A NEW THEOEY OF HEABING. 349 



and sense-hairs at each point in the cochlea where a wave 

 of either series on the basilar passes a wave of the same or the 

 other series on the Eeissnerian. Still considering the same 

 two tones c' and d' (which for convenience we will suppose 

 tuned to 256 and 288 vibrations per second respectively) 

 the secondary points of passings will correspond to the 

 following tones : — 



1st Series, /'flat*, g', ¥ flat, d", g", d'", d"". 



2nd Series, d, c, G, F, D, C, B,flat, A, flat, G„ F„ 

 F, flat*, E, flat*, D„ C,. 



3rd Series. T V ( = 6 flat), T 9 T c' T V ( = $)> tV 3 ', tV> 

 T V ( = e flat), T V ( = d), T V, T V( = c), 

 etc. 



In each series except perhaps the first, the intensity of 

 the disturbance would be greater at higher than at lower 

 points. In proportion to their height the effect would be 

 greatest at the points in the second series. At points in 

 the first series the disturbance would occur twice in each 

 beat-period (^ second) and in the following order : — 1, 7, 

 2, 6, 3, 5, 4, 4, 5, 3, 6, 2, 7, 1. 



The rhythm is more complex at the second series of 

 points and in the upper part of the series there is a 

 rhythmic variation of intensity at each. At the points in 

 the third series the intensity of disturbance is not so great 

 as in the other two and the rhythm is very complex. 



At c' and d' there is a rhythmic variation in the intensity 

 of disturbance which in itself would produce an effect like 

 beats, 32 to the second. 



How many of these points in the organ of Corti will 

 actually be stimulated will depend largely upon the 

 intensity of the primary tones employed. 



It must be remembered that the signs now given, which 

 ordinarily stand for musical tones, here stand for the 



(* An asterisk indicates that the point is indicated only approximately.) 



