202 
deep rich voice.’’ ‘‘He never forgets an 
air.’’ “‘He lives in song.’’ Such judg- 
ments have reference to generally admitted 
specific factors involved in musical capac- 
ity by virtue of a musical organization. 
Corresponding to these judgments of na- 
tive capacity we have judgments about 
musical education, about musical environ- 
ment, about special influences and stimuli 
for the development of musical talent, and 
about technique and success in the rendi- 
tion of music. When judgments of this 
kind are based upon measurements, classi- 
fied, and adequately interpreted, they may 
constitute a measure of the individual as a 
singer. 
Unfortunately, we have not the command 
of an expert in the psychology of music, 
and the field before us is practically un- 
worked. The illustration will, therefore, 
be merely a tentative suggestion to blaze 
the trail a little way. 
The measure of a singer should consist 
of a relatively small number of representa- 
tive measurements upon specific capacities 
and achievements. These measurements 
must be set in a full survey by systematic 
observation and other verified information 
bearing upon the valuation of the individ- 
ual as a singer. 
The classification of the measurements 
must be based upon'(1) the attributes of 
sound which constitute the objective aspect 
of music, and (2) upon fundamental and 
essential processes in the singer’s apprecia- 
tion and expression of music. 
From the point of view of the objective 
sound, we must take into account pitch 
(with its complexes of timbre and _ har- 
mony), intensity and duration.2 From the 
point of view of mental processes, we may 
group the tests under the heads, sensory, 
2 Localization of the tone is irrelevant and the 
spatial attribute of volume may for the present 
purpose be considered with intensity. 
SCIENCE 
[N.S. Von. XXXV. No. 893 
motor, associational, and affective, each of 
these furnishing natural subdivisions. The 
measurements may thus be arranged in the 
following program, which should also be 
the outline for a systematic description. 
LIST OF MEASUREMENTS ON A SINGER 
I. Sensory. 
A, Pitch. 
. Discrimination at a’, 435 vd. 
Survey of register of discrimination. 
. Tonal range, (a) upper, (b) lower. 
. Timbre—discrimination. 
i . Consonance and dissonance. 
B. Intensity. 
1. Sensibility. 
2. Discrimination. 
C. Time discrimination for short intervals. 
II. Motor. 
A. Pitch. 
. Striking a tone. 
. Varying a tone. 
. Singing intervals. 
. Sustaining a tone. 
. Registers. 
. Timbre: (@) purity; (6) richness; (c) 
mellowness; (d@) clearness; (e) flexibility. 
7. Plasticity: curves of learning. 
B. Tntensity. 
1. Natural strength and volume of voice. 
2. Voluntary control. 
C. Time. 
1. Motor ability. 
2. Transition and attack. 
3. Singing in time. 
4, Singing in rhythm. 
III. Associational. 
A. Imagery. 
1. Type. 
2. Role of auditory and motor image. 
B. Memory. 
oe ww pO 
Qo re & De 
1. Memory span. 
2. Retention. 
3. Redintegration. 
C. Ideation, 
1. Association type and musical content. 
2. Musical grasp. 
3. Creative imagination. 
4, Plasticity: curves of learning. 
IV. Affective. 
A. Likes and dislikes: 
appeal. 
character of musical 
