elements which are unaccented.  For the average is not based on a confused series of individual records, but is consistently represented by three out of four subjects, the fourth reversing the relations of the second and third elements, but approximating more closely to equivalence than any other reactor (the proportional values for this subject are 1.000; 0.443; 0.461).  Moreover, this reactor was the only musically trained subject of the group, and one in whom the capacity for adhering to the logical instructions of the experiment appears decidedly highest.

In the amphibrachic form the average again shows three degrees of intensity, three out of four subjects conforming to the same type, while the fourth reverses the relative values of the first and third intervals.  The initial element is the weakest of the group, and the final of median intensity, the relation for all subjects being in the ratio, 1.000:1.124.  The amphibrachic measure begins weakly and ends strongly, and thus approximates, we may say, to the iambic type.

In the anapaestic form the three degrees of intensity are still maintained, three out of four subjects giving consistent results; and the order of relative values is the simple converse of the dactylic.  There is presented in each case a single curve; the dactyl moves continuously away from an initial accent in an unbroken decrescendo, the anapaest moves continuously toward a final accent in an unbroken crescendo.  But in the anapaestic form as well as in the dactylic there is a clear duality in the arrangement of elements within the group, since the two unaccented beats fall, as before, into one natural group, while the accented element is set apart by its widely differentiated magnitude.  The ratios follow:  first interval to second, 1.000:1.009; first interval to third, 1.000:2.084.

The values of the three elements when considered irrespective of accentual stress are as follows:  First, 1.000; second, 1.001; third, 0.995.  No characteristic preponderance due to primacy of position appears as in the case of relative duration.  The maximum value is reached in the second element.  This is due to the cooeperation of two factors, namely, the proximity of the accentual stress, which in no case is separated from this median position by an unaccented element, and the relative difficulty in giving expression to amphibrachic rhythms.  The absolute values of the reactions in the three forms is of significance in this connection.  Their comparison is rendered possible by the fact that no change in the apparatus was made in the course of the experiments.  They have the following values:  Dactylic, 10.25; amphibrachic, 12.84; anapaestic, 12.45.  The constant tendency, when any difficulty in cooerdination is met with, is to increase the force of the reactions, in the endeavor to control the formal relations of the successive beats.  If such a method of discriminating types be applied to the present material, then the most easily cooerdinated—­the most natural—­form is the dactyl; the anapaest stands next; the amphibrach is the most unnatural and difficult to cooerdinate.