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{"created":"2022-01-31T14:26:53.615855+00:00","id":"lit28749","links":{},"metadata":{"alternative":"Studies from the Yale Psychological Laboratory","contributors":[{"name":"Miyake, Ishiro","role":"author"}],"detailsRefDisplay":"Studies from the Yale Psychological Laboratory 10: 1-48","fulltext":[{"file":"p0001.txt","language":"en","ocr_en":"RESEARCHES ON RHYTHMIC ACTION\nBY\nIshiro Miyake, Ph.D.\nThe present investigation of rhythmic action was begun in 1898 and ended in 1901.\nI. Arhythmic action.\nThe term \u2018 arhythmic action \u2019 is used here to mean a series of movements executed at intentionally irregular intervals. In the following experiments we have to observe how irregularly such a series of movements can be performed.\nIn the preliminary experiments I used the Ludwig kymograph and two Marey tambours, so arranged that the recording point of one of the tambours drew a line on the smoked surface of the cylinder of the kymograph.1 The subject was required to hold the lever connected with the other tambour between his thumb and index finger, and, his eyes being closed, to move it up and down successively at irregular intervals at a rather rapid rate.\nThe experiments were made on three subjects ; a specimen record is shown in Fig. 1. The height of the curve corresponds to the amplitude\nFig. i.\nof the movement, and therefore to the intensity of the exerted muscular energy, while the horizontal distance indicates the length of the- time\n1 Details of the arrangement are given in Exercise VIII of Scripture, Elementary course in psychological measurements, Stud. Yale Psych. Lab., 1896 IV 108, Fig. 16.","page":1},{"file":"p0002.txt","language":"en","ocr_en":"2\nIshiro Miyake,\nbetween the successive movements. The line at the bottom indicates fifths of a second. It was observed in this record as well as in the others : ( x ) that there is constantly recurring tendency to repeat equal intervals in succession ; ( 2 ) that the same intensity of the muscular energy is also often repeated ; and (3) that the weak and strong intensities often alternate. The attempt at irregular action thus shows a persistent tendency to revert to action regular in time and intensity.\nThe records obtained in the above experiments show the characteristics of arhythmic action under the various circumstances for the various subjects. Accurate measurements of the length of the intervals can be better obtained by another method. A Deprez marker and a key with a break contact were put in series in a iam current. The pointer of the marker was rested lightly against the smoked surface of the cylinder of the kymograph. The subject was asked to tap the key at intervals as irregular as possible, the slowest speed of the two successive beats being limited to about one second. He was seated comfortably before the appa-\nRecord I. Subject S.\ni\t2\t3\t4\t5\t6\t7\t8\t9\t10\tn\t12\n55\t36\t27\t23\t14\t13\t13\t39\t32\t27\t28\t11\n13\t14\t15\t16\t17\t18\t19\t20\t21\t22\t23\t24\nI2\t12\t12\t12\t12\t15\t12\t19\t27\t14\t14\t12\n25\t26\t27\t28\t29\t30\t31\t32\t33\t34\t35\t36\n14\t13\t14\t15\t13\t12\t14\t22\t12\t11\t17\t20\n37\t38\t39\t4\u00b0\t41\t42\t43\t44\t45\t46\t47\t48\n22\t34\t31\t38\t59\t15\t18\t12\t4\u00b0\t33.\t3\u00b0\t40\n49\t50\t51\t52\t53\t54\t55\t56\t57\t58\t59\t60\n14\t15\t14\t15\t13\t>5\tJ5\t16\tH\tH\t14\t15\n61\t62\t63\t64\t65\t66\t67\t68\t69\t70\t71\t72\n14\t16\t34\t34\t32\t28\t19\t10\tis\t15\t30\t15\n73\t74\t75\t76\t77\t78\t79\t80\t81\t82\t83\t84\n14\t14\t15\t27\tiS\t15\t32\tH\t22\t14\t14\t16\n85\t86\t87\t88\t89\t90\t91\t92\t93\t94\t95\t96\n15\t16\t16\tis\t32\tiS\t15\t15\t15\t15\tI6\t15\n97\t98\t99\t100\t101\t102\t103\t104\t105\t106\t107\t108\n15\t15\t16\t16\t15\t15\tIS\t34\t26\t25\tis\t16\n109\tno\thi\t112\t113\t114\tnS\t116\t117\ti'8\tH9\t120\n14\t15\t14\t14\t15\t15\t15\t15\t15\tH\t20\t16\n121\t122\t123\t124\t125\t126\t127\t128\t129\t130\t131\t132\n16\t22\t16\t11\t14\tii\t42\t24\t42\t18\t14\t16\n133\t134\t135\tI36\t137\tI38\t\"39\tHo\t141\n19\t14\t17\t20\t19\t17\t16\t32\t56\nUnit of measurement, 2 = 0.01s. First line indicates the serial number of the period Second line indicates the length of the period in hundredths of a second.","page":2},{"file":"p0003.txt","language":"en","ocr_en":"Researches on rhythmic action.\n3\nratus and his eyes were closed during the experiments. The speed of the kymograph was made fast enough so that the interval between the two successive beats could be measured with sufficient accuracy.\nFor obtaining the time line the Jacquet graphic chronometer was used, with the pointer vibrating five times a second ; one-fifth of a second being divided into twenty equal parts, the one-hundredth part of a second could be used as a unit of measurement.\nThe subjects of the experiments were as follows : S, an instructor at Yale University ; U, a student ; and J, the steward of the psychological laboratory.\nThe results of the experiments are given in the accompanying Records, in which the figures in the first horizontal line indicate the serial number of the period and those in the second horizontal line the length of the successive periods, T= o.oi8 being the unit.\nRecord II. Subject J.\nI\t2\t3\t4\t5\t6\t7\t8\t9\t10\tn\t12\n31\t14\t14\t12\t12\t12\t22\t16\t23\t16\t54\t12\n13\t14\tIS\t16\t17\t18\t19\t20\t21\t22\t23\t24\n38\tH\t14\tiS\t14\t29\t10\t16\t18\t32\t15\t13\n25\t26\t27\t28\t29\t3\u00b0\t31\t32\t33\t34\t35\t36\n20\t38\t18\t60\t14\t16\t16\t16\t16\t16\t16\t34\n37\t38\t39\t40\t41\t42\t43\t44\t45\t46\t47\t48\niS\t34\t34\t34\t15\t17\t17\t18\t18\t16\t33\t16\n49\t5\u00b0\tSi\t52\t53\t54\t55\t56\t57\t58\t59\t60\n20\t16\t16\t16\t46\t16\t14\t16\t15\t16\t45\t14\n61\t62\t63\t64\t65\t66\t67\t68\t69\t70\t71\t72\n16\tss\t16\t19\t14\t3\u00b0\t18\t16\t23\t22\t42\t42\n73\t74\t75\t76\t77\t78\t79\t80\t81\t82\t83\t84\n18\t18\t18\t14\t24\t44\t17\t30\t18\t38\t16\t16\n85\t86\t87\t88\t89\t90\t91\t92\t93\t94\t95\t96\n18\t14\t16\tH\t14\t14\t13\tH\t16\t16\t16\t28\n97\t98\t99\t100\tIOI\t102\t103\t104\t105\t106\t107\t108\n16\t3\u00b0\t34\t19\t16\t14\t14\t40\t42\t18\t34\t46\n109\tno\tin\t112\t113\tII4\t115\t116\t117\tns\t119\t120\nH\t16\t16\t16\t16\t12\t14\t16\t15\t14\th\t16\n121\t122\t123\t124\t125\t126\t127\t128\t129\t130\t131\t132\n18\t33\t16\t20\t16\tH\tH\t18\t22\t15\t16\t15\n133\t134\tI3S\t136\t137\t138\t139\t140\t141\t142\t143\t144\n14 145 12\t14 146 3\u00b0\tiS\t14\t14\t20\t13\t20\t19\tn\tn\t16\nUnit of measurement, 2 = o.of. First line indicates the serial number of the period. Second line indicates the length of the period in hundredths of a second.","page":3},{"file":"p0004.txt","language":"en","ocr_en":"4\tIshiro Miyake,\nRecord III. Subject U.\nI\t2\t3\t4\t5\t6\t7\t8\t9\t10\t11\t12\n12\t13\t20\t20\t16\t16\t16\t16\t10\t10\t16\t19\n13\t14\t15\t16\t17\t18\t19\t20\t21\t22\t23\t24\n12\t22\t11\t12\t22\t31\t37\t20\t12\t17\t16\t16\n25 \u2022\t26\t27\t28\t29\t3\u00b0\t31\t32\t33\t34\t35\t36\n15\t15\t15\t14\t13\t10\t18\t40\t40\t27\t16\t30\n37\t38\t39\t40\t41\t42\t43\t44\t45\t46\t47\t48\n46\t35\t40\t12\t18\t19\t27\t25\t3\u00b0\t25\t40\t32\n49\t50\t51\t52\t53\t54\t55\t56\t57\t00 \u00bb0\t59\t60\nH\t20\t28\t33\t27\t35\t3\u00b0\t29\t38\t32\t14\t15\n6i\t62\t63\t64\t65\t66\t67\t68\t69\t70\t71\t72\n15\t15\t13\t17\t32\t37\t38\t20\t18\t12\t3\u00b0\t3\u00b0\n73\t74\t75\t76\t77\t78\t79\t80\t81\t82\t83\t84\n26\t25\t15\t36\t35\t40\t23\t26\t33\t45\t3\u00b0\t13\nDO CO\t86\t87\t88\t89\t90\t91\t92\t93\t94\t95\t96\n20\t20\t14\tH\t15\t16\t15\t15\t14\t28\t48\t28\n97\t98\t99\t100\t\t\t\t\t\t\t\t\n15\t20\t28\t33\t\t\t\t\t\t\t\t\nUnit of measurement, 2 =\t\t\t\t0.01\u201c.\tFirst line indicates the serial\t\t\t\tnumber of the period.\t\t\nSecond line indicates the length of the period in hundredths of a second.\nThe records show the following facts : ( i ) there are repetitions of equal or about equal periods ; (2) the unequal periods, which occur after or in the middle of a group of the repeated equal periods, are, in many cases, simple multiples of the latter; (3) the periods from 12 to 17 are most frequent ; (4) rhythmic alternations of long and short intervals also occur.\nThese facts seem to indicate that arhythmic movements have a constant tendency to become rhythmic, notwithstanding the voluntary effort of the subject to execute the movements at irregular intervals. The subjects of the experiments invariably agreed in confessing that the arhythmic tappings required strenuous effort and that the performance was very fatiguing.\nII. Influence of auditory and visual sensations on\nRHYTHMIC ACTION.\nThe purpose of the experiments in this section was to determine how the regularity of the rhythmic movement is influenced by the auditory and visual stimuli.\nAs there are two different forms of rhythmic action, the one \u201cregu-","page":4},{"file":"p0005.txt","language":"en","ocr_en":"Researches on rhythmic action.\t5\nlated \u201d and the other \u201cfree,\u201d\u2018the experiments were made separately on both forms.