Plate VI gives the "harmony" curve for the same tone-combinations, and it is clear at the first glance that the curves for the simultaneous tones do not correspond to those for the successive ones; in many respects they are directly the opposite. The hypothesis that the pleasure in such an amusical "melody" results from the resolution of the corresponding "harmony" is thus untenable; both are highly independent of each other. Yet, here too we notice the insignificance of the musical interval, while the strong pleasure in the tones different by 4 vibrations only refers probably to the complete fusion of the tones; there arises a direct enjoyment from the four waves of sound in every second, given by the beats. The pleasure-curve of these simultaneous tones indicates of course that the inhibition of the musical dispositions and expressions holds over from the successive to the simultaneous series. The pleasure is thus clearly different from that in real harmony. Plate VII finally gives the "melody" curve for _aba_ and _bab_ with changes from four to four vibrations when the interval started with is larger than a full musical step. In _aba_ the _a_ is 384 vibrations and _b_ varies from 436 to 516, the variations lying thus between the musical Second and the musical Fourth. It is evident that here again no feeling-preference is given to the musical intervals. The question arises whether such small tone-intervals of amusical character allow the construction of more complex combinations of æsthetic value. Can we have amusical micromelodies with their own completeness and feeling of end? The following experiments represent a first step into this field. We used three tones only, _a, b, c_ in 26 different combinations, and each of the 26 variations with intervals of 4, 8 and 12 vibrations between _a-b_ and _b-c_. Each of the resulting 78 "melodies" was given repeatedly to six subjects in a time-order which allowed one second for each tone. The subject had to judge on the pleasantness of the whole progression and had further to judge whether it produced a feeling of end or not.