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was always prescribed (e.g., | q. q; q_% | or | q. %; q. q|, but not
\______/ \________/
either at the subjects’ preference), so that no material was there afforded for a determination of the primacy of particular figures; but the results must of course show any tendency which exists toward an increased accentuation of the syncopated measure.  It needs but a cursory reference to the statements of these results in Pt.  III., B, of this paper, to observe how constant and pronounced this tendency is.[11]

[10] This result is clearly irregular, and is probably due to the effect of accidental variations on a meager series of judgments.  The number of these was three for each observer, making eighteen judgments in all the basis of each percentage in the table.

[11] The subjective notes of the observers frequently refer to this as an explicitly conscious process, the nature of the rhythmical sequence requiring a greater stress at that point than elsewhere.  Extracts are appended: 

Trochaic Syncopation.—­“There is almost a necessity for an accent on the last beat.” “... an almost imperative tendency to emphasize the final syllable beyond the rest.”  “The two taps were followed by a pause and then a tap with increased pressure.”  “This was not satisfactory with any adjustment of time relations so long as the stress of all three beats was the same.  In attempting to make them all equal I almost involuntarily fell into the habit of emphasizing the final one.”

Dactylic Syncopation.—­“In this series it was easy to lay stress on the last (beat) ... this is the natural grouping; I unconsciously make such.” “... of these the heavy one (accented syncopation) was much more satisfactory.”  “It was constantly my tendency to increase the strength of the last tap.”  “In this it is natural for me to make the final stroke heavy.  To make the second group balance the first by equalizing the time alone is less satisfactory than by introducing elements of both time and force.”  “I felt that the latter part of the rhythm (unaccented syncopation) was lacking in force.  Something seemed continually to be dropped at the end of each group.”

The reactors frequently repeated the full measure several times before introducing the syncopated measure, which thus brought a series to its close.  It will probably be found that in the actual construction of poetic measures the syncopated or partially syncopated foot is systematically introduced coincidently with points of rhythmical or logical pause.

Conclusive evidence of the integration of simple rhythm forms in higher structures is presented by the process of increasing definition which every rhythmical sequence manifests between its inception and its close.  This process is manifested equally in the facts of sensory apprehension and those of motor reproduction