\nA. Regulated rhythmic action.\nThe function of the auditory or visual stimuli in regulated rhythmic action is to give us the objective standard of the period in coincidence with which we execute our movements. Of the two kinds of sensations, auditory and visual, which one is the more favorable for the regularity of the movements?\nIt was very important that the movements of the finger should be registered without producing any sound audible to the subject. A special key was made of a small piece of steel spring about 55\u201c\u201c long and 4mm in width fastened tightly at one end to a wooden block. A platinum point put on the block made contact with a similar point on the spring. A slight touch of a finger at the free end of the spring wire would break the electric circuit at the platinum point. Used inside a muff, the very faint click which it produced was rendered imperceptible to the ear.\nFor producing the auditory stimuli a pair of discharging points connected to a spark coil were used. The two brass rods were put in a horizontal line with a distance of about 2mm between them and connected to the poles of the secondary circuit. When the primary circuit was broken a sound was produced by the spark. The points were put behind a black screen, so that the spark could not be seen by the subject.\nFor producing the visual stimuli without sound a Geissler tube was connected with the secondary coil. In order that the faint sound produced in the tube when the current passes through it might be made inaudible, the tube was put in a wooden box with a glass window in front.\nThe discharging points and the Geissler tube were connected by means of a double switch to the secondary current of the spark coil.\nA simple brass contact on a Wundt contact apparatus1 2 attached to the Ludwig kymograph was used for breaking the contact of the primary current of the spark coil at a regular interval. The break of the contact produced either the sound of the spark at the discharging points or the flash in the Geissler tube. By turning the switch either of the two stimuli could be used as desired. A Deprez marker connected in series with the key in ian* current recorded on the smoked surface the moment of the beat of the finger. A fork of 10 complete vibrations a second\n1 Scripture, Observations on rhythmic action, Stud. Yale Psych. Lab., 1899 YII 102.\n2,Wundt, Physiol. Psychol., 4. Aufl. II 424, Leipzig 1893.\nScripture, Elementary course in psychological measurements, Stud. Yale Psych. Lab., 1896 IV 127.","page":5},{"file":"p0006.txt","language":"en","ocr_en":"6\nIshiro Miyake,\nregistered its vibrations by a pair of Marey tambours.1 Each of the waves could be readily divided into ten equal parts ; this made it possible to use T = 0.01s for the unit of measurement.\nThe point where the stimulus occurred was carefully determined, and a \u201czero-line \u201d was drawn by moving the drum up and down.\nIn many respects the arrangements resembled those used in Exercise XII of the Yale laboratory course.2 *\nThe subject of the experiment was seated in a silent room and was asked to beat time on a noiseless key in coincidence either with the sounds of the sparks or with the flash of light from the Geissler tube. The records were taken in a adjoining room. The accessory communication between the two rooms was made by means of telegraph sounders.\nThe two sets of the trials, one with the sounds and the other with the flashes, were always made on the same occasion, the order of the trials being changed alternately. The experiments were made on two subjects ; of these D was a student, and S an instructor at Yale University. The time interval of the signals was one second.\nThe results of different series of experiments for a period of i8 are shown in Tables I and II, in which the average constant error is the average deviation of the beats from the corresponding signals. When the former comes after the latter, it is marked with the positive sign, and when it comes before, it is marked with the negative sign. The average constant error is thus :\nAt= X1 + X2+ - + n\nwhere xv x%, xn are the lengths of time by which the finger beat occurs after the stimulus (negative values indicating before). In the column headed \u201cNumber of measurements,\u201d the number of the beats recorded is given. The column headed \u201c Number of positive deviations \u2019 \u2019 shows the number of the cases in which the beats came after the signal and the column headed \u201cNumber of negative deviations,\u201d that in which the beats came before. The probable error, which is an indication of the regularity of the movements, is obtained by the formula :\nP=\\\n\\\n(At\u2014 xj2 +(At\u2014 xs)2 + - -f (elt \u2014 xff\n-------------------------------j\nn \u2014 i\nwhere At is the average constant error, x the individual deviation, and n the number of measurements.\n1\tLangendorff, Physiologische Graphik, 134, Leipzig und Wien 1891.\n2\tScripture, Elementary course in psychological measurements, Stud. Yale Psych.\nLab., 1896 IV 127.","page":6},{"file":"p0007.txt","language":"en","ocr_en":"Researches on rhythmic action.\n7\nIt will be observed in comparing Tables I and II that the probable errors of the movements with the sounds are smaller than those with the flashes. With the subject D, the probable errors for sounds vary from 0.92 to 2.22 and for flashes from 1.22 to 3.4s. With the subject S the probable errors for the sounds vary from i.o2 to 1.72, for the flashes from 1.22 to 6-92. The averages of the probable errors are: for D, sounds 1.72, flashes 1.92; for S, sounds 1.32, flashes 3-22.\nTable I.\nRegulated rhythmic action with sounds at intervals of 1\u2019.\nSubject.\t\tAverage constant error.\tNumber of measurements.\tNumber of positive deviations.\tNumber of negative deviations.\tProbable error.\n\t\t\u2014 9.0\t16\t0\t16\t2.0\n\t\t- 6.4\t16\t0\t16\t1-4\n\t\t\u2014 5-5\t20\t0\t1 20\t2.0\nD \u2022\t\t\u2014 5-5\t20\t0\t20\t0.9\n\t\t\u2014 2.0\t20\t2\t18\t2.2\n\t\t\u2014 i-9\t20\t5\t15\t1.9\n\t\t\u2014 6.6\t20\t0\t20\t1.6\n\t\t\u2014 2.5\t20\t2\t18\t1.6\n\t\t\u201412.4\t16\t0\t16\t1.7\n\t\t\u2014 7.2\t16\t0\t16\t1.2\n\t\t\u2014 5-2\t20\t0\t20\t1.2\nS \u25a0\t\t\u2014 3-4\t18\t0\t18\t1.0\n\t\t\u2014 5-7\t20\t0\t20\t1.2\n\t\t\u2014 3-9\t29\t0\t19\t1.2\n\t\t\u2014 7-i\t20\t0\t20\t1.2\n\t.\t- 5-8\t20\t0\t20\ti-3\nUnit of measurement, 2 = o.oi8.\nTable II.\nRegulated rhythmic action with flashes at intervals of i\u2018.\nSubject.\t\tAverage constant error.\tNumber of measurements.\tNumber of positive deviations.\tNumber of negative deviations.\tProbable error.\n\t'\t\u201413-7\t16\t0\t16\t3-4\n\t\t- 5-6\t16\t0\t16\t1-3\n\t\t4- 0.2\t20\t10\t6\t1.2\nD\t\t+ 0.2\t20\t2\t>7\t*\u20223\n\t\t\u2014 2-3\t20\t0\t20\t1.2\n\t\t+ 2.3\t20\t3\t17\t2.8\n\t\t+ 8.1\t16\t16\t0\t1.8\n\t\t- 4-8\t16\t0\t16\t2.0\n\t\t- 3-8\t16\t11\t3\t6.9\n\t\t\u2014 3-6\t16\t0\t15\ti-3\n\t\t\u2014 7-9\t20\t0\t20\t1.5\nS \u25a0\t\t\u2014 7.0\t20\t0\t20\t1.9\n\t\t\u2014 7-7\t20\t0\t20\t2. i\n\t\t+ 0.5\t20\t12\t' 8\t5-4\n\t\t+ 23-3\t20\t20\t0\t5-6\n\t\u25a0\t\u2014 5-4\t20\t20\t0\t1.2\nUnit of measurement, 2 = 0.01\".","page":7},{"file":"p0008.txt","language":"en","ocr_en":"8\nIshiro Miyake,\nThe results show that the rhythmic movements regulated by auditory sensations are more regular than those regulated by visual sensations. It may be also noticed that most of the beats of the finger come before the sounds and also before the flashes, but more often in the case of sounds. With the subject D the beats with sounds come before the signals 143 times out of 152, with the flashes 108 times out of 144. With the subject S all 150 beats with sounds came before the signals, with the flashes only 63 out of 152. This fact agrees with Johnson\u2019s1 experiments, in which it was observed that all his subjects anticipated the signals in beating time with the strokes of an electric sounder.\nB. Free rhythmic action.\nIn regulated rhythmic action the sensations are produced by some external means, and the length of the interval is beyond the control of the subject. In free rhythmic action these sensations are produced as the accompaniment or consequence of the movement, and the length of the interval depends on the speed of the movement as chosen by the subject himself.\nThe present experiments on free rhythmic action were carried on in the two different series of trials : ( 1 ) free rhythmic action with and without auditory sensations, and (2) free rhythmic action with and without visual sensations.\ni. Free rhythmic action with and without auditory sensations.\nThe experiment consisted in tapping on a noiseless key. The small \u201c strap \u2019 \u2019 key used in this experiment was made of an elastic brass strip, B, 46\u2122\" long and 9\u201c\u201c wide, mounted on a wooden block, E ; a brass stop, C,\nkept the free end of the spring from rising more than 4mm from the block. A slight pressure on the button, A, at the free end of the strap forced it nearer the block and broke its contact with the brass stop. Platinum points, D, were used to ensure good contact between the strap and the stop.