Читать книгу Birds and all Nature, Vol. IV, No. 4, October 1898 - Various - Страница 1

By W. E. Watt

THE air is an elastic fluid surrounding the earth. The motions of things whether alive or not, set it in a state of vibration that rarely ceases. At all times and in all places it is pulsing responsively to all that is going on.

Animals are interested in what is moving about them. It may mean life or death, pleasure or agony, and most animals are keen to know which is for them at any given period. They are therefore equipped with organs that respond to these waves of the air. They are variously equipped, some hearing certain sounds feebly where others are acute to them and deeply moved. Some sounds are full of moment to one organism arousing it to nervous activity while another organism knows nothing of what is so distinctly heard by the first.

Can a Mule hear more than a Mouse is a question which has agitated many young people who have considered the length of the former's ear and its versatility. A series of experiments once conducted in youthful sport by the writer, seemed to settle the matter that each can hear sounds which are unnoticed by the other, and that the ear of the Mouse is much better adapted in hearing powers to the occupation of the Mouse than is that of his long eared neighbor. Certain shrill sounds of whatever degree of loudness, cannot be heard by the Mule even when oats might be secured by attending to them, while distant sounds of a heavy character seem to fail to affect the ear of the Mouse.

The same is noticeable in the hearing of people. To some persons a note one octave higher than the highest note of a piano, cannot be heard. Others can hear such a tone, and yet others are made painfully nervous by it without knowing quite what the trouble is. To some the chirp of the Sparrow is the upper limit of hearing, others can hear the voice of the Bat, yet others are able to hear the notes of insects that range higher in pitch than the voice of the Bat. Dr. Wollaston says, "As there is nothing in the nature of the atmosphere to prevent the existence of vibrations incomparably more frequent than any of which we are conscious, we may imagine that animals like the Grilli (Grasshoppers) whose powers appear to commence nearly where ours terminate, may have the faculty of hearing still sharper sounds which we do not know to exist; and that there may be other insects, hearing nothing in common with us, but endowed with a power of exciting, and a sense which perceives vibrations of the same nature, indeed, as those which constitute our ordinary sounds, but so remote that the animals who perceive them may be said to possess another sense agreeing with our own solely in the medium by which it is excited."

The human ear is capable of hearing musical sounds produced by vibrations ranging from twenty-four in a second of time to forty thousand. This indicates that humanity is confined in interest to the motions of the atmosphere within these limits. The possibilities of higher and lower fields of music are such that one writer has said that it may be that the air about us is constantly resounding to the music of the heavenly hosts while our dull ears with their limited powers are unable to catch the poorest note in that celestial harmony.

Sound travels about one thousand ninety feet in a second in the air. Through other elastic mediums it varies in speed. The beholder of an explosion of dynamite in a harbor receives three shocks, one coming by way of the air, another by water, and the third through the earth, all arriving at different times.

It is a fortunate thing that low sounds travel as rapidly as high ones and loud sounds no faster than soft ones. Thus the playing of a band upon the water, at a distance, is beautiful, because all the tones powerful enough to reach the listener do so at the right time to preserve harmony. If it were not for this equality in traveling power, no music on a grand scale could be possible, for those sitting at a distance from the performers would be in a sea of discord from the late arrival of tones which should have blended with those gone before. In spite of the fact that our highest appreciable note is but one-third of an inch in length of wave and the wave of our lowest note exceeds forty feet in length, all sounds produced in harmony travel in harmony till exhausted in space.

The ears of various animals are beautifully adapted to their respective habits. The watch of the Dog is most valuable because distant noises are so readily detected by his faithful ear. The Thrush has been observed hopping along the ground with frequent stops to listen. So keen is his hearing that the presence of a Worm below the surface is detected by the sound of the Worm's occupation. By judiciously beating the ground he brings the Worm toward the surface as if to escape its enemy, the Mole. At the proper instant the turf is torn up and nearly always the Worm secured.

