ABSTRACT
We now arrive at the essential part of our inquiry, the analysis of Erwin’s musical and acoustic faculties. I have endeavoured, as far as possible, to test these capacities by making use of a series of experiments, in order to be able to record numerical results, which it is practically impossible to do when one confines oneself to mere observation. 1 One of the reasons which lead me to consider it particularly advisable to adopt this method is because I hope that later, when similar cases have been investigated in a like manner, scientists may arrive at some interesting conclusions, the result of comparative research concerning the abilities of highly-gifted young musicians—a branch of investigation that is indispensable for the foundation of certain general principles, and in determining the factors which have a decisive influence on artistic development.
