Variation in the number of elements which enter into the rhythmic unit does not affect the sense of equivalence between successive groups, so long as the numerical increase does not reach a point at which it lessens the definiteness of the unit itself.  For the purpose of testing this relation the reactors beat out a series of rhythm forms from ‘one-beat’ rhythms to those in which the group consisted of seven, eight and nine elements, and in which the units were either identical with one another or were made up of alternately larger and smaller numbers of elements.  Two questions were to be answered in each case; the manner in which these various changes affected the sense of rhythmical equivalence in the alternate groups, and the variations in affective quality which these changes introduced into the experience.  With the former of these problems we are here concerned.  From ‘one-beat’ to four-beat rhythms the increase in number of constituents in no way affects the sense of rhythmical equivalence.  Beyond this point there is a distinct falling off.  ’The first part of the rhythm begins to fade away before the end of the second,’ says one; and another:  ’The series then reverts to a monotonous succession without feeling of rhythm.’  This decline marks those groups composed of an odd number of elements much earlier and more strongly than those which contain an even number.  The sense of equivalence has fallen off at five and practically disappears at seven beats, while groups of six and eight retain a fairly definite value as units in a rhythmical sequence.  This peculiar relation must be due to the subconscious resolution of the larger symmetrical groups into smaller units of three and four constituents respectively.

Likewise the introduction of variations in the figure of the group—­that is, in the number of elements which enter into the groups to be compared, the distribution of time values within them, the position of accents, rests, and the like—­does not in any way affect the sense of equivalence between the unlike units.  Against a group of two, three, four, or even five elements may be balanced a syncopated measure which contains but one constituent, with the sense of full rhythmical equivalence in the functional values of the two types.  Indeed, in the case of five-beat rhythms the definition of values is greater when such opposition finds place than when the five-beat group is continuously repeated.  This is to be explained doubtlessly by the more definite integration into a higher rhythmical unity which is afforded under the former conditions.

The number and the distribution of elements are factors variable at will, and are so treated in both musical and poetical expression.  The condition which cannot be transgressed is the maintenance of strict temporal relations in the succession of total groups which constitute the rhythmical sequence.  These relations are, indeed, not invariable for either the single interval or the duration of the whole group,