TABLE XV.
| Subject. | Rate: 60. | Rate: 90. | Rate: 120. |
|---|---|---|---|
| B. | 0.744 : 1.000 | 0.870 : 1.000 | 0.773 : 1.000 |
| J. | 0.730 : 1.000 | 0.737 : 1.000 | 0.748 : 1.000 |
| K. | 0.696 : 1.000 | 0.728 : 1.000 | 0.737 : 1.000 |
| N. | 0.526 : 1.000 | 0.844 : 1.000 | 0.893 : 1.000 |
The corresponding intensive values, as measured by the excursion of the recording pen, are as follows:
TABLE XVI.
| Subject. | Rate: 60. | Rate: 90. | Rate: 120. |
|---|---|---|---|
| B. | (1.066 : 1.000) | 0.918 : 1.000 | (1.010 : 1.000) |
| J. | 0.938 : 1.000 | 0.943 : 1.000 | 0.946 : 1.000 |
| K. | 0.970 : 1.000 | 0.949 : 1.000 | (1.034 : 1.000) |
| N. | 0.883 : 1.000 | 0.900 : 1.000 | 0.950 : 1.000 |
These figures present a double process of rhythmic differentiation, intensively into stronger and weaker beats, and temporally into longer and shorter intervals. The accentuation of alternate elements has an objective provocative in the qualitative unlikeness of the ticks given by the swing and return of the pendulum. This phase is, however, neither so clearly marked nor so constant as the temporal grouping of the reactions. In three cases the accent swings over to the shorter interval, which, according to the report of the subjects, formed the initial member of the group when such grouping came to subjective notice. This latter tendency appears most pronounced at the fastest rate of reaction, and perhaps indicates a tendency at rapid tempos to prefer trochaic forms of rhythm. In temporal grouping the coördination of results with the succession of rates presents an exception only in the case of one subject (XV. B, Rate 120), and the various observers form a series in which the rhythmizing tendency becomes more and more pronounced.
Combining the reactions of the various subjects, the average for all shows an accentuation of the longer interval, as follows:
TABLE XVII.
| Rate. | Temp. Diff. | Intens. Diff. |
|---|---|---|
| 60 | 0.674 : 1.000 | 0.714 : 1.000 |
| 90 | 0.795 : 1.000 | 0.927 : 1.000 |
| 120 | 0.788 : 1.000 | 0.985 : 1.000 |
The rhythmical differentiation of phases is greatest at the slowest tempo included in the series, namely, one beat per second, and it declines as the rate of succession increases. It is impossible from this curve to say, however, that the subjective rhythmization of uniform material becomes more pronounced in proportion as the intervals between the successive stimulations increase. Below a certain rapidity the series of sounds fails wholly to provoke the rhythmizing tendency; and it is conceivable that a change in the direction of the curve may occur at a point beyond the limits included within these data.