# Bauhaus-Universität Weimar

### Volltext Experimental Psychology: A Manual of Laboratory Practice, Vol. I: Qualitative Experiments, Part 1: Student's Manual (1 (1))

Titel:
Experimental Psychology: A Manual of Laboratory Practice, Vol. I: Qualitative Experiments, Part 1: Student's Manual
Person:
Titchener, Edward B.
PURL:
https://digitalesammlungen.uni-weimar.de/viewer/image/lit11937/195/
```§ 45- Degrees of Tonal Fusion
173
to say ‘ doubtful ’ (or write the sign ?), stating at the same time
the direction in which his judgment inclines.
At the signal “ Now ! ” 0 closes his eyes, and awaits the
stimulus. E sounds the note or notes for 2 sec. 0 records his
judgment, and the experiment is repeated. The time-interval
between test and test should be kept as constant as possible.
No fixed rule can be laid down for it ; but three series of 25 tests
each, with short pauses for rest between them, may be taken in
the hour. At least 25 trials should be made with each of the 12
musical intervals (300 tests in all).
Results. — There will, probably, be some intervals which are
invariably heard as more than one note, i.e., which are ‘judged
correctly’ by 0 in every instance. On the other hand, there
will perhaps be some intervals which are invariably heard as one
note. E tabulates the intervals, in the order from highest to
lowest percentage of errors. The first line of the Table will give
the most perfect, the last line the least perfect fusions ; the
intermediate lines show the intermediate fusion degrees.
Questions and Cognate Experiments.—(1) How many
degrees of fusion are distinguishable within the octave ? Are
the different degrees separated by equal or by unequal steps or
distances ?
(2) Formulate the general law of tonal fusion.
(3) Is the degree of fusion of two tones dependent upon the
tone region (the part of the musical scale) from which the tones
are taken ?
(4) Is the degree of fusion dependent upon the (absolute or
relative) intensity of the component tones ?
(5) How is fusion degree affected by extension of the inter¬
vals beyond the octave ? Is there, e.g., any difference between
the fusion degree of the fifth and that of the twelfth ?
(6) How is fusion degree affected by the addition of a third,
fourth, etc., tone to the two primary tones ?
(7) How is fusion degree affected by a spatial separation (dif¬
ferent localisation) of the two tones ?
(8) Can you ideate (imagine, think of) two simultaneously
sounding tones in any other than their perceptual degree of
fusion ?
```

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