\nThe key was put in a rubber bag and packed in felt so that the sound was rendered absolutely inaudible ; the key was thus an absolutely noiseless one. The wires, F, G, projected from the bag. A spot on the surface of the rubber bag under which the button of the key was situated was marked with a sign. It indicated the point where the tapping was to be\nFig. 2.\n1 Johnson, Researches in practice and habit, Stud. Yale Psych. Lab., 1898 VI 51.","page":8},{"file":"p0009.txt","language":"en","ocr_en":"Researches on rhythmic action.\n9\nhand at what he considered to be a constant interval. The rate of the done. The adjustment of the key was such that the slightest touch broke the circuit.\nThe same discharging points that were used in the preceding experiments were fixed to two binding posts and mounted on a wooden block. All apparatus conditions were kept constant. The points were put behind a curtain so that the subject would hear the sounds of the sparks without seeing the flashes.\nThe general plan of the arrangement is shown in the accompanying diagram (Fig. 3). The noiseless key, K, with condenser, C, around the break was placed in the primary current, P, of a spark coil, B. The secondary coil, S, was connected in series with the metallic registering point of a Pfeil marker, M, and the discharging points, J, so that a break of the primary cir-\nFig. 3.\ncuit would produce a spark on the time-line at the point of the marker and also between the discharging points at the same moment. In this way the movement of finger on the key, breaking the primary current, resulted in a sound of the spark between the discharging points and a record on a smoked drum, D, simultaneously.\nA switch, H, was put in the secondary circuit around the discharging points. When the switch was closed, the short circuit prevented sparks at the discharging points, and the tapping on the key was not followed by the sound of the spark, although still recorded on the drum. A timeline was drawn on the drum by the marker, M, run by a 100 v. d. fork.\nThe key and the discharging points were placed in a special quiet room, the rest of the apparatus was in another room.\nThe subject with closed eyes beat time with the index finger of his right","page":9},{"file":"p0010.txt","language":"en","ocr_en":"IO\nIshiro Miyake,\nmovement was left entirely to his own choice. Two sets of the experiments, one with sounds and the other without sounds, were tried at the same time of day under as nearly the same conditions as possible. The order of trials of the two sets was alternated every time. From the record of one set of the beats 10 (in exceptional cases 9 or 8) successive periods were counted.\nAs an indication of the amount of the regularity of the movements, the probable error was used as in the preceding experiments. The formula for the immediate probable error is\nwhere vv v2, \u2014, vn are the differences between the individual measurements of the interval and the average, and n is the number of measurements. The relative probable error is\na\nwhere a is the average ; r indicates the relation of the amount of irregularity to the length of the interval.\nThe subjects of the experiments were four : M and Y, students of psychology ; H, a student of law ; and C, the laboratory mechanic.\nTable III. shows the results of the experiments. For the sake of comparison, the results on the two kinds of movement, the one with and the other without sounds, are put side by side. The figures arranged in the same horizontal line are the results of the experiments taken on the same occasion. The unit of measurement was a = 0.001.\nA comparison of the corresponding probable errors in the same horizontal line will show that those of the free rhythmic movement with the sound are almost always smaller than those of the movement without the sound. This holds true for both the simple and the relative probable errors. In the case of the subject C the errors for the movement with the sound are always smaller than those of the movement without the sound. In the three other subjects M, H and Y, the case where the errors for the movement with the sound are larger than those of the movement without the sound occurs only once for each. The general conclusion may be drawn that free rhythmic movement with the sound is more regular than that without the sound.\nIt can be also noticed in the table that the length of the periods in general is shorter in the movements with the sound than in those without the sound. This is specially shown in the cases of the subjects","page":10},{"file":"p0011.txt","language":"en","ocr_en":"Researches on rhythmic action.\nii\nM and Y in which the periods with the sound are always shorter than those without the sound. This is probably due to the fact that the time interval marked off by the muscle, joint and skin sensations and the audi-\nTable III.\nFree rhythmic action.\nWith sound.\tWithout sound.\nSubject.\nM\nH\nAverage time.\tP\tr 100\tAverage time.\tP\tr IOO\n515\t10.5\t2-3\t533\t21.2\t4.0\nS23\tII.2\t2.1\t559\t19.6\t3-4\n526\t9-7\t1.8\t673\t19.7\t2.9\n500\t13-8\t2.7\t528\t7.0\ti-3\n543\t14-7\t2.7\t575\t20.6\t3-5\n519\tII-3\t2.1\t55\u00b0\t22.0\t4.1\n517\t10.6\t2.0\t567\tn.5\t*\u20229\n502\t4-7\t0.9\t523\t14.8\t2.8\n428\t10.4\t2.4\t360\t1S.5\t5.1\n335\t15-3\t4-5\t379 388\t30.8\t8.1\n349\t15.0\t4-3\t\t14.0\t3-6\n387\t138\t3-5\t389\t22.6\t5.8\n803\t14.8\t1.8\t856\t29.5\t3-4\n748\t17.0\t2-3\t911\t29.4\t3-2\n1333\t33-4\t2-5\t1347\t42.7\t3-1\n1305\t32.6\t2-5\t1362\t32.0\t2.4\n709\t25-3\t3-5\t713\t28.2\t3-9\n618\t7.8\t1-7\t646\t12.4\ti-9\n544\t7-9\t1-4\t583\t12.0\t2-5\n56l\t9-3\t1.6\t58i\t16.6\t2.8\n683\t15.0\t2.2\t594\t20.4\t3-4\n791\t12.0\ti-5\t763\t20.8\t2.7\n945\t14.4\ti-5\t799\t25-5\t3-6\n958\t14.2\t1-4\t1074\t32.7\t3-o\nage\t\t2-3\t\t\t3-4\nUnit of measurement, (7 = 0.001*.\ntory sensations appears longer to the subjects than the equal interval which is marked off by the former group alone, and that therefore the subject tends to shorten the former.\n2. Free rhythmic action with and without visual sensations.\nThe apparatus and method of experimenting were mainly the same as before. The noiseless flash of the spark was substituted for sound. In order to render the sound of the spark inaudible, the discharging points were put in the inner of two concentric glass tubes ; the sparks could be seen by the subject but not heard.\nThe results of the experiments are given in Table IV. The average of the intervals is, in general, the average of ten individual measurements, but","page":11},{"file":"p0012.txt","language":"en","ocr_en":"12\nIshiro Miyake,\nin exceptional cases the average of 8. The unit of measurement was a = 0.001s. The results of the two sets of the trials, the one with and the other without the flash of the spark, which were taken at the same time of the day, are put in the same horizontal line.\nTable IV.\nFree rhythmic action.\n\t\tWith flash.\t\t\tWithout flash.\t\nSubject. Avera\u00a7e\t\tp\tr\tAverage\tP\tr\ntime.\t\t\t100\ttime.\t\t100\n\t849\t16.0\t1.9\t880\t33-3\t3-8\n\t929\t27-3\t2.9\t883\t133\ti-5\nC \u00ab\t945\t24.0\t2-5\t1187\t35-3\t2.9\n\t1156\t32.7\t2.8\tI I 71\t29-3\t2-5\n\tIOI2\t34-o\t3-3\t1049\t25-3\t2-3\n\t1044\t19.0\ti-7\t1147\t25-3\t2.2\n\t591\t20.7\t3-4\t591\t22.0\t3-7\n\t537\t16.0\t2.9\t572\t9-3\t1.6\n\t542\t12.0\t2.2\t583\t9-7\t1.8\n\t563\t17.0\t3-i\t573\t1.7\t2.9\nM *\t528\t12.0\t2-3\t587\t1.3-3\t2-3\n\t540\t12.7\t2.6\t583\t18.0\t3-i\n\t537\tIO.7\t2.0\t519\t16.0\t3-i\n\t514\t2O.7\t4.2\t536\t19-3\t3-4\n\t510\t17-3\t3-4\t491\t19. i\t2.1\n\t504\t18.0\t3-6\t504\t15-3\t3-o\n\t487\t20.0\t4.1\t5\u00b0i\t13.0\t2-5\n\t569\t14.9\t2.6\t521\t13-3\t2-5\n\t523\t10.6\t2.3\t497\t8.0\t1.8\n\t490\t153\t3-i\t481\t12.0\t2.7\n\t696\t12.0\ti-7\t744\t18.7\t2-5\nY\t642\t18.0\t2.8\t691\tii 3\t1.6\n\t991\t23-3\t2.4\t1038\t28.7\t2.7\n\t915\t32-7\t3-5\t1008\t21.3\t2.1\n\t755\t30.0\t3-9\t891\t41-3\t4.6\n\t792\t16.0\t2.0\t715\t21.3\t3.5\n\t785\t20.0\t2.5\t847\t34-6\t4.1\n\t764\t22.0\t2.0\t721\t27-3\t3-8\nAverage\t\t\t2.8\t\t\t2.7\nUnit of measurement, <7 = 0.001*.\t\t\t\t\t\t\nA comparison of the corresponding relative errors in Table VII shows that in the two subjects C and Y, the number of cases is about the same in which the probable error is smaller for either one of the two kinds. The conclusion may be drawn that the presence of the flash of the spark with the beat of the finger does not affect the regularity of the rhythmic movement in a constant manner; sometimes the presence of the flash increases the regularity of the beats, but the reverse is quite as often true.\nIn the subject M, however, the number of the cases where the movement with the flash has the smaller probable error is only 3, while the","page":12},{"file":"p0013.txt","language":"en","ocr_en":"Researches on rhythmic action.