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But other things being equal, the bright, the clear, the saturated color is relatively more pleasing, and white, red, and yellow seem especially preferred. <1> Mental Development in the Child and the Race, 1895, pp. 39, 50, ff. <2> E. S. Baker, Univ. of Toronto Studies, Psychol. Series, No. 4; J. Cohn, Philos. Studien, vol. X; Major, Amer. Jour. of Psychol., vol. vii.
Thus in this case, and to sum up, truth is synonymous with beauty, in so far as beauty is constituted by favorable stimulation of an organ. The further question, how far this vivid treatment of light is of importance for the realization of depth and distance, is not here entered on. <1> Kirschmann, Univ. of Toronto Studies, Psychol. Series No. 4, p. 20.
The positive toning of the experience what we call aesthetic pleasure is due not only to the favorable stimulation, but also to the fact that the very antagonism of impulses which constitutes repose heightens tone while it inhibits action. Thus the conditions of both factors of aesthetic emotion tend to induct pleasure. <1> Baldwin's Dict. Of Phil. And Psychol. Art. "Emotion."
The syncopated measure has to maintain itself against pressure, as it were, and thus by making its presence in consciousness felt more strongly, it emphasizes the fundamental rhythm form. <1> R. MacDougall, "The Structure of Simple Rhythm Forms," Harv. Psychol. Studies, vol. i, p. 332. This is well shown in the following passage from a technical treatise on expression in the playing of music.
<1> A. Kirschmann, "Die psychol.-aesthet. Bedeutung des Licht und Farbencontrastes," Philos. Studien, vol. vii. Further rules can hardly be given; but the results of various observers<1> seem to show that the best combinations lie, as already said, among the complementaries, or among those pairs nearer together in the color circle than complementaries, which are "warmer."
A series of movements are never objectively equal, but grouped in the same way. Now this subjective rhythm, sensory and motor, is explained as follows from the general physiological basis of attention. <1> T.L. Bolton, Amer. Jour. Of Psychol., vol. vi. The classical historical study of theories of rhythm remains that of Meumann, Phil. Studien, vol. x.
In other words, the attention theory is the real motor theory. <1> C.M. Hitchcock, "The Psychol. Of Expectation," Psychol. Rev., Mon. Suppl., No. 20. Expectation is the "set" of the attention. Automatism is the set of the motor centres. Now as attention is parallel to the condition of the motor centres, we are able to equate expectation and automatic movement.
<1> F. Weinmann, Zeitschr. f. Psychol., Bd. 35, p. 360. It is from this point of view that we can see the cogency of Gurney's remark, that when music seems to be yearning for unutterable things, it is really yearning only for the next note.
Swift Walter B., demonstration eines Hundes, dem beide Schafenlappen xtirpiert worden Sind. Neurologisches Centralblatt, 1910, no 13. Corresponding Member Neurol. and Psychol. Societies of Paris, etc. Neurologist to Freedmen's Hospital and Epiphany Dispensary, Lecturer on Nervous and Mental Diseases, Howard University, Washington, D. C.
<1> J.B. Miner, "Motor, Visual, and Applied Rhythms," Psychol. Rev., Mon. Closely connected with these facts, perhaps only a somewhat different aspect of them, is the phenomenon of motor mechanization. Any movement repeated tends to become a circular reaction, as it is called; that is, the end of one repetition serves as a cue for the beginning of the next.
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