As to the feeling of end or æsthetic completeness the results are similar and yet independent. In a few cases the answer was "doubtful," but in the overwhelming majority a definite reply was given; and while the judgment of completeness was by far more frequent in the pleasant combinations than in the unpleasant ones, yet often the unpleasant processions appeared as complete and the pleasant ones as incomplete. Here again the feeling of completeness grows with the interval, being smallest for the figures with distances of four vibrations. But most characteristic seems the fact that the feeling of end is in no way as in music dependent upon the return to the starting-point. The combinations which involved such return to the "tonica" show in no way a preponderance of judgments of completeness. If we order the results according to the number of this æsthetic factor the figures _acba_, _cbac_, and _cabc_ stand very low, giving in the majority of cases the suggestion of not-completeness in spite of their return to the beginning, while the figures of the type _abcb_, _cbab_, or _cba_, or even the complex _babcba_, suggest in a majority of judgments the feeling of an end. The feeling of an end comes, according to the subjective reports of the observers, with an "internal unity of meaning" of the phrase given. This unity of meaning is here evidently quite independent from any simple mathematical relation. The music-like quality of the figures was emphasized frequently in the subjective records. "I just enjoyed the progressions as music." "The elements are the same as in music." A melody of 384, 392, 400 was called a "very mournful strain"; 444, 452, 460 "Wagnerian motive; Tristan and Isolde"; and the same tones in another order "Very pleasant; expressed a pathetic resignation," or "Sounds like a little piece of music"; and so in most varied forms. The basis of these experiments is of course by far too slender to build on them a theory, yet our results suggest at least a greater interest in the æsthetics of those tone-combinations which are excluded from our regular music. This interest is reënforced by the self-observations of all participants. They felt strongly that after all our musical pleasure in melody does not belong intrinsically to the tone-perception, but is learned and acquired like the grammar of our mother tongue. Such grammar too controls completely our internal demands for expression, and yet the learning of a different language can bring a new adjustment and a new set of psychophysical dispositions for linguistic demands. That whole apparently natural demand for the tone-combinations which give fusion and consonance can be inhibited during the listening to amusical combinations as soon as a short training in miniature intervals changes the acoustical perspective.