\n13\nnumber of reverse cases is 6 out of 10. This result seems to indicate that the influence of the visual sensation on the regularity of the measurement is here not neutral, but active in destroying it.\nIII. Intensity and interval in rhythmic action.\nThe principal purpose of the following experiments was to determine how a change of intensity in the rhythmic movements affects the length of the interval.\nEbhardt,1 working on the same problem, made two series of experiments. In the first series the tapping was done on an electric key, and in the second on a piano with electric connections. The records were taken in both cases on a kymograph. The results showed that the interval following the emphasized beat was lengthened as compared with that which followed the unemphasized beat. In Ebhardt\u2019s experiments the tapping was accompanied by the noise of the instrument.\nA. Beats without noise.\nThe noiseless key described above (p. 8) was put with the Pfeil marker in series in a iam current. The metallic point of the marker was connected with one pole of the secondary coil of a spark coil, the other pole being connected to the base of the recording drum. The current from a 100 v. d. fork was sent through the primary coil. In this way the beats were recorded by checks in the line on the drum ; these were divided by the sparks into equal spaces, each of which corresponded to y-J-fj of a second. The subject tapped with his finger (generally with the index finger of the right hand) on the noiseless key, according to the following schemes :\n(\u00ab) I\u201c2; 1-2, 1-2, -\n(J>) 1-2', 1-2', I 2\u2019, ...\n(c) 1-2-3, 1-2-3, -\n{ci) l-2'-3, I-2'-3, ...\nwhere the beat to be emphasized is marked with the sign '. In the scheme i'-2, for instance, the subject was asked to emphasize every first beat of the rhythmic group, but he had, at the same time, to try to keep always a uniform interval between two successive beats, not only between i' and 2, but also between 2 and 1' although he was to think of the groups as in pairs 1'\u20142, not 2-1'. The speed of the movements was left to the choice of the subject.\n1 Ebhardt, Zwei Beitr\u00e4ge zur Psychologie des Rhythmus und des Tempo, Zt. f. Psych,\nu. Physiol, d. Sinn., 1898 XVIII 99.","page":13},{"file":"p0014.txt","language":"en","ocr_en":"14\nIshiro Miyake,\nThe experiments were made on M. M., assistant in the psychological laboratory ; C. W., a student of physics ; and J. K., a student of philosophy.\nTable V gives the results of the experiments on the scheme r'\u20142. The averages of the intervals 1' to 2 and 2 to r', obtained from each single series of experiments, are put in the same horizontal line. The unit of measurement is a = 0.001s. The ratio between the averages of the two intervals is given in the last column, the average for 1' to 2 being taken as the unit.\nThe table shows that all the subjects made the interval 1' to 2 longer than 2 to 1'; that is, the interval following the emphasized beat was made longer than that which follows the unemphasized beat.\nThe results of the experiments with the scheme r-2' are given in Table VI. It will be seen that the average length of the intervals 2' to 1 is in all the cases longer than that of 1 to 2'.\nA comparison of Tables V and VI shows the fact that the lengthening of the interval following the emphasized beat is more marked with the scheme r-2' than with i'-2. The average ratios of the two intervals in the two different rhythmic schemes are :\n1-2'\ni to 2' : 2' to i 0.82: 1.00 0.90 : 1.00 0.90 : 1.00\nI'-2\nl' to 2 : 2 to\nC. W. I.OO : O.94 M. M. 1.00 :0.93 J. K. 1.00:0.91\nThe relative lengths of the long and short intervals are not the same in the two different schemes ; the interval which comes after the emphasized beat is comparatively longer in 1-2' than in 1'\u20142. The same fact was observed by Ebhardt.1\nWhy is the interval following the emphasized beat lengthened more in one rhythmic scheme than in the other ? This can be accounted for by assuming another factor, besides emphasis, that lengthens the period of the movements. It is due, as already pointed out by Ebhardt, to the formation of the rhythmic group. Rhythmic movements with grouping differ in their nature front those without grouping. The latter is merely a series of repeated movements at a uniform interval, in which every single movement is regarded as a coordinate unit. In the former, a series of the movements is divided into groups containing a certain number of movements as their content, and each of such groups is regarded as a unit.\nEbhardt supposed that at the end of the rhythmic group a suspension\n1 Ebhardt, Zwei Beitr\u00e4ge zur Psychologie des Rhythmus tmd des Tempo, Zt. f. Psych, u. Physiol, d. Sinn., 1898 XVIII 99.","page":14},{"file":"p0015.txt","language":"en","ocr_en":"Researches on rhythmic action.\ni\nTable V.\nBeating on noiseless key.\n\t\tScheme: I'-2.\t\t\nSubject.\tAverage of inter-\tAverage of inter-\tNumber of\tRatio\n\tvals from 1' to 2.\tvals from 2 to 1'.\tmeasurements.\tl' to 2 : 2 to i\n\t574\t549\t10\ti. 00 : 0.94\n\t595\t589\t10\tI.00 : i.00\nr w\t635\t529\t10\t1.00:0.81\nv_^. VV .\t538\t5\u00b03\t10\ti.00 :0.98\n\t628\t559\t10\t1.00 :0.89\n\t641\t632\t10\t1.00 : 0.99\n\t662\t613\t10\t1.00 :0.92\n\t601\t578\t10\t1.00 : 0.96\nM. M. \u00bb\t599\t533\t10\t1.00 : 0.89\n\t633\t614\t10\t1.00 :0.97\n\t685\t639\t10\t1.00 :0.93\n\t708\t670\t10\t1.00 :0.99\n\t693\t613\t10\t1.00 :0.97\n\t716\t681\t10\t1.00 :0.96\n\t659\t585\t10\t1.00 : 0.89\n\t602\t536\t10\t1.00:0.89\nJ. K. \u25a0\t584\t532\t10\t1.00:0.91\n\t669\t654\t10\ti. 00:0.83\n\t656\t6i'3\t10\t1.00 :0.93\n\t647\t593\t10\t1.00:0.92\n\t.\t681\t662\t10\t1.00 :0.97\nUnit of measurement, <7 = 0.001s.\nTable VI.\nBeating on noiseless key.\nScheme : 1-2'.\nabject.\tAverage time\tAverage time\tNumber of\tRatio\n\tfrom i to 2/.-\tfrom 2' to I.\tmeasurements.\tI to 2' : 2' to I.\n\t549\t573\t10\t0.96 : i.00\nM. M.\t650\t723\t10\t0.90 : 1.00\n\t682\t746\t10\t0.92 : 1.00\n\t632\t758\t10\t0.84 : 1.00\n\t661\t747\t10\t0.89 : \u00cf.00\n\t702\t745\t10\t0.94 : 1.00\n\t575\t. 634\t10\t6.90 : i.00\n\t502\t564\t10\t0.90 : i.00\nJ. K. \u25a0\t582\t706\t10\t0.83 : J.00\n\t538\t593\t10\t0.91 : i.00\n\t579\t588\t9\t0.98 : 1.00\n\t573\t669\t4\t0.86 : i.00\n\t557\t58S\t10\t0.95 : 1.00\n\t663\t748\t10\t0.89 : 1.00\n\t597\t661\t10\t0.90 : 1.00\n\t561\t829\txo\t0.68 : 1.00\n\t618\t773\t10\t0.80 : 1.00\nC. W. \u25a0\t520\t564\t10\tO.92 : 1.00\n\t665\t721\t10\t0.86 : 1.00\n\t517\t621\t10\t0.83 : 1.00\n\t548\t736\t10\t0.75 : i.00\nUnit of measurement, a\t\t= 0.001\u201c.\t\t","page":15},{"file":"p0016.txt","language":"en","ocr_en":"i6\nJshiro Miyake,\nof attention takes place and that the moment of suspension can be considered as a dead time, which is to be added to the length of the foregoing group. We are not certain whether such suspension of the attention takes place or not. But it seems to be more probable that we have a tendency to insert some \u201cpause\u201d between two successive rhythmic groups, in order to mark off the groups distinctly from each other. The \u201c pause \u201d is to facilitate the formation of the groups.\nWe may suppose then that a certain length of \u201cpause\u201d was inserted between the groups in the scheme i'\u20142 as well as in 1-2', and that because the interval from 2' to 1 of the scheme 1-2' is lengthened both by the \u201cpause\u201d and the emphasis, it is made considerably longer than the time from 1 to 2', whereas in the scheme i'-2 the time from 1' to 2 is lengthened only by the emphasis, while the time from 2' to 1 is lengthened by the \u201cpause,\u201d whereby the difference between 1-2' and 2'-i is not so great.\nTable VII.\nBeating on noiseless key.\nScheme i'-2-3.\n\u201e , .\tAverage time Average time Average time Number of\tRatios\nu Jec \u2019 from I'to 2. from 2 to 3. from 3 to iL measurements, x'to 2 : 2 to3 :3 to I/.\nM. \u25a0\t722\t445\t638\t7\ti.00:0.62\t0 88\n\t790\t462\t780\t10\t1.00:0.58\t0.99\n\t708\t657\t617\t10\tI.OO : O.93\t0.87\n\t724\t655\t650\t10\t1.00:0.90\t0.90\nK.\t974\t968\t949\t9\ti.00 :o.99\t0.97\n\t757\t739\t752\t10\t1.00:0.97\t0.99\n\t734\t592\t620\t10\t1.00:0.81\t0.85\n\t663\t646\t634\t10\t1.00 :0.99\t0.96\n\t621\t59\u00b0\t574\t10\t1.00 :0.96\t0.92\n\t624\t614\t621\t10\t1.00 :0.99\ti.00\n\t586\t589\t578\t10\t1.00 : I.CO\t0.99\nW. \u2022\t601\t595\t562\t10\t1.00 :0.99\t0.95\n\t553\t541\t508\t10\tI.co : 0*98\t0.92\n\t559\t546\t55\u00b0\t10\t1.00 :0.98\t0.95\n\t575\t559\t541\t10\tI 00 :0.97\t0.94\nUnit of measurement, a\t\t= 0.001*.\t\t\t\t\nThe\tresults of the\texperiments\ton the\tscheme\tV-2-3 are given in\t\nTable VII. The ratios of the average intervals were found here by assuming the time from T to 2 as the unit.\nThe table shows again that the interval following the emphasized beat is longer than that which follows the unemphasized one.