When we take the longest row of beats that can be grasped together as one whole in consciousness under the given conditions and call this the scope of consciousness, it is of course obvious that we do not mean by this expression the total content of consciousness that is present at one given moment. We mean only to denote the maximum scope of one single complex whole. Let us picture consciousness for a moment as a plane surface of a limited extension. Then our scope of consciousness is one diameter of this surface, and not the whole extent. There may at the same time be many other elements of consciousness scattered about beside the ones we are just measuring. They can, however, in general be left out of account, since in a case such as ours consciousness will be directed to the content that is being measured, and the elements outside of this will be unclear, fluctuating, and isolated. The scope of consciousness, in accordance with our definition, is a relatively constant value, if we keep to a special time, e.g. the 2/8 time. It does not change with a different rapidity of beat within the above-mentioned limits. A change in the time, however, exercises great influence. Such a change is to some extent dependent upon our will. We can hear into our uniform row of beats not only a simple 2/8 time, but a more complicated rhythm, e.g. the following 4/4 time:-- [Illustration: letter diagram; cardboard with point in the middle.] Such a row arises if we let different intensities of accent enter, say the strongest at the beginning of the row, a medium one in the middle, and a weak one in the middle of each of the two halves of the whole row, as in the diagram above. The strongest emphasis is denoted by three accents, the medium one by two, and the weak ones by one. This transition to more complicated rhythms is to a great degree dependent upon the rapidity of the beat, as well as upon our will. With long intervals it is very difficult to go beyond the simple 2/8 time. With short ones a certain exertion is necessary to withstand the impulse of transition to more complicated rhythms. When listening unconcernedly to the beats of the metronome when the interval between the beats is 1/2 second or less, the above-described 4/4 time generally appears. This groups together eight beats into one unity, whereas the 2/8 time only embraces two beats. Now if we measure the scope of consciousness for such a complicated row of beats, we find that five bars of 4/4 time can be grouped together and grasped as a whole; and if this row is repeated after a short interval, it can be recognised as identical with the preceding row. Here, then, we have forty beats as the scope of consciousness for this complicated rhythm, whereas with the most simple rhythmical arrangement we had only sixteen beats. This scope of forty seems to be the greatest we can attain by any means. We can, it is true, voluntarily call forth more complicated rhythmic arrangements, e.g. 6/4 time.