Harvard Psychological Studies, Volume 1 / Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.

by Unknown

Intensities.									Average length of first 3 sonants.	Length of last sonant.
		—		—		—		—
Mc.	—	5	—	5	—	4	—	5	19	27
	—	4	—	4	—	4	—	11a		34
	—	4	—	4	—	4	—	7		21
	—	4	—	5	—	3	—	8a		23
	—	6	—	6	—	5	—	6	19	22
	—	8	—	7	—	6	—	10a		34
	—	4	—	3	—	4	—	5		26
	—	3	—	5	—	4	—	5a		30
	2	3	5	4	4	5	6	7a	29	34
	2	3	3	4	2	4	2	7b		48
	1	2	3	2	2	2	1	4a		35
	2	3	3	3	2	3	4	5b		20
	—	—	—	—	—	—	—	—a	25	40
	3	4	4	14	3	4	5	5b		39
	2	3	1	2	2	3	1	3a		25
	1	3	2	2	1	3	3	5b		43
Ha.	6	15	9	12	3	10	4	16	No increase in length.
	3	5	3	7	3	5	5	15a
	1	15	1	5	4	6	2	9
	4	5	2	5	1	5	2	14a
	2	6	4	8	1	6	5	11a	No increase in length.
	1	7	5	7	3	6	7	11b
	2	5	2	6	2	6	4	12a
	1	5	1	5	2	6	3	15b	33	38
	4	9	5	9	1	3	6	9a	25	33
	2	8	5	6	4	5	5	10b	No increase in length.
	2	5	2	5	2	5	5	11a
	1	5	2	5	5	10	2	12b	32	34

The evidence of an increased intensity on the rhyme is not so positive in the case of rhymes in the third foot. Among the rhymes in the second foot there is but one exception. The rhymes in the second and third feet were never given very satisfactorily by several of the subjects. The rhymes within the verse determine a climax in the foot in which they occur, and all the verses follow this well-defined type. It is interesting to note, in studying the phonographic record, that in verses in which the accentuation of the rhythm is not very definite, the accentuation is perceived when the record is repeated at the normal speed. If the record is repeated more slowly, and especially at such a distance that the rhyming consonants cannot be distinguished, then the accentuation seems to disappear. It is probable that after a verse or stanza type has been established the voice may deviate from the type, and the accentuation will be supplied by the hearer.

TABLE XI.

INTENSITIES OF IAMBIC TETRAMETERS WITH RHYMES IN THE THIRD FOOT (SHOWING INCREASE IN INTENSITY OF THE RHYME SYLLABLE).

		´		´		´		´
Ha.	13	18	10	16	7	9a	6	12
	9	10	4	11	7	14a	4	7
	—	12	5	10	7	9b	6	9
	2	12	5	12	3	14b	4	6
	2	12	4	13	7	8a	4	9
	6	8	4	14	4	15a	2	9
	2	13	—	12	8	8b	—	—
	5	9	6	10	—	3b	4	6
Am.	10	10	4	12	6	14a	5	5
	4	12	6	9	7	8a	4	4
	5	12	8	9	7	10b	3	4
	3	7	5	8	5	7b	2	4
	10	13	5	10	4	10a	4	6
	1	9	4	9	3	5a	3	5
	2	8	3	5	—	8b	1	5
	1	7	2	7	5	8b	2	3
G.	6	13	6	13	7	12a	1	10
	6	10	6	6	7	7a	1	8
	4	9	7	7	6	9b	1	7
	7	12	4	10	2	7b	1	7
	10	12	4	11	6	10a	—	8
	5	12	5	11	6	10a	—	8
	3	9	6	9	7	9b	3	8
	2	8	5	9	5	5b	1	6
D.	10	12	10	10	7	9a	7	11
	5	8	6	9	7	7?	6	6
	5	12	7	9	6	10b	—	8
	6	9	7	10	7	7b	5	5
	10	15	5	11	6	9a	—	9
	5	9	4	8	6	6a?	6	7
	7	11	7	11	11	13b	8	10
	8	11	8	10	7	9b	6	8	8

INTENSITIES OF IAMBIC TETRAMETERS WITH RHYMES IN THE SECOND FOOT.

		´		´		´		´
Hu.	5	6	6	6a	5	7	5	6
	5	6	5	4a	5	4	5	6?
	5	6	6	7b	5	6	4	7
	5	6	4	4b	5	7	4	7
	5	7	7	7a	6	7	6	6
	5	7	5	5a	5	6	5	6?
	5	7	6	8b	6	7	6	7
	6	7	6	5b	6	7	6	7
Mc.	5	7	6	10a	5	4	3	5
	1	6	6	8a	—	6	1	4
	1	6	6	10b	1	4	—	4
	—	7	6	5b	3	3	—	3
Ha.	16	14	8	10a	6	10	5	9
	5	10	7	8a	5	9	5	7
	2	8	4	11b	4	7	2	8
	2	8	4	6b	1	9	4	8
	7	12	7	10a	—	10	6	10
	3	10	5	8a	5	8	6	10
	2	8	3	11b	3	7	3	10
	—	7	5	9b	4	8	6	12
Am.	4	9	9	10a	4	7	4	5
	4	8	9	7a	5	7	4	6
	1	8	5	10b	4	6	3	6
	—	10	10	7b	3	5	2	7
	15	15	10	13a	9	11	—	11
	5	12	7	9a	4	10	4	9
	5	8	8	9b	4	7	—	6
	7	8	5	9b	2	4	—	3
G.	2	6	6	8a	1	7	2	3
	—	10	7	12a	1	9	4	8
	4	9	6	9b	8	8	2	7
	—	—	—	—b	—	—	—	—
	4	9	5	11a	—	7	4	6
	—	8	6	7a	2	7	4	5
	—	9	7	6b	—	7	3	6
	—	7	3	5	—	5	—	3
D.	—	—	—	—	—	—	—	—
	7	11	11	9a	7	11	6	10
	11	15	11	11a	8	11	9	14
	6	10	10	8b	7	8	7	11
	12	13	10	10a	7	1?	8	11
	6	10	9	8a	5	8	5	9
	9	12	12	13b	8	10	7	9
	7	11	10	7b	4	8	4	8

The values in italics show the increase in intensity. Rhymes are indicated by 'a' and 'b.'

IV. SUGGESTIONS FOR A MOTOR THEORY OF RHYTHM.

If the basis of rhythm is to be found in muscular sensations, rather than in the supposed activity of some special 'mental' function, the nature of the movement cycle involved is of the greatest interest.