Binet and Courtier made an elaborate series of experiments on the action of music on the respiration (with the double pneumograph), the heart, and the capillary circulation (with the plethysmograph of Hallion and Comte) on a single subject, a man very sensitive to music and himself a cultured musician. Simple musical sounds with no emotional content accelerated the respiration without changing its regularity or amplitude. Musical fragments, mostly sung, usually well known to the subject, and having an emotional effect on him, produced respiratory irregularity either in amplitude or rapidity of breathing, in two-thirds of the trials. Exciting music, such as military marches, accelerated the breathing more than sad melodies, but the intensity of the excitation had an effect at least as great as its quality, for intense excitations always produced both quickened and deeper breathing. The heart was quickened in harmony with the quickened breathing. Neither breathing nor heart was ever slowed. As regards the capillary pulsation, an influence was exerted chiefly, if not exclusively, by gay and exciting melodies, which produced a shrinking. Throughout the experiments it was found that the most profound physiological effects were exerted by those pieces which the subject found to be most emotional in their influence on him.[104] Guibaud studied the question on a number of subjects, confirming and extending the conclusions of Binet and Courtier. He found that the reactions of different individuals varied, but that for the same individual reactions were constant. Circulatory reaction was more often manifest than respiratory reaction. The latter might be either a simultaneous modification of depth and of rapidity or of either of these. The circulatory reaction was a peripheral vasoconstriction with diminished fullness of pulse and slight acceleration of cardiac rhythm; there was never any distinct slowing of heart under the influence of music. Guibaud remarks that when people say they feel a shudder at some passage of music, this sensation of cold finds its explanation in the production of a peripheral vasoconstriction which may be registered by the plethysmograph.[105] Since music thus directly and powerfully affects the chief vital processes, it is not surprising that it should indirectly influence various viscera and functions. As Tarchanoff and others have demonstrated, it affects the skin, increasing the perspiration; it may produce a tendency to tears; it sometimes produces desire to urinate, or even actual urination, as in Scaliger's case of the Gascon gentleman who was always thus affected on hearing the bagpipes. In dogs it has been shown by Tarchanoff and Wartanoff that auditory stimulation increases the consumption of oxygen 20 per cent., and the elimination of carbonic acid 17 per cent.