Harvard Psychological Studies, Volume 1: Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.
Science
Harvard Psychological Studies, Volume 1: Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.
Psychology, Experimental
Above the superior limit a rhythm impression may persist, but neither
by an increase in the number of elements which the unit group
contains, nor by an increase in the rate at which these units follow
one another in consciousness. The nature of the unit itself is
transformed, and a totally new adjustment is made to the material of
apprehension. When the number of impressions exceeds eight or ten a
second--subject to individual variations--the rhythmical consciousness
is unable longer to follow the individual beats, a period of confusion
ensues, until, as the rate continues to increase, the situation is
suddenly clarified by the appearance of a new rhythm superimposed on
the old, having as its elements the structural units of the preceding
rhythm. The rate at which the elements of this new rhythm succeed one
another, instead of being more rapid than the old, has become
relatively slow, and simple groups replace the previous large and
complex ones. Thus, at twelve beats per second the rhythms heard by
the subjects in these experiments were of either two, three or four
beats, the elements entering into each of these constituent beats
being severally three and four in number, as follows:
TABLE I.
> >
Simple Trochaic, four beats per second: 1 2 3, 4 5 6; 7 8 9,10 11 12.
\___/ \___/ \___/ \______/
>
________ ___________
/ \ / \
Dipodic Trochaic, " " " " 1 2 3, 4 5 6; 7 8 9,10 11 12.
\__/ \__/ \___/ \________/
>>>
Simple Dactylic, three " " " 1 2 3 4, 5 6 7 8, 9 10 11 12.
\____/ \____/ \_______/
The only impression of rhythm here received was of a trochaic or
dactylic measure, depending upon an accent which characterized a group
and not a single beat, and which recurred only twice or thrice a
second. Sometimes the subjects were wholly unaware that the elements
of the rhythm were not simple, a most significant fact, and frequently
the number reported present was one half of the actual number given.
During the continuance of such a series the rhythm form changes
frequently in the apprehension of the individual subject from one to
another of the types described above.
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