Men are His instruments, they are not to blame.
There are a great many instruments besides those which the astronomers use.
I stood amidst the familiar instruments, wondering where to begin.
If it is true that the violin is the most perfect of musical instruments, then Greek is the violin of human thought.
There were two refrigerators for holding blood, needles for drawing, IV tubing for transfusions and a multitude of surgical instruments for removing bullets and knife tips.
Praetor ius's Cammerton, or chamber pitch, formulated in his diagrams for voices and instruments, is, he says, a whole tone higher; equivalent, therefore, to a' 475.65.
With the improvements in wind instruments this continued, as a more brilliant effect was gained.
After the publication of the Plaine Discovery, Napier seems to have occupied himself with the invention of secret instruments of war, for in the Bacon collection at Lambeth Palace there is a document, dated the 7th of.
Following the example of William of Orange, Hoorn, Berghen and other governors, the magistrates generally declined to enforce the edicts, and offered to resign rather than be the instruments for burning and maltreating their fellow-countrymen.
The instrumental equipment of that observatory was somewhat antiquated, his largest telescope being a small refractor of 73 lines aperture, but he selected a line of work to suit the instruments at his disposal, observing nebulae and variable stars and keeping a watch on comets and new planets.
It might appear at first sight as though one connexion would serve, but the differences in pressure on which these instruments depend are so minute, that the pressure of the air in the room where the recording part is placed has to be considered.
The narrower term "orchestration" is applied to the instrumentation of orchestral music. Since the most obvious differences of timbre are in those of various instruments, the art which blends and contrasts timbre is most easily discussed as the treatment of instruments; but we must use this term with philosophic breadth and allow it to include voices.
In the 17th century the use of instruments became a necessity; but there were at first no organized ideas for their treatment except those which were grounded on their use as supporting and imitating the voice.
But the treatment of instruments in Bach and Handel has a radical difference from that of the art which was soon to succeed it.
The chords necessary in this part, which with its supporting bass is called the continuo, were indicated by figures; and the evanescent and delicate tones of the harpsichord; lent themselves admirably to this purpose where solo voices and instruments were concerned.
In the interest of euphony some harmonious sound is needed to bridge the great gap which almost always exists between the bass and the upper instruments, but this filling out must be of the softest and most atmospheric kind.
On the other hand, it is significant how everything in the development of new instruments seems to suggest, and be suggested by, the new methods of expression.
The pianoforte trios of Haydn are perhaps the only-works of first-rate artistic importance in which there is no doubt that the earlier stages of the new art do not admit of sufficient polyphony to give the instruments fair play.
Haydn finds the pianoforte so completely capable of expressing his meaning that he is at a loss to find independent material for any accompanying instruments; and the violoncello in his trios has, except perhaps in four passages in the whole collection of thirty-three works, not a note to play that is not already in the bass of the pianoforte; while the melodies of the violin are, more often than not, doubled in the treble.
Similar principles apply in infinite detail to the treatment of wind instruments, and we must never lose sight of them in speculating as to the reasons why the genius of Beethoven was able to carry instrumentation into worlds of which Haydn and Mozart never dreamt, or why, having gone so far, it left anything unexplored.
These instruments thus produced, in Haydn's and Beethoven's times, a very remarkable but closely limited series of effects, which, as Sir George Macfarren pointed out in the article "Music" in the 9th edition of the Encyclopaedia Britannica, gave them a peculiar character and function in strongly asserting the main notes of the key.
A crowd of instruments that seemed at first to overwhelm it in sympathetic comments is perfectly dramatic and appropriate on the symphonic scale.
The accuracy and the paraphernalia are equally exemplified in all Wagner's additions and alterations of the classical orchestral scheme, for these all consist in completing the families of instruments so that each timbre can be presented pure in complete harmony.
His brass instruments have lost nothing of their ancient nobility.
He understood their problem and it helped galvanize him to volunteer to help them.
Before that time it was based exclusively on the use of the harpsichord either as a means of supporting the other instruments or as also contributing principal parts to the combination.
The development of pianoforte technique since Beethoven has been in some ways even more revolutionizing than that of the brass instruments; and pianoforte instrumentation, both in solo and in chamber-music, is a study for a lifetime.
- (Families of instruments are connected by a brace.) Strings: as usual, but subject to minutely complex grouping.
(The mechanical improvements by which horns and trumpets acquired a complete scale have revolutionized the nature of those instruments; and Wagner's orchestration, more than that of any other composer, has profited by this.
Chamber-music. - Bach's and his contemporaries' combinations with the harpsichord show the natural fondness, in his day, for instruments of a tone too gentle for prominent use in large rooms, or indeed for survival in modern times.
Larger combinations, being semi-orchestral, especially where the double-bass and wind instruments are used, lend themselves to a somewhat lighter style; thus Beethoven's septet and Schubert's octet are both in the nature of a very large serenade.
A noticeable feature in the modern A B C indicator, as well as in all modern forms of telegraph instruments, is the adoption of " induced " magnets in the moving portion of the apparatus.
The instruments used for land telegraphs on this system are of two types - " sounders," which indicate by sound, and " recorders," which record the signals.
In normal circumstances the instruments at both ends are ready to receive, both ends of the line being to earth through the receiving instruments.
If long circuits were worked direct with ordinary instruments, high battery power would be required in order to send sufficient Single current to actuate the apparatus.
The working of several instruments from one set of batteries or accumulators, is adopted, the positive and negative currents have to be sent from independent batteries, as shown by fig.
To increase the speed of working, two single-needle instruments were sometimes used (double-needle telegraph).
Similar instruments to the single and double needle apparatus of Cooke and Wheatstone were about the same time invented by the Rev. H.
Another series of instruments, introduced by Cooke and Wheatstone in 1840, and generally known as " Wheatstone's step-by-step letter-showing " or " ABC instruments," were worked out with great ingenuity of detail by Wheatstone in Great Britain and by Breguet and others in France.
A spare set of accumulators is provided for every group of instruments in case of the failure of the working set.
It is not possible to work double current from one set alone, as in this case, if one key of a group of instruments is up and another is down, the battery would be short-circuited and no current would flow to line.
The end is taken into the testing room in the cable-house and the conductor connected with the testing instruments, and, should the electrical tests continue satisfactory, the ship is put on the proper course and steams slowly ahead, paying out the cable over her stern.