Part 3

There are difficulties in the way of applying the resonance theory to the perception of noises. Noises have pitch, and also each noise has a special character; if so, if the noise is analysed into its constituents, why is it that it seems impossible to analyse a noise, or to perceive any musical element in it? Helmholtz assumed that a sound is noisy when the wave is irregular in rhythm, and he suggested that the crista and macula acustica, structures that exist not in the cochlea but in the vestibule, have to do with the perception of noise. These structures, however, are concerned rather in the sense of the perception of equilibrium than of sound (see EQUILIBRIUM).

9. Hitherto we have considered only the audition of a single sound, but it is possible also to have simultaneous auditive sensations, as in musical harmony. It is difficult to ascertain what is the limit beyond which distinct auditory sensations may be perceived. We have in listening to an orchestra a multiplicity of sensations which produces a total effect, while, at the same time, we can with ease single out and notice attentively the tones of one or two special instruments. Thus the pleasure of music may arise partly from listening to simultaneous, and partly from the effect of contrast or suggestion in passing through successive, auditory sensations.

The principles of harmony belong to the subject of music (see HARMONY), but it is necessary here briefly to refer to these from the physiological point of view. If two musical sounds reach the ear at the same moment, an agreeable or disagreeable sensation is experienced, which may be termed a _concord_ or a _discord_, and it can be shown by experiment with the syren that this depends upon the vibrational numbers of the two tones. The octave (1 : 2), the twelfth (1 : 3) and double octave (1 : 4) are absolutely consonant sounds; the fifth (2 : 3) is said to be perfectly consonant; then follow, in the direction of dissonance, the fourth (3 : 4), major sixth (3 : 5), major third (4 : 5), minor sixth (5 : 8) and the minor third (5 : 6). Helmholtz has attempted to account for this by the application of his theory of _beats_.

Beats are observed when two sounds of nearly the same pitch are produced together, and the number of beats per second is equal to the difference of the number of vibrations of the two sounds. Beats give rise to a peculiarly disagreeable intermittent sensation. The maximum roughness of beats is attained by 33 per second; beyond 132 per second, the individual impulses are blended into one uniform auditory sensation. When two notes are sounded, say on a piano, not only may the first, fundamental or prime tones beat, but partial tones of each of the primaries may beat also, and as the difference of pitch of two simultaneous sounds augments, the number of beats, both of prime tones and of harmonics, augments also. The physiological effect of beats, though these may not be individually distinguishable, is to give roughness to the ear. If harmonics or partial tones of prime tones coincide, there are no beats; if they do not coincide, the beats produced will give a character of roughness to the interval. Thus in the octave and twelfth, all the partial tones of the acute sound coincide with the partial tones of the grave sound; in the fourth, major sixth and major third, only two pairs of the partial tones coincide, while in the minor sixth, minor third and minor seventh only one pair of the harmonics coincide.

