merit separate presentation, is the method of the vocational psychograph, in which the work, rather than the worker, is made the object of analysis. THE VOCATIONAL PSYCHOGRAPH Closely related to the method of intensive examination described in the preceding section, and profitable in a somewhat different direction, is the type of psychograph represented in Professor Seashore's reports on "The Measurement of a Singer." This may be called the "vocational psychograph" as contrasted with the psychograph of the individual of genius. It proceeds by discovering first the necessary abilities and capacities which a given sort of performance demands. In the case of singing, rather more than in almost any other vocation, certain definite and fairly identifiable abilities are quite obviously required, and the degree to which they must be present for definite attainments is rather more easily discoverable. Thus, Seashore writes: "Musical power is generally admitted to embrace certain well-recognized and fairly concrete capacities. In our commonplace judgments about ourselves and others we say: 'I have no ear for music.' 'I cannot tell a chord from a discord.' 'I cannot keep time.' 'I have no sense of rhythm.' 'I cannot tell a two-step from a waltz.' 'I cannot remember music.' 'I cannot image sounds.' 'I am not moved by music.' 'I do not enjoy music.' Or, if speaking of someone who has musical ability, we say: 'He has a deep, rich voice.' 'He never forgets an air.' 'He lives in song.' Such judgments have reference to generally admitted specific factors involved in musical capacity by virtue of a musical organization. Corresponding to these judgments of native capacity we have judgments about musical education, about musical environment, about special influences and stimuli for the development of musical talent, and about technique and success in the rendition of music. When judgments of this kind are based upon measurements, classified and adequately interpreted, they may constitute a measure of the individual as a singer. "The measure of a singer should consist of a relatively small number of representative measurements upon specific capacities and achievements. These measurements must be set in a full survey by systematic observation and other verified information bearing upon the variation of the individual as a singer. The classification of the measurements must be based upon (1) the attributes of sound which constitute the objective aspect of music, and (2) upon fundamental and essential processes in the singer's appreciation and expression of music. From the point of view of the objective sound, we must take into account pitch (with its complexes of timbre and harmony), intensity, and duration. From the point of view of mental processes we may group the tests under the heads, sensory, motor, associational, and affective, each of these furnishing natural subdivisions."