\nThe lengthening of the interval between the groups is not remarkable here. Although with the subject M. M. the interval 3 to 1' is longer than 2 to 3, with J. K. the two intervals are about equal and with C. W. 3 to","page":16},{"file":"p0017.txt","language":"en","ocr_en":"Researches on rhythmic action.\n17\n1' is in a majority of cases shorter than 2 to 3. This is due perhaps to the fact that for the last two subjects the \u201cpause\u201d between the groups was very short. Moreover, it is probable that the two subjects made the second member of the group stronger than the third, the beats being made not exactly in the scheme i'-2-3, but in a manner something like i\"-2'-3 with the consequence that the interval following the second beat on account of the emphasis became longer than that following the third.\nThe results of the experiments on the scheme i-2'~3 are given in Table VIII. The ratios of the average intervals were obtained by regarding 2' to 3 as a unit. It will be observed here that the interval 3' to i is very constantly longer than 1 to 2'.\nTable VIII.\nBeating on noiseless key.\nScheme : i-2/-^.\nSubject. AveraSe dme Average time Average time Number of\tRatios\nfrom i to 2'. from 2' to 3. from 3 to I. measurements. 1 to 2/ : 2' to 3 .-3 to 1.\nM. M.\nJ. K.\nC. W.\n371\t714\t668\n404\t601\t. 642\n689\t719\t713\n802\t940\t842\n761\t862\t806\n739\t780\t769\n685\t740\t765\n890\t927\t909\n704\t730\t762\n638\t614\t639\n730\t744\t733\n746\t758\t7S3\n567\t581\t466\n465\t485\t491\n515\t517\t525\n9\t0.52\t: 1.00\t: 0-93\n7\t0.67\t: 1.00\t: 1.07\n10\t0.96\t: i.00\t: 0-99\n10\t0.85\t: 1.00\t: 0.90\n9\t0.88\t: 1.00\t:\u00b0-93\n10\t0.91\t: 1.00\t: 0.98\n10\t0.93\t: 1.00 ;\t: I.08\n9\t0.96 :\t: I.OO :\t: 0.98\n10\tO.97 :\t; 1.00 :\t: I.04\n10\tI.04 :\t: 1.00 :\tI.04\n10\t0.98 :\t: I.00 :\t: 0.98\n9\t0.98 :\tI.00 :\t0.99\n8\t0.98 :\t1.00 :\t0.80\n10\t0.96 :\t1.00 :\t1.02\n10\tO.99 :\t1.00 :\t1.02\nUnit of measurement, <7 = 0.001*.\nWhen 2' to 1 is compared to 3 to 1, sometimes the latter is longer than the former, although in a majority of the cases the former is longer than the latter. This fact indicates that there is a strong tendency to lengthen the interval between the groups. If 1-2'-3 is compared to i'-2-3, we find that there is a remarkable difference between the two rhythmic schemes in regard to lengthening of the intervals between the groups.\nhe interval 3 to 1' of the scheme V-2-3 is not so much lengthened as 3 to i of i-2'-3. In other words the \u201cpause\u201d between the groups is ^onger in i-2'-3 than in r'-2-3. This fact indicates that the length of the *pause \u2019 \u2019 is not the same in all rhythmic forms. It depends, probably, on","page":17},{"file":"p0018.txt","language":"en","ocr_en":"Ishiro Miyake,\n18\nthe amount of difficulty of the formation of the rhythmic groups. The more difficult the formation of the groups, the longer is the pause. In the case T-2-3 with the first beat of a group emphasized, the group can be easily marked off from the preceding or the following groups, and the rhythmic group can be formed, without lengthening very much the interval between them. But the case is different with the scheme i-2'-3, where neither the first nor the last beat of a group is emphasized. Of the two similar beats one comes at the end of a group and the other at the beginning of the next group; the two successive groups can be marked off distinctly only by lengthening the interval between them.\nB. Drum beats.\nThe same apparatus was used as before except that an ordinary snare drum 3ocm in diameter and so0\"1 in height was substituted for the noiseless key. Both ends were covered with vellum. In order to make the electric connection with this instrument, the touch key (Fig. 4), mounted\nFig. 4.\non a wooden block, was fastened to the outer wall of the drum, so that the rubber button of the key was in contact with the vellum of the lower side. When the drum was struck at the upper end, the movement of the lower end broke the electric contact of the key. The key was put in series with the Pfeil marker. The beat on the drum could thus be recorded on the smoked paper. The metallic point of the marker.was placed in the secondary circuit of a spark coil whose primary circuit was interrupted by a 100 v. d. fork as in preceding experiment.\nThe subject was required to stand before the table on which the drum was put and to beat on it with a stick according to prescribed rhythmic schemes. For the beating the arm movement of the right hand was used instead of the finger movement of the previous experiments.\nTable IX gives the results of the experiments with the scheme i'-2. In obtaining the ratios of the average intervals the time from 1 to 2 is regarded as the unit.\nThe table shows that the time 1' to 2 is longer than 2 to 1 in almost all cases. With the subject C. W., 1' to 2 is always longer than 2 to 1\u2019. With J. K., 1' to 2 is longer than 2 to 1' in all except one case out of 9. With M. M. again 1' to 2 is longer than 2 to 1' except in one case out of 10.","page":18},{"file":"p0019.txt","language":"en","ocr_en":"Researches on rhythmic action.\nI9\nTable IX.\nDrum beats.\nScheme : I'-2.\nSubject.\nC. W.\nJ- K.\nM. M. \u25a0\nAverage time Average time from l/ to 2. from 2 to l'.\n681\t658\n724\t714\n750\t736\n747\t727\n774\t753\n791\t739\n788\t755\n798\t766\n782\t744\n766\t739\n659\t620\n7\u00b0S\t724\n737\t732\n746\t741\n776\t726\n777\t762\n701\t684\n724\t707\n8x7\t793\n866\t816\n856\t799\n868\t819\n852\t797\n740\t703\n825\t783\n670\t657\n699\t681\n660\t664\nNumber of\tRatio\nmeasurements.\ti/ to 2:2 to I\n10\ti.00 :0.97\n10\t1.00 : 0.97\n10\t1.00 : 0.98\n10\tI 00 : 0.97\n10\t1.00 : 0.97\n10\t1.00 : O.92\n10\t1.00 : 0.96\n10\tI.OO : 0.96\n7\tI.OO : 0.95\n9\t1.00 : 0.96\n10\tI.00 : 0.94\n10\t1.00 : O.99\n10\tI.00 : 0.99\n10\tI.00 :0.93\n10\t1.00 : 0.98\n10\t1.00 : 0.98\n10\t1.00 : 0.98\n10\tI.00 : 1.03\n10\t1.00 : O.97\n10\tI.00 : 0,93\n10\tI.00 :0.93\n10\t1.00 : 0.94\n10\t1.00 : 0.93\n10\tI.00 : 0.95\n9\t1,00 : 0.95\n10\t1.00 : 0.98\n10\t1.00 : O.97\n10\t1.00 : i.01\nUnit of measurement, a = o ooxs.\nTable X gives the results of the experiments with the scheme 1-2'. In obtaining the ratio of the two intervals 2' to x is regarded as the unit. It will be observed from the table that again the interval which follows the emphasized beat is longer than that which follows the unemphasized one. The average time from 1 to 2' is always shorter than 2' to 1.\nIf we compare the schemes 1'\u20142 and 1-2' the comparative length of the time from 2' to 1 of i-'2 is longer than that from 1' to 2 of 1'\u20142. The average ratios of the intervals are :\nl'-2\n1' to 2 : 2 to 1' M. M.\ti.00 : 0.93\nJ. K.\ti.00 : 0.91\n1-2'\ni to 2' : 2' to i 0.90 : i.00 0.90 : i.00\nThis result agrees with that of the beating on the noiseless key, and can be accounted for by attributing it to the same cause. Since the","page":19},{"file":"p0020.txt","language":"en","ocr_en":"20\nIshiro Miyake,\nSubject.\nC. W.\nJ. K.\nM. M.\nTable X. Drum beats.\nScheme : 1-2'.\nAverage time\tAverage time\tNumber of\tRatio\t\nfrom I to 2/.\tfrom 2' to I.\tmeasurements.\tX to 2'\t2' tO\n510\t550\t10\t\u00b0-93\t1.00\n499\t543\t10\t0.91\tI.CO\nS4i\t574\t10\t0.94\t1.00\n534\t561\t10\t0.95\t1.00\n55\u00b0\t599\t10\t0.92\t1.00\n559\t591\t10\to-95\t1.00\n576\t618\t10\to-93\t1.00\n567\t611\t10\t\u00b0'93\t1.00\n470\t538\t10\t0.87\t1.00\n489\t523 \u25a0\t10\t0.91\t1.00\n618\t640\t10\t0.96\t1.00\n652\t658\t10\t0.99\t1.00\n661\t680\t10\t0.97\t1.00\n680\t685\t10\t0.99\t1.00\n676\t685\t10\t0.98\t1.00\n657\t698\t10\t0.94\t1.00\n727\t735\t8\t0.99\t1.00\n693\t718\t10\t0.96\t1.00\n635\t761\t9\t0.83\t1.00\n678\t683\t10\t0.99\t1.00\n572\t636\t10\tO.89\t1.00\n672\t756-\t10\tO.89\t1.00\n632\t654\t10\tO. 96\t1.00\n629\t691\t10\tO.9I\t1.00\n633\t667\t10\tO.94\t1.00\n583\t641\t10\tO.9I\t1.00\n627\t693\t10\tO.9O\t1.00\n579\t628\t10\t0.92\t1.00\n572\t632\t10\t0.92\t1.00\n575\t622\t10\t0.92\t1.00\nUnit of measurement, <j = o.ooi8.\ntime 2' to i of the scheme 1-2' is an interval which comes between the rhythmic group, it is made longer by the \u201cpause\u201d in addition to the influence of the emphasis.\nTable XI shows the results of the experiments on the scheme 1-2-3. The proportion is obtained by regarding T to 2 as a unit.\nIt will be observed in the table that the time T to 2, which follows the emphasis is in general longer than 2 to 3 and 3 to 1'. The time 1' to 2 is constantly longer than 2 to 3, but in some cases it is shorter than 3 to T, owing to the lengthening of the latter by the \u201c pause.\u201d\nThe results of the experiment on the scheme 1\u20142's are given in the Table XII. The time 2' to 3 is longer than 1 to 2' with exception of a few cases. The time 2' to 3 is in general shorter than 3 to 1. This fact indicates that there is a strong tendency to lengthen the time be- J","page":20},{"file":"p0021.txt","language":"en","ocr_en":"Researches on rhythmic action.