It is possible by means of beats to measure the sensitiveness of the ear by determining the smallest difference in pitch that may give rise to a beat. In no part of the scale can a difference smaller than 0.2 vibration per second be distinguished. The sensitiveness varies with pitch. Thus at 120 vibs. per second 0.4 vib. per second, at 500 about 0.3 vib. per second, and at 1000, 0.5 vib. per second can be distinguished. This is a remarkable illustration of the sensitiveness of the ear. When tones of low pitch are produced that do not rapidly die away, as by sounding heavy tuning-forks, not only may the beats be perceived corresponding to the difference between the frequencies of the forks, but also other sets of beats. Thus, if the two tones have frequencies of 40 and 74, a two-order beat may be heard, one having a frequency of 34 and the other of 6, as 74 / 40 = 1 + a positive remainder of 34, and 74 / 40 = 2 - 6, or 80 - 74, a negative remainder of 6. The lower beat is heard most distinctly when the number is less than half the frequency of the lower primary, and the upper when the number is greater. The beats we have been considering are produced when two notes are sounded slightly differing in frequency, or at all events their frequencies are not so great as those of two notes separated by a musical interval, such as an octave or a fifth. But Lord Kelvin has shown that beats may also be produced on slightly inharmonious musical intervals (_Proc. Roy. Soc. Ed._ 1878, vol. ix. p. 602). Thus, take two tuning-forks, ut2 = 256 and ut3 = 512; slightly flatten ut3 so as to make its frequency 510, and we hear, not a roughness corresponding to 254 beats, but a slow beat of 2 per second. The sensation also passes through a cycle, the beats now sounding loudly and fading away in intensity, again sounding loudly, and so on. One might suppose that the beat occurred between 510 (the frequency of ut3 flattened) and 512, the first partial of ut2, namely ut3, but this is not so, as the beat is most audible when ut2 is sounded feebly. In a similar way, beats may be produced on the approximate harmonies 2 : 3, 3 : 4, 4 : 5, 5 : 6, 6 : 7, 7 : 8, 1 : 3, 3 : 5, and beats may even be produced on the major chord 4 : 5 : 6 by sounding ut3, mi3, sol3, with sol3 or mi3 slightly flattened, "when a peculiar beat will be heard as if a wheel were being turned against a surface, one small part of which was rougher than the rest." These beats on imperfect harmonies appear to indicate that the ear does distinguish between an increase of pressure on the drum-head and a diminution, or between a push and a pull, or, in other words, that it is affected by phase. This was denied by Helmholtz.

10. _Beat Tones._--Considerable difference of opinion exists as to whether beats can blend so as to give a sensation of tone; but R. Konig, by using pure tones of high pitch, has settled the question. These tones were produced by large tuning-forks. Thus ut6 = 2048 and re6 = 2304. Then the beat tone is ut3 = 256 (2304-2048). If we strike the two forks, ut3 sounds as a grave or lower beat tone. Again, ut6 = 2048 and si6 = 3840. Then (2048)2 - 3840 = 256, a negative remainder, ut3, as before, and when both forks are sounded ut3 will be heard. Again, ut6 = 2048 and sol6 = 3072, and 3072 - 2048 = 1024, or ut6, which will be distinctly heard when ut6 and sol6 are sounded (Konig, _Quelques experiences d'acoustique_, Paris, 1882, p. 87).

11. _Combination Tones._--Frequently, when two tones are sounded, not only do we hear the compound sound, from which we can pick out the constituent tones, but we may hear other tones, one of which is lower in pitch than the lowest primary, and the other is higher in pitch than the higher primary. These, known as combination tones, are of two classes: _differential_ tones, in which the frequency is the difference of the frequencies of the generating tones, and _summational_ tones, having a frequency which is the sum of the frequencies of the tones producing them. Differential tones, first noticed by Sorge about 1740, are easily heard. Thus an interval of a fifth, 2 : 3, gives a differential tone 1, that is, an octave below 2; a fourth, 3 : 4, gives 1, a twelfth below 3; a major third, 4 : 5, gives 1, two octaves below 4; a minor third, 5 : 6, gives 1, two octaves and a major third below 5; a major sixth, 3 : 5, gives 2, that is, a fifth below 3; and a minor sixth, 5 : 8, gives 3, that is, a major sixth below 5. Summational tones, first noticed by Helmholtz, are so difficult to hear that much controversy has taken place as to their very existence. Some have contended that they are produced by beats. It appears to be proved physically that they may exist in the air outside of the ear. Further differential tones may be generated in the middle ear. Helmholtz also demonstrated their independent existence, and he states that "whenever the vibrations of the air or of other elastic bodies, which are set in motion at the same time by two generating simple tones, are so powerful that they can no longer be considered infinitely small, mathematical theory shows that vibrations of the air must arise which have the same vibrational numbers as the combination tones" (Helmholtz, _Sensations of Tone_, p. 235). The importance of these combinational tones in the theory of hearing is obvious. If the ear can only analyse compound waves into simple pendular vibrations of a certain order (simple multiples of the prime tone), how can it detect combinational tones, which do not belong to that order? Again, if such tones are purely subjective and only exist in the mind of the listener, the fact would be fatal to the resonance theory. There can be no doubt, however, that the ear, in dealing with them, vibrates in some part of its mechanism with each generator, while it also is affected by the combinational tone itself, according to its frequency.

