeeded Magnus as a professor of physics at the University of Berlin. In 1873, he was elected as a foreign member of the Royal Society of London and was awarded the Copely Medal. In 1882, he was granted a title. In 1887, he was appointed as the president of the newly established Berlin Charlottenburg Institute of Physics and Technology. In the autumn of 1893, he went to the Chicago World's Fair and visited various places in the United States. When he returned and boarded a ship, he fell heavily and never recovered. He died 11 months later. Achievements Works He invented the ophthalmoscope during his research on physiological optics. From 1856 to 1866, he published a three-volume "Manual of Physiological Optics", which is regarded as a classic. His research results on auditory issues were concentrated in the book "The Physiology of Music" published in 1863. This book not only summarized his own research but also summarized all the useful literature materials at that time. He also published articles in other fields, such as afterimages, color blindness, the scale of the Arabs and Persians, the form of binocular vision, the activity of the human eye, and geometric axioms. In his later years, he made indirect contributions to the creation of radio telegraph and radio receivers. Reaction time method He was the first person to provide empirical measurements of the conduction rate of nerves using the reaction time method. Before him, most physiologists believed that the nerve conduction speed was close to the speed of light and was therefore unmeasurable. In 1850, he pioneered the reaction time method to measure the nerve conduction speed. Reaction time refers to the brief period from the onset of a stimulus to the appearance of a response. He conducted experiments on frogs, measuring the different times it took for different parts of the frog's muscles to contract after being stimulated, and inferred the speed of nerve conduction. His conclusion was that the nerve conduction rate was approximately 27.53 meters per second. Additionally, he used humans as subjects to conduct experiments on their sensory nerve reaction times, that is, to study the entire circuit from stimulating the sensory organ to generating a movement response. His discovery indicated that there were significant differences in reaction times among individuals, even for the same subject, and that the reaction times in each experiment were also different. Therefore, he later abandoned this research. Visual sense Helmholtz made significant achievements in the study of vision and hearing. In the issue of the visual sense, he clarified the role of the binocular muscle convergence and the mechanism by which the internal eye muscles regulate the focal length of the lens. He also developed the trichromatic color vision theory proposed by T. Young in 1802, forming the famous Young-Helmholtz trichromatic theory. Young's trichromatic theory holds that there are three different receptors in the visual nerve, respectively sensing three different wavelengths of light: red, green, and blue. At that time, Young's theory was only a hypothesis. Helmholtz proved this theory with color matching experiments in 1850. In the experiments, he asked the subjects to mix different colored lights to match the same color as the standard stimulus. He found that ordinary people could achieve this with only three colors (but one of the colors could not be formed by mixing the other two), so he believed that humans have three systems for processing colors. Auditory sense He also conducted some important research in the field of hearing, including the perception of complex and simple sounds, the nature of harmonious and non-harmonious sounds, as well as the theory of auditory resonance. He believed that the auditory organs are the hair cells on the basilar membrane of the inner ear, and the arrangement of these hair cells is in a narrow and wide form at one end. The fibers at the narrow end are short and resonate with high-pitched sounds; the fibers at the wide end are long and resonate with low-pitched sounds. Different resonances trigger different nerve impulses, which are transmitted to the brain and produce hearing. Condition Reflex Helmholtz proposed that sensation and perception are different. He believed that sensation is the direct effect caused by the current stimulus and does not involve past experience components; perception refers to the entire process of understanding things. In daily life, people only have perception but no separate sensation. Separate sensation can only be obtained in the laboratory. His perception theory had a significant influence on the later Gestalt psychology's explanation of perception. He also proposed the concept of "unconscious reasoning" in the perception theory. He believed that there are many stimuli that cannot be directly felt in perception but are attached to perception based on past experience. This psychological activity is both unconscious and derived from "reasoning" induction. His inference is the process of association. Later, Pavlov believed that Helmholtz's unconscious reasoning was the condition reflex. Psychology In the field of psychology, Helmholtz acknowledged the existence of the objective world and that sensation is caused by objective things and can correctly reflect the attributes of these things. However, he believed that objective things are constantly changing, and the things we perceive are only the phenomena of things, which are symbols or representations of external objects, and cannot understand the true nature of external objects. His thought was obviously in line with Kant's agnosticism. His opposition to the a priori theory and support for the empirical theory were extremely beneficial in promoting the establishment of experimental psychology. Today's video: 1. Commemorative Concert to Celebrate the 50th Anniversary of the Completion of the Berlin Philharmonic Concert Hall; 2. Li Yundi: Highlights from Concerts in Tokyo Opera City and Osaka Symphony Hall during the Japan Tour. |
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