Stress (phonetics)

“ This we have seen to be true in the of color contrast; and it is perhaps even more valid in the realm of motor activity. Whatever in sense stimulation gives the condition for, helps, furthers, enhances the natural function, is felt both as pleasing and as furthering the particular activity in question. Now, the objective stress in rhythm is but emphasis on a stress that would be in any case to some degree subjectively supplied. Rhythm in music, abstracting from all other pleasure-giving factors, is then pleasurable because it is in every sense a favorable stimulation. ”

“ Stress, due to force of breath, is not the only means of accentuation at our disposal. We can also produce various effects by changing the pitch of the voice. When the pitch of a voice hardly varies at all, we consider it monotonous. ”

“ In the simplest kind of temporal rhythm, therefore, where the beats are, say, drum-taps of equal force, the primary element is time. But if there is the added complication of drum-taps of unequal force, the element of comparative stress must be reckoned with. And if, finally, the drum-taps are not in the same key (say, on kettledrums differently tuned) , then the further element of comparative pitch must be considered as a possible point of emphasis. In a word, pitch may sometimes be substituted for stress. ”

“ And swims, or sinks, or wades, or creeps, or flies.
Paradise Lost, II, 948 ff.
Theoretically each rhythmic stress is of equal force or strength, but in verse there is the greatest variety, some stresses being so strong as to dominate a whole line, others so light as hardly to be felt. Thus it happens sometimes that in a 5-stress line there are actually only four or three stresses: the rhythmic result being a syncopation of four or three against five. Sometimes the word which contains the weak stress receives unusual emphasis, as—
Which if not victory is yet revenge. ”

“ Even a prevalent drift of thought or feeling will be most effectively rendered by vocal signs which change in color and intensity from word to word. It must also be borne in mind in reference both to force and stress, and to pitch and time as well, that the modes which are employed must sustain a suitable relation to the situation and surroundings of the speaker. Where considerable space has to be filled and distance overcome, the energy of utterance should be correspondingly intense ”

“ In other words, quite apart from consciousness of sound or thought of music, his physical organism responds to acoustic stimuli of all kinds which keep nerve and muscle in a state of tension. This tends to create a state of unrest and irritability. Without leading to actual hearing, it may arouse associations of a sort of dreamlike or dramatic nature which may play a very large role in the conscious life. ”

“ A strain of music or a simple tone will vibrate in the air forever and ever, decreasing according to a fixed ratio. The diffusion of the agitation extends in all directions, like the waves in a pool, but the ear is unable to detect it beyond a certain point. It is well known that some individuals can distinguish sounds which to others under precisely similar circumstances are wholly lost. Thus the fault is not in the sound itself, but in our organ of hearing, and a tone once in existence is always in existence. ”

“ Noise affects us as an irregular succession of shocks. We are conscious while listening to it of a jolting and jarring of the auditory nerve, while a musical sound flows smoothly and without asperity or irregularity. How is this smoothness secured? By rendering the impulses received by the tympanic membrane perfectly periodic. A periodic motion is one that repeats itself. The motion of a common pendulum, for example, is periodic, but its vibrations are far too sluggish to excite sonorous waves. ”

“ The full tones themselves, however, which we shall henceforth call tones or notes, [137] may not be able to make the impression upon the nerves of hearing needful for conveying a sense of sound to the brain within. The tone produced by any number of vibrations less than sixteen a second is wholly inaudible except by the help of the microphone, and even this number of vibrations brings out so deep a pitch as to be scarcely perceptible. ”

“ When I am like that the least noise worries me and even tortures me almost out of my mind. If someone starts strumming the piano, or if a servant persistently walks about with creaky boots, or if my husband bursts in and tries to be hearty, I feel compelled to scream, it is so unbearable. ”

“ We know what was wrong with Ship I, and why it killed Mitch. We know—hell, we don't even begin to realize what we have at our fingertips now. It's so big it's impossible to evaluate."
"What? I don't—"
"Sound, Johnny, sound. Or rather, vibration. It's something we're just beginning to learn about. We know a few things; we know you can boil water with sound if the frequency is high enough. And you can drill metal with it—and it does things to the human body.
"There are frequencies of sound which can act directly on human nerves, directly on the human brain. ”

“ The extreme upper limit is not more than 35,000 vibrations per second. Auditory sensations are of two kinds—noises and musical sounds. Noises are caused by impulses which are not regular in intensity or duration, or are not periodic, or they may be caused by a series of musical sounds occurring instantaneously so as to produce discords, as when we place our hand at random on the keyboard of a piano. Musical tones are produced by periodic and regular vibrations. In musical sounds three characters are prominent—intensity, pitch and quality. ”

“ If there is no regular recurrence of waves, it is a noise. The rapidity of these regular beats determines the pitch of tones. That quality or timbre by which one sound is distinguished from another of the same pitch and intensity is due to the different complications of waves in the air; the ability to discriminate the various waves in the vibrating air is, therefore, the condition of our finding music in it; for every wave has its period, and what we call a noise is a complication of notes too complex for our organs or our attention to decipher. ”

“ The string is tuned, by its tension and its weight, to a single note; the ear can adapt itself to receive and transmit to the brain only a limited range of notes. There are many vibrations in the air which are too rapid or too slow for reception by the human ear. ”

