ABSTRACT
This chapter deals with experiments on musical intervals and with a few experiments on musical compositions especially undertaken and selected for this chapter because they deal with problems raised by the study of intervals themselves. I should like to emphasize first what I touched on briefly in the introductory chapter of this book, namely, that I fully realize the final and major problems about music relate entirely to the musical compositions as a whole, and one cannot treat the whole as though it was a mere addition of the separate parts or units. This principle was, I think, already emphasized in the very first edition of my little book on The Experimental Psychology o f Beauty in 1913, and indeed, no students of G. F. Stout’s Analytic Psychology would be likely to overlook the main principles of Gestalt psychology which I have mentioned in Chapter I.
