By Edmund T. Whittaker
Targeted, debatable, and often pointed out, this survey bargains hugely designated money owed in regards to the improvement of principles and theories concerning the nature of electrical energy and house (aether). effectively obtainable to normal readers in addition to highschool scholars, academics, and undergraduates, it comprises a lot info unavailable elsewhere.
This single-volume version includes either The Classical Theories and the fashionable Theories, which have been initially released individually. the 1st quantity covers the theories of classical physics from the age of the Greek philosophers to the past due nineteenth century. the second one quantity chronicles discoveries that resulted in the advances of contemporary physics, targeting detailed relativity, quantum theories, normal relativity, matrix mechanics, and wave mechanics. famous historian of technological know-how I. Bernard Cohen, who reviewed those books for Scientific American, saw, "I be aware of of no different heritage of electrical energy that is as sound as Whittaker's. All those that have chanced on stimulation from his works will learn this informative and exact heritage with curiosity and profit."
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Additional resources for A history of the theories of aether and electricity Vol 2
The opposite is stagnation, pseudo-life, death. 17 The series of forms could, according to Marx, be inﬁnite and their development was a product of reason. 18 Marx based both his compositional pedagogy and his system of musical analysis on what he deﬁned as the ﬁrst two fundamental forms in music, the Gang (a continuation or transitional passage, approximately) and the Satz (a complete musical form, from phrase to entire movement). The Satz, containing the motifs of the musical work that was eventually developed, established the structural framework for the composition.
56 In the second volume of Elemente der Psychophysik, Fechner presented just such a mathematical connection. He stated that Weber’s law, in which equal relative stimulus increments corresponded to equal sensation increments, should be regarded as fundamental to the program of psychophysics. If b were the stimulus, and a small increase were db, the relative increase would be db/b, corresponding to an incremental increase in sensation dg. According to Weber’s law dg remained constant when db/b was constant.
Musicologists, music theorists, music aestheticians were redeﬁning the act of listening. 53 Structural listening, Subotnik explains, is the sensory perceptual practice of following and comprehending a musical composition, with all its inner formal structures and relations, as it is realized in the listener’s presence. She argues that this conception of structural listening assumed that the listener’s mental framework was ideologically and culturally neutral, and required neither selfcriticism nor awareness of individual or cultural biases.