\n21\nTable XI.\nDrum beats.\nScheme : I'-2-3.\nSubjects.\nC. W.\nJ.K.\nM. M.\nAverage time Average time Average time Number of\tRatios\nfrom i7 to 2.\tfrom 2 to 3.\tfrom 3 to I7.\tmeasurements.\tI7 to 2:2 to3:3 to I7.\t\n6ll\t604\t597\t10\t1.00:0.99\t0.97\n604\t599\t593\t10\t1.00:0.99\t0.98\n582\t592\t588\t10\t1.00 \u2022 1.02\ti.01\n655\t644\t620\t10\t1.00 :0.98\t0.94\n628\t618\t618\t10\t1.00 :0.98\t0.98\n613\t610\t601\t10\t1.00 10.99\t0.98\n669\t647\t646\tIO\t1.00 :0.96\t0.96\n671\t667\t654\t10\t1.00 :0.93\t0.82\n674\t668\t650\t10\t1.00 :0.99\t0 96\n676\t626\t642\t10\t1.00 -.0.93\t0.95\n656\t643\t629\t9\t1.00 :0.98\t0.95\n640\t643\t626\t10\t1.00 : 1.00\t0.97\n414\t392\t400\t10\t1.00 :0.94\t0.97\n410\t414\t416\t10\t1.00 : I.OI\t1.01\n432\t406\t404\t10\ti.00:0.94,\t0.94\n402\t381\t379\t. 7\t1.00 :0.95\t0.94\n438\t419\t421\t10\t1.00 :0.95\t0.96\n437\t409\t421\t10\t1.00 :0.93\t0.96\n439\t415\t427\t10\t1.00 :0.94\t0.97\n435\t420\t422\t10\t1.00 : 0.96\t0.97\n428\t415\t427\t10\tt--. CTn d 0 q\t0.99\n689\t691\t678\t10\tI.OO : I.OO\t0.98\n685\t677\t670\t10\tI.OO : 0.98\t0.97\n993\t603\t1063\t8\t1.00 : 0.63\tx.07\n959\t569\t1029\t9\tI.OO : 0.59\t1.07\n1108\t588\t1034\t9\tI.OO :0.53\t0.93\n811\t775\t789\t7\t1.00 :0.95\t0.93\n783\t760\t805\t10\t1.00 :0.97\t1.02\n795\t776\t807\t10\t1.00 : I.97\t1.01\n703\t696\t728\t10\t1.00 :0.99\t1.04\n748\t694\t737\t10\t1.00 :0.93\t0.98\n894\t596\t871\t9\t1.00 :0.66\t0 87\nUnit of measurement, a = 0.001s.\ntween the rhythmic groups. The same tendency is more marked here in i-2'-3 than in i'-2-3.\nThe above observations will indicate how closely the results of the drum beats coincide with those of the beating on the noiseless key, notwithstanding the difference of the conditions in- the two experiments, the one being a finger movement without sound, the other an arm movement with sound.\nFrom the above two series of experiments the following general conclusions can be drawn :\ni- The interval which follows an emphasized beat is lengthened.\n2. The interval which comes between rhythmic groups is lengthened.","page":21},{"file":"p0022.txt","language":"en","ocr_en":"22\nIshiro Miyake,\n3. The lengthening of the interval between rhythmic groups is not equally great in all the rhythmic schemes.\nTable XII.\nDrum beats.\nScheme : 1-2'-$.\n- , .\tAverage time Average time Average time Number of\tRatios\n\u00f6u Jec \u2018 from I to 2'. from 2' to 3. from 3 to I. measurements. I to 27:2/ to 3:3 to I.\n\t\tS5i\t549\t54\u00b0\tIO\ti. 00\tI.OO\t0.99\n\t\t537\t543\t539\tIO\t0.98\tI.OO\t0.99\n\t\t534\t53\u00b0\t54\u00b0\t10\ti.01\tI. OO\t1.02\nw.\t\t506\t53\u00b0\t53\u00b0\tIO\t0.95\tI.OO\tI. OO\n\t\t574\t597\t598\tIO\t0.96\tI. OO\tO.98\n\t\t564\t564\t578\tIO\ti.00\tI. OO\t1.02\n\t\t556\t542\t563\tIO\t0.97\tI.OO\tI.OI\n\t\t560\t554\t540\t9\ti.01\tI. OO\tO.97\n\t\t444\t453\t463\t10\t0.97\tI. OO\t1.02\n\t\t437\t437\t454\t10\ti.00\tI. OO\tI.04\n\t\t433\t435\t435\t10\t0.99\tI. OO\tI.OO\n\t\t451\t442\t453\t10\t1.02\tI.OO\t1.02\nK.\t\t406\t425\t437\t10\t0.95\tI. OO\tI.03\n\t\t396\t413\t433\t10\t0.95\tI.OO\t1.05\n\t\t411\t422\t439\t10\t0.97\tI.OO\tI.04\n\t\t418\t423\t473\t10\t0.98\tI.OO\tI.II\n\t\t460\t475\t472\t10\t0.97\tI.OO\tO.99\n\t\t431\t442\t455\t10\t0.97\tI.OO\tI.03\n\t\t790\t867\t899\t7\t0.91\tI.OO\tI.04\n\t\t798\t866\t856\t9\t0.92\tI.OO\tO.98\n\t\t823\t908\t928\t9\t0.96\tI.OO\t1.02\n\t\t837\t930\t946\t9\t0.87\tI. OO\t1.02\n[. M.\t\t809\t886\t894\t10\t0.91\tI.OO\tI.OI\n\t\t837\t952\t960\t9\t0.88\tI.OO\tI.OI\n\t\t881\t945\t975\t10\t093\tI.OO\tI.03\n\t\t914\t973\t996\t9\t0.94\tI.OO\t1.02\n\t\t890\t970\t983\t10\t0.91\tI. OO\tI.OI\nUnit\tof measurement,\t\ta = o. 001s.\t\t\t\t\t\n\t\tIV. Intensity and\t\tTIME IN\tRHYTHM OF\tSPEECH.\t\t\nWe have already seen that emphasis tends to lengthen the interval in the rhythmic movements of finger and arm. Does the same thing hold true in the rhythm of speech ?\nIn the rhythm of speech we must consider two things: (i) the relation of intensity to the time from the beginning of one syllable to the beginning of the next, and (2) the relation of intensity to the time actually occupied by the sound of the syllable.\nGuest 1 recognized the fact that there is a close relation between the accent and the length of a syllable. He says :\t\u201c Besides the increase of\nGuest, A History of English Rhythm, I 77, London 1838.","page":22},{"file":"p0023.txt","language":"en","ocr_en":"Researches on rhythmic action.\n23\nloudness, and the sharper tone which distinguish the accented syllable, there is also a tendency to dwell upon, or in other words, to lengthen its quantity. We cannot increase the loudness or the sharpness of a tone without a certain degree of muscular action, and to put the muscles in motion requires time. \u2019 \u2019\nBr\u00fccke 1 recorded, with a marker on a smoked drum, the movements of a finger in beating time while he recited verses in iambic hexameter, alcaic and sapphic, in a scanning manner. It was found that the distances of the successive beats were equal.\nKr\u00e2l and Mares 2 used the frog muscle preparation for recording the spoken sounds in Bohemian verse. A telephone was connected by wires to the motor nerve of the muscle, so that the vibrations of the diaphragm of the former interrupting the current would cause the muscle to contract. A pointer attached to the muscle registered the curves on a smoked drum. The results indicated that even with the same person the same vowel has a different length according as the emphasis is greater or less when a verse is recited in a scanning fashion ; and that neither in intensity-verse nor time-verse are the lengths of feet ever exactly equal, the ratio of the emphasized half to the unemphasized half of a foot not keeping a relation like i : 1, but rather like 30 : 31, or 32 : 33.\nIn Hurst and McKay\u2019s1 2 3 experiments on the time relation of poetical meters the subject recited poems representing each of the four usual meters, iambus, trochee, dactyl and anapest, while he beat in unison with the finger on a pointer which registered the length of the beats on a smoked drum. Experiments were also made on \u201c pure \u201d meters without words being thought or said. It was found that \u201can iambus consists of a short syllable followed by a long ; a trochee of a long followed by a short, a dactyl of a long followed by two short syllables, and an anapest of two shorts followed by a long, yet with no fixed proportions between the syllables.\u201d In iambic meter the syllables have a ratio of about 1 : 2 and in the trochaic of 1 to a little less than 1.5 In anapestic meter the ratios were about 1 : 1 : 1.2 and in dactylic 1.6 : 1.1 : 1. In these experiments the investigators did not take any records of the spoken sounds, but only of the rhythmic strokes of the hand. The periods of the strokes of hand, however, are not identical with the lengths of the syllables.\n1\tBr\u00fccke, Die physiologischen Grundlagen der neuhochdeutschen Verskunst, 23, Wien 1871.\n2\tKr\u00e2l a Mares, Trv\u00e2nl hl\u00e2sek a slabii die objehtivn\u00ea mtry, Listy Filologick\u00e9, 1893 IV 17.\n3\tHurst and McKay, Experiments on the time relation of poetical meters, Univ. of Toronto Stud., Psychol. Series, No. 3, 1899.","page":23},{"file":"p0024.txt","language":"en","ocr_en":"24\nIshiro Miyake,\nIn the following experiments I have made an attempt to study the problem by taking records of spoken sounds.\nFor recording the speech vibrations an electric voice key1 of a special form2 was used (Fig. 5). The cylinder of hard rubber, 5\u00b0min length and\nFig. 7.\n3cm in diameter, is closed at one end by a thin sheet of platinum (Z? Fig. 6), while the other end is attached to mouthpiece. A\nFig. 8.\n1Cattell, Psychometrische Untersuchungen, Pliilos. Stud., 1886 III 313. 2 Scripture, Some new apparatus, Stud. Yale Psych. Lab., 1895 III 107.","page":24},{"file":"p0025.txt","language":"en","ocr_en":"Researches on rhythmic action.\n25\nscrew (\u00a3) with a platinum point is supported by a small metal rod ; the point can be placed near the center of the sheet of platinum, so that the latter in its vibration will come in contact with the former and close an electric circuit.\nThe voice key was connected to one of the sockets of a four-socket lamp battery and the Deprez marker to the other, so arranged that the former made a high tension shunt around the latter.1 The battery arrangement is indicated in Fig. 7 ; A indicates the intensity lamp, B the tension lamp, C the socket to which the key is connected, and G the socket to which the marker is connected the magnet. The marker recorded the results on the smoked surface of a drum which was run by a storage battery. The current of the battery being very constant the drum revolved at a uniform speed. The time line was drawn by the 100 v. d. fork.\nWith this method the cord vibrations in vowels can be recorded. A specimen record is given in Fig. 8 ; the time-line is at the bottom.