206 
grasp for musical complexes may be meas- 
ured in terms of a graded series of com- 
plexes of musical units, taking in turn the 
various factors of pitch (including timbre 
and harmony), intensity and time. 
A record of creative imagination may be 
obtained under experimental conditions by 
allowing the singer to improvise a tune for 
a selected stanza. The words of a series of 
stanzas should convey different types of 
emotional value. The ability may then be 
measured in terms of the merit of such a 
composition as preserved in the dictograph. 
Here the greatest freedom should be al- 
lowed the singer for spontaneous expres- 
sion. 
As knowledge of ability in learning 
music is essential, the mode of forming, 
and the natural ability for acquiring, new 
musical associations should be measured 
for one or more phases of vocal training, 
such as the placing of the voice, singing 
the chromatic intervals, or the analysis of 
clangs. If a single representative meas- 
ure were to be made, this might profitably 
be the establishment of the learning curve 
for the singing of the untempered chro- 
matic scale. 
The affective phase of music is never 
isolated from the cognitive and motor ele- 
ments, for both of these always involve 
some feeling. In such measurements as 
those of consonance, association type and 
creative imagination, we deal with facts 
which are quite as relevant to the affective 
as to the cognitive side of consciousness. 
The same principle applies also to some of 
the motor examples. The musical emo- 
tions are conditioned upon the various 
powers of appreciation and expression 
which we have just reviewed. Unless our 
singer has capacity for hearing or express- 
ing a given musical effect, she can not ex- 
perience emotional pleasure over it. The 
sensory, motor and associational measure- 
SCIENCE 
[N.S. Vou. XXXV. No. 893 
ments have therefore determined the pres- 
ence or absence of capacity for affective or 
emotional appreciation and expression. 
There are, however, three general surveys 
which are of a positive and fundamental 
nature; namely, musical preferences, reac- 
tion to musical effects and power of inter- 
pretation in singing. 
One affective aspect of the character of 
the musical appreciation may be deter- 
mined by working out the curve of likes 
and dislikes for representative series of 
musical selections. These should be so ar- 
ranged as to represent the main types of 
musical appeal through each of the attri- 
butes of sound. Here the measurement 
may be standardized by having the graded 
selections furnished in a series of the best 
quality of phonograph discs. Three series 
might be used: (1) Pitch, timbre and har- 
mony series; (2) the intensity and volume 
series; and (3) the time or rhythm series. 
The amount and character of reaction 
to different musical effects may be observed 
under experimental conditions when the 
observer is not aware that this is being 
done; thus, a systematic record of such ob- 
servations may be made under the guise of 
repeating the preceding measurement 
(IV., A, 1) in which the observer works by 
the method of impression just outlined. 
The curve for different kinds of mental 
and physical reactions observed may be 
made to parallel and supplement the curves 
for agreeableness and disagreeableness. 
There are two aspects to the power of 
interpretation of music in singing; namely, 
the appreciation and the expression. 
Since expression involves appreciation, 
measurement on appreciation may be 
omitted. The power of expression may be 
measured by methods now in vogue for the 
measuring of merit. Musical experts may 
be obtained to make comparisons of one 
