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 c. STUMPF'S TOXPSYCHOLOGIE, i. 601 supposed. A similar tendency to disparage the part due to muscular sensations shows itself in the suggestive but not quite factory treatment of the difficult subject of the height and depth of tones. This part of the volume by-the-by shows that Dr. Stumpf is not ill read hi the history of music, ancient as well as modern. The author finds himself on congenial ground when seeking to give a precise meaning to the expressions " endless- ness " and " continuity " of the tone-region. Among the condi- tions of credibility of judgments respecting quality, one which specially needs to be kept in view is the circumstance that the strength or intensity of a tone affects our judgment of its pitch. In general we tend to take the louder of two tones for the higher. This relation between pitch and intensity, which is dealt with in a characteristically fragmentary manner under different heads, is one of the most curious facts brought to light in this volume, and the explanation of it calls forth all the author's knowledge and fertility in suggestion. The results gained with respect to distance-judgments are exceedingly interesting. The great diffi- culty in obtaining pure distance-judgments is to eliminate the influence of interval-judgment. A musical ear cannot attend to the relation of two tones merely as one of dissimilarity if they present themselves as terms of a familiar interval. The ex- position, which, as may be inferred from this brief account, is by no means easy reading, is pleasantly relieved by a curious section on tone-sensibility and tone-memory. Here the author's wide musical experience stands him in good stead. Among other striking topics here touched on are the phenomenon of double- hearing or unequal sensibility of the two ears, the special tendency, particularly among musically trained persons, to tone- hallucination, the relation of a good memory for absolute tone- quality (pitch) to the musical faculty. The treatment of judgments respecting quality concludes with a full account of special series of experiments carried out by the author with a view to ascertain the capabilities of musical and non-musical persons in the estimation of absolute pitch, as tested by the question ' What note is this? ', and of relations of pitch, as tested by the question, ' Which of these two tones is the higher'?'. The four persons tested in the first respect (who included the author himself) were practised players of instru- ments (piano, violin, &c.). And, as might be expected, they displayed a high degree of trustworthiness. The recognition was best in the median region of the scale, and fell off towards each extreme. The effect of practice was to greatly improve the trustworthiness in these less peculiar regions. The introduction of any unfamiliar element of clang into the tone (as by giving it on an unfamiliar instrument) greatly interfered with the judg- ment. The author tested the power of judging of relations of pitch in the case of non-musical persons. The results were in many ways curious. It is certainly surprising, for example, to