12. Hearing with two ears does not appear materially to influence auditive sensation, but probably the two organs are enabled, not only to correct each other's errors, but also to aid us in determining the locality in which a sound originates. It is asserted by G. T. Fechner that one ear may perceive the same tone at a slightly higher pitch than the other, but this may probably be due to some slight pathological condition in one ear. If two tones, produced by two tuning-forks, of equal pitch, are produced one near each ear, there is a uniform single sensation; if one of the tuning-forks be made to revolve round its axis in such a way that its tone increases and diminishes in intensity, neither fork is heard continuously, but both sound alternately, the fixed one being only audible when the revolving one is not. It is difficult to decide whether excitations of corresponding elements in the two ears can be distinguished from each other. It is probable that the resulting sensations may be distinguished, provided one of the generating tones differs from the other in intensity or quality, although it may be the same in pitch. Our judgment as to the direction of sounds is formed mainly from the different degrees of intensity with which they are heard by two ears. Lord Rayleigh states that diffraction of the sound-waves will occur as they pass round the head to the ear farthest from the source of sound; thus partial tones will reach the two ears with different intensities, and thus quality of tone may be affected (_Trans. Music. Soc._, London, 1876). Silvanus P. Thompson advocates a similar view, and he shows that the direction of a complex tone can be more accurately determined than the direction of a simple tone, especially if it be of low pitch (_Phil. Mag._, 1882). (J. G. M.)

HEARN, LAFCADIO (1850-1904), author of books about Japan, was born on the 27th of June 1850 in Leucadia (pronounced Lefcadia, whence his name, which was one adopted by himself), one of the Greek Ionian Islands. He was the son of Surgeon-major Charles Hearn, of King's County, Ireland, who, during the English occupation of the Ionian Islands, was stationed there, and who married a Greek wife. Artistic and rather bohemian tastes were in Lafcadio Hearn's blood. His father's brother Richard was at one time a well-known member of the Barbizon set of artists, though he made no mark as a painter through his lack of energy. Young Hearn had rather a casual education, but was for a time (1865) at Ushaw Roman Catholic College, Durham. The religious faith in which he was brought up was, however, soon lost; and at nineteen, being thrown on his own resources, he went to America and at first picked up a living in the lower grades of newspaper work. The details are obscure, but he continued to occupy himself with journalism and with out-of-the-way observation and reading, and meanwhile his erratic, romantic and rather morbid idiosyncrasies developed. He was for some time in New Orleans, writing for the _Times Democrat_, and was sent by that paper for two years as correspondent to the West Indies, where he gathered material for his _Two Years in the French West Indies_ (1890). At last, in 1891, he went to Japan with a commission as a newspaper correspondent, which was quickly broken off. But here he found his true sphere. The list of his books on Japanese subjects tells its own tale: _Glimpses of Unfamiliar Japan_ (1894); _Out of the East_ (1895); _Kokoro_ (1896); _Gleanings in Buddha Fields_ (1897); _Exotics and Retrospections_ (1898); _In Ghostly Japan_ (1899); _Shadowings_ (1900); _A Japanese Miscellany_ (1901); _Kotto_ (1902); _Japanese Fairy Tales_ and _Kwaidan_ (1903), and (published just after his death) _Japan, an Attempt at Interpretation_ (1904), a study full of knowledge and insight. He became a teacher of English at the University of Tokyo, and soon fell completely under the spell of Japanese ideas. He married a Japanese wife, became a naturalized Japanese under the name of Yakumo Koizumi, and adopted the Buddhist religion. For the last two years of his life (he died on the 26th of September 1904) his health was failing, and he was deprived of his lecturersbip at the University. But he had gradually become known to the world at large by the originality, power and literary charm of his writings. This wayward bohemian genius, who had seen life in so many climes, and turned from Roman Catholic to atheist and then to Buddhist, was curiously qualified, among all those who were "interpreting" the new and the old Japan to the Western world, to see it with unfettered understanding, and to express its life and thought with most intimate and most artistic sincerity. Lafcadio Hearn's books were indeed unique for their day in the literature about Japan, in their combination of real knowledge with a literary art which is often exquisite.

