| Average length of | 2-group, | 1.590 | secs. |
| " | 3-group, | 1.380 | " |
| " | 4-group, | 1.228 | " |
| " | 6-group, | 1.014 | " |
| " | 8-group, | 1.160 | " |
[5] Theoretically and strictly identical; this abstracts from the coördination of such identical groups as major and minor components of a higher rhythmical synthesis, which is really never absent and in virtue of which the temporal values of the groups are also differentiated.
[6] Bolton found one subject apperceiving in four-beat groups a series of sounds in which increased stress fell only on every sixth.
[7] The ratios of initial to final intervals in the two cases are, for trochaic measures, 1.400:1.000, and for dactylic, 1.400 (to 1.666):1.000.
[8] This was probably due to beginning the series of stimulations with the typical measure. Such beginning was always made by chance.
[9] The only form taken up was the occurrence of dactylic measures in trochaic series.
[10] This result is clearly irregular, and is probably due to the effect of accidental variations on a meager series of judgments. The number of these was three for each observer, making eighteen judgments in all the basis of each percentage in the table.
[11] The subjective notes of the observers frequently refer to this as an explicitly conscious process, the nature of the rhythmical sequence requiring a greater stress at that point than elsewhere. Extracts are appended:
Trochaic Syncopation.—"There is almost a necessity for an accent on th last beat." " ... an almost imperative tendency to emphasize the final syllable beyond the rest." "The two taps were followed by a pause and then a tap with increased pressure." "This was not satisfactory with any adjustment of time relations so long as the stress of all three beats was the same. In attempting to make them all equal I almost involuntarily fell into the habit of emphasizing the final one."
Dactylic Syncopation.—"In this series it was easy to lay stress on the last (beat) ... this is the natural grouping; I unconsciously make such." "... of these the heavy one (accented syncopation) was much more satisfactory." "It was constantly my tendency to increase the strength of the last tap." "In this it is natural for me to make the final stroke heavy. To make the second group balance the first by equalizing the time alone is less satisfactory than by introducing elements of both time and force." "I felt that the latter part of the rhythm (unaccented syncopation) was lacking in force. Something seemed continually to be dropped at the end of each group."