HOGG: ABSOLUTE TONE MEMORY. 



115 



Table I. 



experimenters having an idea as to the method of recognition, 

 parts of three or four tunes were played, care being taken not 

 to stop on the key note. The recognition was again prompt 

 and accurate. Being questioned, the observer said his judg- 

 ment in the first instance was determined by following the 

 general rule that a simple melody ends with the key note. In 

 the subsequent selections the judgment was determined by the 

 sequence of the notes. 



Then a high note on the violin between b^" and b" was 

 struck. When asked the pitch the observer mentioned b", and 

 upon being told it was not exactly that he named b^". 



Next, several double stops were given on the violin, one note 

 being a shade off the key in each case. The note that was in 

 error and the direction in which it should be changed were cor- 

 rectly given. The observer was now asked to direct the opera- 

 tion of tuning the A string of the violin until it corresponded 

 with his own piano. The result, as shown by the piano, proved 

 that the judgment was slightly in error in the flat direction. 

 The same test on the D string gave a correct judgment. Prac- 

 tice with the A string doubtless helped here. 



Lastly, the opening notes of a piece were sung. They were 

 named correctly by the observer, as appeal to the piano demon- 

 strated. He is ignorant of fingering of the violin. 



The second test was made one afternoon about a month later 

 with the piano used twice a week by the observer when he 