See Elizabeth Bisland, _The Life and Letters of Lafcadio Hearn_ (2 vols., 1906); G. M. Gould, _Concerning Lafcadio Hearn_ (1908).

HEARNE, SAMUEL (1745-1792), English explorer, was born in London. In 1756 he entered the navy, and was some time with Lord Hood; at the end of the Seven Years' War (1763) he took service with the Hudson's Bay Company. In 1768 he examined portions of the Hudson's Bay coasts with a view to improving the cod fishery, and in 1769-1772 he was employed in north-western discovery, searching especially for certain copper mines described by Indians. His first attempt (from the 6th of November 1769) failed through the desertion of his Indians; his second (from the 23rd of February 1770) through the breaking of his quadrant; but in his third (December 1770 to June 1772) he was successful, not only discovering the copper of the Coppermine river basin, but tracing this river to the Arctic Ocean. He reappeared at Fort Prince of Wales on the 30th of June 1772. Becoming governor of this fort in 1775, he was taken prisoner by the French under La Perouse in 1782. He returned to England in 1787 and died there in 1792.

See his posthumous _Journey from Prince of Wales Fort in Hudson's Bay to the Northern Ocean_ (London, 1795).

HEARNE, THOMAS (1678-1735), English antiquary, was born in July 1678 at Littlefield Green in the parish of White Waltham, Berkshire. Having received his early education from his father, George Hearne, the parish clerk, he showed such taste for study that a wealthy neighbour, Francis Cherry of Shottesbrooke (c. 1665-1713), a celebrated nonjuror, interested himself in the boy, and sent him to the school at Bray "on purpose to learn the Latin tongue." Soon Cherry took him into his own house, and his education was continued at Bray until Easter 1696, when he matriculated at St Edmund Hall, Oxford. At the university he attracted the attention of Dr John Mill (1645-1707), the principal of St Edmund Hall, who employed him to compare manuscripts and in other ways. Having taken the degree of B.A. in 1699 he was made assistant keeper of the Bodleian Library, where he worked on the catalogue of books, and in 1712 he was appointed second keeper. In 1715 Hearne was elected architypographus and esquire bedell in civil law in the university, but objection having been made to his holding this office together with that of second librarian, he resigned it in the same year. As a nonjuror he refused to take the oaths of allegiance to King George I., and early in 1716 he was deprived of his librarianship. However he continued to reside in Oxford, and occupied himself in editing the English chroniclers. Having refused several important academical positions, including the librarianship of the Bodleian and the Camden professorship of ancient history, rather than take the oaths, he died on the 10th of June 1735.

Hearne's most important work was done as editor of many of the English chroniclers, and until the appearance of the "Rolls" series his editions were in many cases the only ones extant. Very carefully prepared, they were, and indeed are still, of the greatest value to historical students. Perhaps the most important of a long list are: Benedict of Peterborough's (Benedictus Abbas) _De vita et gestis Henrici II. et Ricardi I._ (1735); John of Fordun's _Scotichronicon_ (1722); the monk of Evesham's _Historia vitae et regni Ricardi II._ (1729); Robert Mannyng's translation of Peter Langtoft's _Chronicle_ (1725); the work of Thomas Otterbourne and John Whethamstede as _Duo rerum Anglicarum scriptores veteres_ (1732); Robert of Gloucester's _Chronicle_ (1724); J. Sprott's _Chronica_ (1719); the _Vita et gesta Henrici V._, wrongly attributed to Thomas Elmham (1727); Titus Livy's _Vita Henrici V._ (1716); Walter of Hemingburgh's _Chronicon_ (1731); and William of Newburgh's _Historia rerum Anglicarum_ (1719). He also edited John Leland's _Itinerary_ (1710-1712) and the same author's _Collectanea_ (1715); W. Camden's _Annales rerum Anglicarum et Hibernicarum regnante Elizabetha_ (1717); Sir John Spelman's _Life of Alfred_ (1709); and W. Roper's _Life of Sir Thomas More_ (1716). He brought out an edition of Livy (1708); one of Pliny's _Epistolae et panegyricus_ (1703); and one of the Acts of the Apostles (1715). Among his other compilations may be mentioned: _Ductor historicus, a Short System of Universal History_ (1704, 1705, 1714, 1724); _A Collection of Curious Discourses by Eminent Antiquaries_ (1720); and _Reliquiae Bodleianae_ (1703).