“ PITCH. The various degrees of pitch in the compass of the voice depend upon the rate of vibration of the vocal cords. This rate of vibration, the pressure of breath being the same, is caused by the different degrees of tension of the vocal cords. If the vocal cords are drawn thin and short, the pitch will be high; as the tension diminishes, the pitch will be lower. The greater the number of vibrations to the second, the higher will be the pitch. A sound consisting of sixteen vibrations to the second produces the lowest pitch that has been recognized by the human ear as sound ”

“ The crashing noise, combined with the air current, strikes one so stinging a blow when the first “whip” comes, that he feels as though he had been boxed by the hand of an unscen giant, and, unless the ears are protected by special ear mufflers, total deafness will result. ”

“ The function of the organs of hearing, therefore, is to impart faithfully to the auditory nerve, every condensation and rarefaction occurring in the surrounding medium. The function of the auditory nerve is to bring to our consciousness the vibrations of matter resulting at the given time, both according to their number and their magnitude. Here, first, certain combinations acquire a distinct name: here, first the vibrations become musical tones or discords (Misstöne) . ”

“ Sound we know to be due to vibratory motion. A vibrating tuning-fork, for example, moulds the air around it into undulations or waves, which speed away on all sides with a certain measured velocity, impinge upon the drum of the ear, shake the auditory nerve, and awake in the brain the sensation of sound. When sufficiently near a sounding body we can feel the vibrations of the air. A deaf man, for example, plunging his hand into a bell when it is sounded, feels through the common nerves of his body those tremors which, when imparted to the nerves of healthy ears, are translated into sound. ”

“ The appreciation of line, on the other hand, seems to be due to mental association with touching and feeling, and therefore is rather a matter of attention and judgment.”
“Will you kindly explain me also?” asked the musician, who had been telling how no one knows his own voice in a phonograph, because every one hears his own speech reverberate through his inner, as well as his outer ear.
“Music is the most emotional and the most rhythmical of the arts,” continued the psychologist, “because the auditory nerve keeps close company in the brain with nerves from the heart and lungs. ”

“ We can be heard as well, and better, if we pitch our voices on a lower key than if we pitch them on a higher key; and to pitch your voice on a low key requires very much less effort than to strain to a high one.
I can imagine talking with some one for half an hour in a noisy factory—for instance—and being more rested at the end of the half hour than at the beginning. Because to pitch your voice low you must drop some superfluous tension and dropping superfluous tension is always restful. ”

“ Professor Hughes, however, has succeeded in making deaf persons hear the ticking of a watch by means of the microphone. In this case the telephone was placed against the bones in the head, and the vibrations communicated in this way to the aural nerve. The ‘audiphone,’ a curved plate held between the teeth, and vibrated by the sound-waves, also acts in this way; and it is probable that we hear ourselves speak not through our ears, but through the bones of the head as set in vibration by the voice. ”

“ By every condensation the tympanum of our ear is pressed inwards, by every rarefaction it is pressed outward and thus the tympanum performs oscillations like a pendulum. The smaller or greater number of the oscillations made in a second gives us by help of the small bones in our ear and the auditory nerve the idea of a higher or lower tune. ”

“ What really passes out from the source is merely a rhythmical motion of the air particles, manifesting themselves as changes in pressure, spreading out in ever-widening spheres through the atmosphere. The order of these compressions is different for every sound. The musical sounds of an orchestra embody a different set of vibrations for each note of each particular instrument. If the fluctuations in pressure of a sound wave are irregular and non-periodic, the sound is called a noise; if they are cyclic, and follow a regular and sufficiently rapid periodic lag, the sound is musical. ”

“ If air from the lungs is sent through the narrow slit, the vocal cords or bands are thrown into rapid vibration and produce sound. The pitch of the sound depends upon the tension of the stretched membranes, and since this can be altered by muscular action, the voice can be modulated at will. In times of excitement, when the muscles of the body in general are in a state of great tension, the pitch is likely to be uncommonly high. ”

“ If the doctrine of a very light stream of electricity be admitted, the pressure on the ear readily causes raps—there is a slight buzzing sound if the pressure on the ear be relaxed at a distance at first, later there is pain; the flap is from an intermitted pressure. It is a thud if the pressure be more acute, and the pattering, which is almost identical to the effect produced by a drop of water rolling on the inside of a sensitive ear, occurs when there is a double or treble intermission. In some cases where the victim is strong, the consonants can be worked off to his hearing. ”

“ Yet, by breaking into the vowel-tone with certain expressive noises called consonants, we can give the vowel-tone such a turn as to make its motion a copy of a motion of sensation, which, reaching the mysterious mechanism of an ear, will be changed back into a sensation.
It seems strange that words should be nothing but music broken up by different expressive noises, but we all know how differently we are affected by different noises. And in music it is recognized that different keys produce different effects; certain keys better than others, exciting certain emotions. ”

“ The effect of every shock will be renewed before it vanishes, and the recurrent impulses will link themselves together to a continuous musical sound.84 The pulses, on the contrary, which produce noise, are of irregular strength and recurrence. The action of noise upon the ear has been well compared to that of a flickering light upon the eye, both being painful through the sudden and abrupt changes which they impose upon their respective nerves. ”

“ Disease of the ear may obviously act in the same way, but, even apart from actual disease, various nervous disturbances favour the production of auditory hallucinations during sleep, and, in marked cases, even awake.
We may dream of listening to music in the absence of all external sounds having any musical character. In such cases, no doubt, the actual conditions [78] within the auditory mechanism are suggesting music to the brain, but the resulting music seems usually to be less definite, less rememberable, than when it forms around the nucleus of an external series of sounds. ”