The form of the outer ear is adapted to the needs of the animal. Most grass eating animals have ears that turn readily in all directions to listen for enemies, but the ears of flesh eating animals that pursue their prey are set only to reach forward to hear the sounds of escaping prey.

Many insects and lower orders of animals are looked upon by man as incapable of the pleasures of hearing. But this is often a mistake. Snails have been known to enjoy the voice of their human friends and come forth when called by familiar voices.

The fondness of the Cobra for music and the powers of charming this hideous animal partly by appealing to his esthetic hearing are well known. Moths have good hearing as one may observe while walking in the woods where the crackling of dry sticks alarms them so they fly up from their noonday slumbers in great numbers. The antennæ of the Butterfly are supposed to act as hearing organs. Crabs and Shrimps hear with their inner antennæ, Clams with their feet, and some of the crustacea with the bases of the lobe of the tail.

Many animals seem to enjoy the voice of man and the sounds of the various musical instruments which he uses. Frogs and Toads may be taught to know their master's voice. Canaries, Parrots, and Doves enjoy human singing and instrumental music as well. A Woodchuck has been known to manifest his refinement of soul by coming forth from his hole at the sound of a piano and to sit with the air of a connoisseur criticising the selections with which he was being favored.

Not only is the ability to hear different in different persons, but the thoroughness with which they hear varies largely. Few sounds consist of simple waves of air. As the waves of the sea are noticed to bear smaller waves upon them and these in turn to carry wavelets, so the waves of sound are rarely smooth, simple waves. There are many more waves upon waves in sound production than can be observed on the surface of the sea. A note from the piano not only sounds the note which the key struck represents, but also a great many tones that chord with this tone higher up the scale. These overtones are not so loud as the fundamental tone and cannot readily be detected by the uncultivated ear. But they give character to the tone. The overtones make the note of the violin and the cornet differ. No two voices have the same overtones, and while we are unable to hear these overtones by themselves, yet we are able to distinguish the voices of our friends instantly by means of them.

As voices differ in the overtones they carry, so do ears differ in the number of overtones they are able to receive. Some people enjoy hearing high voices only. For them the soprano or tenor is always in demand. Others prefer deep voices and admire altos and basses. I have stood beside a friend at a concert where a first class artist was pouring forth a baritone song with the most delicate and artistic tone and finish, and had my friend turn to me and say: "What on earth do people find in that man's voice to pay money to hear?" The singer's voice was full of rich overtones which made it valuable to the average cultured listener, but in the ear of my friend they produced a jarring that was decidedly unpleasant to him, although he was fond of the singing of the untrained voices of the members of the choir where he attended church.

A large part of the business of the voice culture expert is the adjustment of the vocal organs in singing so as to produce the right sets of overtones to give the voice a carrying quality and the richness we enjoy in the finished artist. One notable example of the production of too much of a good thing was instanced in the fate of a soprano who came to America a few years ago with an extensive operatic repertoire and a voice that could not be drowned by a full orchestra as it soared to the greatest heights and displayed a flexibility most remarkable. But she failed to please us. A neighbor of mine said to her friend: "Just wait till you hear Madame Blank begin. She has a voice that will cut you like a knife."

Both the inner and outer ear formations are responsible for the differences in hearing in different people. Cultivation does much for any sense, but for him that has no ear for music cultivation will not construct an ear. It is easy to see what a difference in hearing will be produced by a slight change in the position of the outer ear. While listening to a steady sound, draw the ear forward with one finger, relax it to its normal position, then push it back against the head. The quality of the sound heard and its intensity will be varied in each instance.

So we may be lenient with our friends who do not enjoy the same sort of music with ourselves. And the same music will not always be the very same. A pistol shot upon a mountain top sounds much like a fire cracker in a valley, and the condition of the atmosphere frequently modifies music almost as much as the shape of the room in which it is produced.