Even when the concomitant rhythms are not expressed, as in an unaccompanied solo, an accompaniment of some sort is present in the motor apparatus, and contributes its effect to the consciousness. This regulation of the movement by the coincidence of several rhythms is the cause of the striking regularity of the temporal relations. At some points in the musical series the several movement cycles may appear in the same phase, and at these points the same irregularities as in verse are possible, as in the case of pauses at the ends of periods and the irregularities of phrasing. It is evident in cases of expressional variations of tempo that a single broad rhythm is dominating and serving as a cue for the other more elaborate rhythmic processes, instead of being regulated by them.
FOOTNOTES.
[1] Herbart, J.F.: 'Psychol. Untersuchungen' (Sämmt. Werk, herausgeg. von Hartenstein), Leipzig, 1850-2, Bd. VII., S. 291 ff.
[2] Lotze, R.H.: 'Geschichte der Æsthetik,' München, 1863, S. 487 ff.
[3] Vierordt, K.: 'Untersuchungen über d. Zeitsinn,' Tübingen, 1868.
[4] von Brücke, E.W.: 'Die physiol. Grundlagen d. neuhochdeutschen Verskunst,' Wien, 1871.
[5] Mach, Ernst: 'Unters. ü. d. Zeitsinn d. Ohres,' Wiener Sitz. Ber., mathem. naturw. Classe, 1865, Bd. 51, II., S. 133. Beiträge zur Physiol. d. Sinnesorgane, S. 104 ff.
[6] Wundt, W.: 'Physiol. Psych.,' 4te Aufl., Leipzig, 1893, Bd. II., S. 83.
[7] Wundt, W.: 'Physiol. Psych.,' 4te Aufl., Leipzig, 1893, II., S. 89 ff.
[8] Bolton, T.L.: Amer. Jour. of Psych., 1894, VI., p. 145 et seq.