Hearne left his manuscripts to William Bedford, who sold them to Dr Richard Rawlinson, who in his turn bequeathed them to the Bodleian. Two volumes of extracts from his voluminous diary were published by Philip Bliss (Oxford, 1857), and afterwards an enlarged edition in three volumes appeared (London, 1869). A large part of his diary entitled _Remarks and Collections, 1705-1714_, edited by C. E. Doble and D. W. Rannie, has been published by the Oxford Historical Society (1885-1898). _Bibliotheca Hearniana_, excerpts from the catalogue of Hearne's library, has been edited by B. Botfield (1848).

See _Impartial Memorials of the Life and Writings of Thomas Hearne by several hands_ (1736); and W. D. Macray, _Annals of the Bodleian Library_ (1890). Hearne's autobiography is published in W. Huddesford's _Lives of Leland, Hearne and Wood_ (Oxford, 1772). T. Ouvry's _Letters addressed to Thomas Hearne_ has been privately printed (London, 1874).

HEARSE (an adaptation of Fr. _herse_, a harrow, from Lat. _hirpex_, _hirpicem_, rake or harrow, Greek [Greek: arpae], a vehicle for the conveyance of a dead body at a funeral. The most usual shape is a four-wheeled car, with a roofed and enclosed body, sometimes with glass panels, which contains the coffin. This is the only current use of the word. In its earlier forms it is usually found as "herse," and meant, as the French word did, a harrow (q.v.). It was then applied to other objects resembling a harrow, following the French. It was then used of a portcullis, and thus becomes a heraldic term, the "herse" being frequently borne as a "charge," as in the arms of the City of Westminster. The chief application of the word is, however, to various objects used in funeral ceremonies. A "herse" or "hearse" seems first to have been a barrow-shaped framework of wood, to hold lighted tapers and decorations placed on a bier or coffin; this later developed into an elaborate pagoda-shaped erection of woodwork or metal for the funerals of royal or other distinguished persons. This held banners, candles, armorial bearings and other heraldic devices. Complimentary verses or epitaphs were often attached to the "hearse." An elaborate "hearse" was designed by Inigo Jones for the funeral of James I. The "hearse" is also found as a permanent erection over tombs. It is generally made of iron or other metal, and was used, not only to carry lighted candles, but also for the support of a pall during the funeral ceremony. There is a brass "hearse" in the Beauchamp Chapel at Warwick Castle, and one over the tomb of Robert Marmion and his wife at Tanfield Church near Ripon.

HEART, in anatomy.--The heart[1] is a four-chambered muscular bag, which lies in the cavity of the thorax between the two lungs. It is surrounded by another bag, the pericardium, for protective and lubricating purposes (see COELOM AND SEROUS MEMBRANES). Externally the heart is somewhat conical, its base being directed upward, backward and to the right, its apex downward, forward and to the left. In transverse section the cone is flattened, so that there is an anterior and a posterior surface and a superior and inferior border. The superior border, running obliquely downward and to the left, is very thick, and so gains the name of _margo obtusus_, while the inferior border is horizontal and sharp and is called _margo acutus_ (see fig. 1). The divisions between the four chambers of the heart (namely, the two auricles and two ventricles) are indicated on the surface by grooves, and when these are followed it will be seen that the right auricle and ventricle lie on the front and right side, while the left auricle and ventricle are behind and on the left.