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2000 HSS/PSA Program 1 - History of Science Society

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their acceptance in scientific botany’s elite inner circles. In this paper I show<br />

how the adoption <strong>of</strong> methodologies promoted by the Royal <strong>Society</strong> allowed<br />

gardeners to address silviculture in a manner which had the appearance, if<br />

perhaps not the content, <strong>of</strong> science. This spurred their acceptance both among<br />

their clients and in the field <strong>of</strong> academic botany.<br />

Charles␣ M. Brotman University <strong>of</strong> Rochester<br />

<strong>HSS</strong> Abstracts<br />

Helmholtzian Acoustics in a Darwinian Key:<br />

James Sully, Edmund Gurney, and the Psychology <strong>of</strong> Music in Victorian<br />

Culture<br />

H<br />

S<br />

S<br />

Although it is widely known that Hermann von Helmholtz’s work On the<br />

Sensations <strong>of</strong> Tone deeply influenced music theory in Anglo-American culture,<br />

we still know little about the reception and modification <strong>of</strong> his ideas in the<br />

second half <strong>of</strong> the nineteenth century. This paper examines the efforts <strong>of</strong> two<br />

English psychologists, James Sully and Edmund Gurney, to reconcile<br />

Helmholtz’s work with evolutionary theories <strong>of</strong> mind and nature known through<br />

the work <strong>of</strong> Charles Darwin and Herbert Spencer. Writing in the years after<br />

Darwin and Spencer had themselves theorized on the evolutionary significance<br />

<strong>of</strong> music, Sully and Gurney both believed that music was important because it<br />

elicited powerful emotional feelings from men and women living in an<br />

increasingly skeptical age. Like many other Victorian scientists, in other words,<br />

Sully and Gurney sensed that aesthetic culture could function as a genuinely<br />

spiritual alternative to religion. If Helmholtz’s work legitimized their quest to<br />

put music on a scientific foundation, the “law <strong>of</strong> evolution,” it seemed, was<br />

still needed to account for the mysterious “power <strong>of</strong> sound.”<br />

Janet Browne Wellcome Centre for the <strong>History</strong> <strong>of</strong> Medicine<br />

Discovery<br />

One well-established way into the literature <strong>of</strong> scientific travel is to consider<br />

specific voyages. Recently we have also become accustomed to thinking <strong>of</strong><br />

the various scientific practices in which travelers engaged, the construction <strong>of</strong><br />

facts in metropolitan centres back home, and the pragmatic consequences <strong>of</strong> a<br />

voyager’s return as seen in the possibilities he or she negotiated for creating<br />

expertise and enhancing a career. Here I would like to approach the theme<br />

from a slightly different perspective and think about the social economy <strong>of</strong><br />

the ships themselves, in this case as laboratories. My case study is the scientific<br />

research vessel Discovery, first commissioned by the Royal Geographical<br />

<strong>Society</strong> for Robert Scott’s National Antarctic Expedition <strong>of</strong> 1901-4. Although<br />

the ship was lavishly fitted up for scientific purposes and the voyage earned<br />

57

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