\nTable XIII.\nSubject.\nRhythm of speech. Scheme : l/-2.\nAverage time\tAverage time\tNumber of\tRatio\nfrom I' to 2.\tfrom 2 to 1'.\tmeasurements.\tI7 to 2 :2 to I7,\n682\t661\t10\t1.00 :0.98\n689\t690\t10\tI.OO : I.OO\n615\t603\t10\ti.00 :0.94\n696\t673\t10\ti.00 : 0.94\n658\t663\t10\t1.00 : 1.01\n599\t596\t10\ti.00 : i.00\n943\t935\t10\t1.00 : 0.97\n765\t743\t10\t1.00 : 0.97\n733\t714\tIO\t1.00 : 0.97\nK\nUnit of measurement, a = 0.001s.\nTable XIV.\nRhythm of speech. Scheme : 1-2'.\nlbject.\tAverage time\tAverage time\tNumber of\tRatio\n\tfrom I to 2'.\tfrom 2' to I.\tmeasurements.\tI to 2' : 2' to I.\nE{\t691\t846\t10\t0.81 : 1.00\n\t664\t913\t10\t0.71 : i.00\nM\t575\t649\t9\t0.90 : i.00\n\t563\t936\t10\t0.89 : 1.00\nB{\t575\t774\t10\tO.74 : 1.00\n\t618\t714\t10\t0.86 : 1.00\nUnit of measurement, a =\t\tO.OOI*.\t\t\n1 Scripture, New apparatus and methods, Stud. Yale Psych. Lab., 1896 IV 79.","page":25},{"file":"p0026.txt","language":"en","ocr_en":"2 6\nIshiro Miyake,\nTable XV.\nRhythm of speech.\nScheme : i'-2~3.\nSubj'ect.\nAverage time Average time Average time Number of\tRatios\nfrom l' to 2. from 2 to 3. from 3 to l/. measurements, 17 to 2 :2 to 3:3 to I/.\nE{ gs K{ iz\n605\t617\tIO\t1.00 :\t; O.90 :\t: O.92\n594\t613\tIO\ti.00\t: 0-94\t: \u00b0-97\n615\t606\tIO\tI.OO :\t: 0.86 :\t: 0.85\n609\t610\tIO\t1.00 :\t: O.91 :\t: 0.92\nUnit of measurement, (x = o.ooi8.\nTable XVI. Rhythm of speech. Scheme : I-2'-3.\no , . Average time Average time Average time Number of\tRatios\n\u2022*\t\u2018 from I to 2/. from 2' to 3. from 3 to I. measurements. 1 to 2> : 2/ to 3 :3 to I.\nK -\nSubject.\nKi\nB I\nUnit (\n590\t600\t614\tIO\t0.98 : 1.00 : 1.02\n616\t622\t633\tIO\t0.97 : X.00 : 1.02\n713\t751\t775\tIO\t0.95 : 1.00 : I.03\n697\t722\t786\tIO\t0.96 : 1.00 : I.09\n717\t751\t759\tIO\tO.95 : 1.00 : 1.01\n\u2018 measurement,\ta \u2014 0.001\u201d. Table XVII. Rhythm of speech. Scheme : l/\u20142.\t\t\nAverage\tAverage\tNumber of\tRatio a' : a,\nlength of af\tlength of a2.\tmeasurements.\t\t\n368\t3D\t10\tI.00 : 0.86\n392\t355\t10\t1.00 : 0.93\n445\t389\t10\tI.00 :0.87\n417\t355\t10\tI.00 : 0.83\n325\t311\t10\tI.00 : 0.96\n355\t306\t10\t1.00 : 0.86\n787\t373\t10\t1.00 : 0.96\n451\t273\t10\t1.00 : 0.6l\n448 \u2018 measurement,\t3\u00b07 (7= O.OOI*.\t10\t1.00: 0.68\nDuring the experiments the subject was put in the silent room as in the preceding experiments. He held the voice key in his left hand and recited a series of a sounds (like a in father) in a scanning manner, changing the loudness according to different rhythmic schemes.\nTables XIII to XVI give the results of the measurements of the lengths of the intervals. For the interval, the distance between the be-","page":26},{"file":"p0027.txt","language":"en","ocr_en":"Researches on rhythmic action.\n27\nTable XVIII.\nSubject.\nE{\nK{\nB{\nRhythm of speech.\nScheme : I\u20142/.\nAverage\tAverage\tNumber of\tRatio a : a'.\nlength of av\tlength of a./.\tmeasurements.\t\n339\t368\t10\t0.92 : 1.00\n322\t381\t10\t0.87 : 1.00\n294\t345\t10\t0.85 : I.00\n316\t356\t10\t0.90 : 1.00\n275\t395\t9\t0.69 : 1.00\n322\t400\t10\t0.80 : 1.00\nUnit of measurement, <t = o.ooi8.\nTable XIX.\nSubject.\nEi\nk{\nAverage length of <7j'.\n342\n330\n312\n322\nRhythm of speech.\nScheme: I''-2-3.\nAverage length of \u00df2\n280\n288\n240\n294\nAverage length of ay\n277\n256\n195\n242\nNumber of measurements.\n10\n10\n10\n10\nRatios a': a : a.\n1.00:0.82:0.81 1.00 : 0.87 : 0.77\n1.00 : 0.76 : 0.63 1.00 : 0.89 :0.78\nUnit of measurement, 0 = 0.001s.\nSubject.\nK\nTable XX.\nRhythm of speech.\nScheme : I-2/-3.\nAverage length of <?j.\n308\n351\n377\n396\n353\nAverage length of a2\n371\n365\n410\n439\n382\nAverage Number of length of a3. measurements.\n283\t10\n329\t10\n378\n406\n348\n10\n10\n10\nRatios a:af :a.\n0.83 : 1.00 : 0.79 0.99 : 1.00 : 0.93\n0.92 : 1.00 10.92 0.90 : 1.00 : 0.92 0.92 : 1.00 : 0.91\nUnit of measurement, a = 0.00Is.\nginning of a sound and the beginning of the next sound was measured. The unit of measurement was a = 0.001s. The ratios are found by regarding the interval which follows the emphasized beat as the unit in all the four different rhythmic schemes.\nIt will be seen from the tables that the results are substantially the same as those of the foregoing experiments in tapping with the finger and in","page":27},{"file":"p0028.txt","language":"en","ocr_en":"28\nIshiro Miyake,\nthe drum beats : ( i ) the interval which follows the accented syllable is lengthened ; (2) the interval between the rhythmic groups is lengthened.\nIn the scheme 1-2', the time from 2 to 1' is constantly longer than i to 2', but in i'-2, 1' to 2 is in some cases shorter than 2 to 1'. This is due to the same fact noted before, that the interval between the rhythmic groups includes a pause. The same phenomenon is more marked in the scheme i-2'~3 than in i'-2-3.\nTables XVII, XVIII, XIX, XX give the lengths of the accented and unaccented syllables. In the ratios the average length of the accented syllable is always regarded as the unit. The unit of measurement of the average length is ff= 0.001s.\nThe following facts can be seen in the tables : ( 1 ) the accented syllable is always longer than the unaccented syllable; (2) the last syllable of a rhythmic group is not lengthened unless it is accented. In this respect the length of a syllable differs from the length of an interval.\nV. Intensity and pitch in rhythm of speech.\nAccording to Mitford,1 2 the strengthened syllables in English have an acuter tone or a higher note. The fact can be abundantly proved, he supposed, if we find or coin a word which is composed of syllables without variety of vowel sound and pronounce it with a strong accent on either syllable.\nM\u00fcller 2 noticed that in a larynx separated from the body the pitch of the tone might be raised by an increase of the force of blast. He thought that one of the modes of producing high notes without increasing the tension of the vocal ligament is to blow with greater force, by which means the notes may without difficulty be raised through a series of semi-tones to the extent of a \u201c fifth.\u201d\nI found it possible to make some observations concerning the relation between intensity and pitch in the records which were taken in the preceding experiments. It must be remembered that the subjects of the experiments were requested to recite, in a scanning manner, a series of a sounds, changing the intensity according to the prescribed rhythmic scheme, no instruction being given as to the pitch of the tone.\nThe wave lines in the records corresponded to the periods of the cord vibrations (see Fig. 8). The first step in the study of the pitch in the\n1\tMitford, Inquiry into the Principle of Harmony in Language and of the Mechanism of Verse, Modern and Ancient, 57, London 1804.\n2\tM\u00fcller, The Physiology of the Senses, Voice and Muscular Motion, with the Mental Faculty, trans. by Baily, London 1848.","page":28},{"file":"p0029.txt","language":"en","ocr_en":"Researches on rhythmic action.\n29\nrecords was to measure the actual lengths of the waves in succession. This gave the lengths of the successive periods in the cord vibrations.\nThe following are the results of the measurements. The unit for the lengths of the periods is \u201d = 0.00T.\nA. Rhythmic scheme: i'\u20142.\nSubject K.\nExample 1. The successive periods of a' were : 7, 7, 7, 7, 7, 6, 6,\n6,\t6,\t6,\t6,\t6,\t6,\t5?\t5>\t5>\t5?\t5?\t5> 5>\t5?\t5\u00bb\t5> 5>\t5>\t5*\t5>\t5>\t5)\t4>\t4\u00bb\t4>\t4>\n4> 4>\t4>\t4\u00bb\t4>\t4>\t4\u00bb\t4\u00bb\t4>\t4>\t4>\t4, 4\u00bb\t4>\t4>\t4, 4,\t4>\t4,\t4>\t4,\t4>\t4,\t4>\t4,\t4,\n4, 4,\t4,\t4,\t4,\t4,\t4,\t4\u00b0.\tThe\tsuccessive periods of\ta were\t:\t8,\t8,\t8,\t8\n8, 8,\t8,\t8,\t8,\t8,\t8,\t7,\t7,\t7,\t7,\t7, 7,\t7,\t7,\t7, 7,\t7,\t7,\t7,\t7,\t7,\t7,\t7,\t7,\t7,\n7,\t7, 7, 7, 7, 7, 7, 7, 7, 7, 7, 7\u00bb 7ff- Or more briefly, <2' : 7* (5 times), \u00f60, (8 times), 5\u00b0 (16 times), 4* (38 times); a : S* (11 times), 7\u00b0' (32 times).\nThe changes in the lengths of the periods were not sudden but very gradual in this record as well as in all other records. The accented syllable began with a period of p\u2019 and changed gradually through 6a and 517 to 4'7, which was reached at the 30th vibration and maintained to the end. In other words the pitch changed upward from 143 complete vibrations per second, through 170 and 200 to 250 per second.\nThe unaccented syllable, on the other hand, began with a period of 8er, and reached pr at the 12th vibration, which was kept to the end. That is, the pitch changed from 125 upward to 143 complete vibrations a second.\nFig. 9.\nThe results are shown in Fig. 9. In this, as well as in the other similar figures, the horizontal axis indicates time, while the vertical ordinate gives the number of cord vibrations a second. The space between the curves corresponds to the empty interval between the syllables.