Finally we investigated Hans' musical ability. In a room adjoining the horse's stall there was a small harmonica, which spanned the once accented octave. On this one or more tones were played. The horse was required to indicate the tone played, the number of tones played and their relation to one another. For testing his general hearing 20 tests were given in which the method was procedure without knowledge. Of the responses only one was correct, and that one was the tone e, for which the proper response was three taps, but we must bear in mind what has already been said of the number 3. The tone b was indicated by 11 taps, although Hans had only learned a scale of one octave and therefore could respond to only seven tones. In the tests in which the method was procedure with knowledge, he again, without exception, was successful. Similar results were obtained in the analysis of compound clangs. In the cases of procedure without knowledge (although the experimenter here knew the correct responses, he purposely refrained from thinking of them) not a single response was correct; while in the cases of procedure with knowledge, all but one were correct. The following were typical responses: Three tones were played and the question was asked, "How many tones were played?" Hans responded first with 4 taps and then with 1. The tones c, e, g, a, (1, 3, 5, 6) were struck and the question asked, "Which tone must be eliminated to make the complex a chord?" In the tests in which the method had been procedure with knowledge, this question had always been answered correctly, but when procedure was without knowledge the responses were first 13, a tone which does not exist for Hans, then 2, a tone which was not given in the clang to be analyzed, and finally 3, which was not the discordant tone. Hans's far-famed musical ability was an illusion.