\nExample 2. The a! had 22 vibrations, occupying the successive periods as follows: 8a (7 times), p1 (5 times), 6<r (4 times), 5^ (4 times).","page":29},{"file":"p0030.txt","language":"en","ocr_en":"3\u00b0\nIshiro Miyake,\nThe a consisted of 38 vibrations and the successive periods run : g17 (12 times), S'7 (6 times), 7^ (20 times).\nThe accented syllable began with 125 vibrations a second and changed upward through 143 and 167 to 200 vibrations a second. About three-fourths of the whole length were occupied by 200 vibrations a second,\n50-\nb zoo 400\t600\t800 io'oo\nFig. 10.\nwhich extended from the 17th vibration to the end. The unaccented a began with in vibrations a second and changed through 125 to 143. The results are shown in Fig. 10.\nSubject E.\nExample 1. The successive periods of a\u2019 were : 7\" (12 times), 60, (17 times), 5\u00b0 (52 times) ; those of a were : 7\" (43 times), 6\u201d (21 times).\nThe pitch of the accented sound glided upward from 143 vibrations a second through 176, reaching 200 at the 30th vibration, which was kept to the end. The unaccented sound began with 143 vibrations a second and changed through 176. It must be noticed here that although\na' as well as a began with the same pitch, 143 vibrations a second, the former reached 167 at the 13th vibration, while the latter reached the same pitch not before the 44th vibration. The greater part of a was occupied by 120 vibrations per second, while about the two-thirds of a' were occupied by 143. The results are shown in Fig. 11.","page":30},{"file":"p0031.txt","language":"en","ocr_en":"Researches on rhythmic action.\n31\nExample 2. The successive periods of a! were: 70' (5 times), 6er (15 times), (50 times) ; and those of a: 7\u00b0' (18 times), 6\u00b0\u2019 (39 times).\nThe pitch of a' beginning with 143 vibrations a second rose through 167 to 200; a began with 143 and changed slowly to 174. The results are shown in Fig. 12.\nSubject B.\nExample 1. The successive periods of a' were :\t(44 times), 7\u00b0\u2019 (58\ntimes) ; those of a : io^ (40 times).\nThe pitch of a' began with r25 vibrations a second and rose gradually, reaching 143 at the 15th vibration. The pitch of a was constant at 100 vibrations a second. The results are given in Fig. 13.\nFig. 13.\nExample 2. The total number of vibrations of a' was 67, the successive periods occupying : 8er (25 times), 70' (42 times). The \u00ab had 26\nFig. 14.","page":31},{"file":"p0032.txt","language":"en","ocr_en":"32\nIshiro Miyake,\nvibrations of a constant period of g*. The pitch of a' changed from 125 vibrations a second upward to 167, while that of a was uniform at hi, as indicated in Fig. 14.\nB. Rhythmic scheme : 1-2'.\nSubject K.\nExample 1. The successive periods of a were: gc (19 times), S'7 (22 times) ; those of a' were: 817 (7 times), 7\u00bb (4 times), 6<r (5 times), s\u00ab7 (56 times).\nFig. 15.\nThe pitch of a beginning with in gradually rose to 125 vibrations a second; a! began with 125 vibratfons a second and glided upward through 143 and 167 to 250, as indicated in Fig. 15.\nExample 2. The successive periods of \u00abwere: g* (8 times), 817 (32 times) ; of\u00ab' : 8\u00ae (9 times), 7* (4 times), \u00f6\u20197 (9 times), 5* (46 times). The pitch of the emphasized \u00ab changed from in vibrations a second\nFig. 16.\nto 125, while that of the unemphasized \u00ab began with 125 vibrations a second and underwent gradual change through 143. and 167 to 200, as indicated in Fig. 16.\nThe change of the rhythmic scheme does not affect the pitch. The accented syllable has a higher pitch than the unaccented syllable as before.","page":32},{"file":"p0033.txt","language":"en","ocr_en":"Researches on rhythmic action.\n33\nSubject B.\nExample i. The successive periods of a were : io<r (30 times) ; those of a' : 7\u00b0\" (53 times), 6^ (4 times). The pitch of a was constant\nFig. 17.\nat 100 vibrations a second; the pitch of a' on the contrary began with 143 vibrations a second and rose toward the end to 167, as indicated in Fig. 17.\nExample 2. The successive periods of a were : 9* (32 times), those of a' : 80, (3 times), 7<r (51 times). The pitch of the unaccented vowel\n250-2 0\u00d9-\n100-50-\n\u00d6 ZOO 400\t600\t800 WOO\nFig. 18.\nwas again lower and more uniform than that of the accented. The latter beginning with 125 vibrations a second reached 143 at the 4th vibration, which was kept to the end as indicated in Fig. 18.\nC. Rhythmic scheme : 1'\u20142-3.\nSubject K.\nExample i. The successive periods of a' were: 70' (4 times), 6a (5 times), j0\u2019 (8 times), 4<r (42 times) ; the middle a occupied the successive periods: 9\u201d (3 times), 8* (29 times) ; the last a : 917 (25 times). The pitch of the accented syllable beginning with 143 vibrations a second rose upward through 167 and 200, reaching 250 at the 18th vibration. The pitch of the first unaccented a began with hi vibrations a second","page":33},{"file":"p0034.txt","language":"en","ocr_en":"34\nIshiro Miyake,\nand rose after three vibrations to 125, which was maintained to the end. The second unaccented a was constant at in vibrations a second. The results are indicated in Fig. 19.\nExample 2. The successive periods of a' were : 7\u00b0\u2019 (10 times), 6\u00b0 (11 times), 5* (7 times), 4\" (32 times) ; the middle a: ^ (9 times), 8*\n100-\n50-\n200\n400\n600\t800\t1000\t1200\t1400\nFig. 19.\n(23 times); and those of the last a: 8\u00ab (31 times). The mode of change of pitch is substantially the same as the preceding example. The accented syllable beginning with 143 vibrations a second rose through 167 and 200 to 250, which was reached at the 28th vibration.\nFig. 20.\nThe first unaccented syllable began with 111 vibrations a second and changed to 125. The second unaccented syllable was constant at 125 vibrations a second and is uniform. The results are indicated in Fig. 20.\nSubject E.\nExample 1. The successive periods of \u00ab'were: 617 (22 times), 517 (37 times) ; those of the middle a : 8* (37 times), and those of the last a : 8<r(24 times), 9\" (4 times), io\u2018T (4 times). The pitch of the accented syllable beginning with 167 vibrations a second rose to 200. The first unaccented syllable was constant at 125 vibrations a second. The pitch of the second unaccented syllable began with 125 vibrations a second","page":34},{"file":"p0035.txt","language":"en","ocr_en":"Researches on rhythmic action.\n35\nand glided downward through in to ioo. The results are indicated in Fig. 2i.\nExample 2. The successive periods of a' were : 7\u00b0- (Ti times), 6<r (8 times), 5\u00b0- (41 times) ; those of the middle a : 8* (40 times) ; and those\n2 50 ZOO-ISO 100-50-\n200\t400\na\n6\u00d40\t800\t1000 1200 1400 1600\nFig. 21.\nof the last a : 8* (23 times), 9\u00ab\u2022 (4 times), 10* (9 times). The pitch of a\u2019 begins with 143 vibrations a second and rose through 167 to 200 which, being reached at the 20th vibration, was kept to the end. The pitch of the first unaccented a was constant at 125 vibrations a second.\n250-2 00-150-100-50-\n0\t200\t400\t600\t800\t1000\t1200\t1400\t1600\nFig. 22.\na'\nThat of the second unaccented a began with 125 and glided downward through in to 100. The results are indicated in Fig. 22.\nWe have to observe here that there are some individual differences between the two subjects in regard to the mode of the change of the pitch. With the subject K,-the first unaccented syllable is constant, while with E, the second unaccented syllable is constant. With K, the change of pitch is always from lower to higher, but with E the second unaccented syllable in this scheme goes from higher to lower.\nD. Rhythmic scheme : 1-2'-3.\nSubject K.\nExa7nple i. The successive periods of the first a were : 8\u00b0 (9 times), 7 (48 times) ; those of a'-. 7 (2 times), 6a (6 times), 5^ (9 times), 4\u00b0","page":35},{"file":"p0036.txt","language":"en","ocr_en":"36\nIshiro Miyake,\n(86 times); those of the last a : g\u201d (12 times), S'7 (18 times), 7\u00b0 (9 times;. The pitch of the first unaccented syllable beginning with 125 vibrations a second changed to 143. The unaccented syllable began with 143 vibrations a second and rose through 167 and 200 up to 250\nFig. 23.\nat the 18th vibration. That of last a began with in vibrations a second and glided upward through 125 to 143. The results are shown in Fig. 23.\nExample 2. The successive periods of the first a were : g\u00b0 (9 times), S\u20197 (7 times), 7\u201d (17 times), 617 (24 times). Those of a' were: 8er (3 times), 7\u201d (4 times), 6er (5 times), (12 times), 40' (74 times); those of the second a: ga (9 times), 8* (6 times), 717 (11 times), 6\u201d (33 times). The first unaccented a began with in and glided upward\nFig. 24.\nthrough 125 and 143 to 167. The emphasized a' beginning with 125 changed upward through 143, 167 and 200 to 250 at the 24th vibration, from which point the pitch was constant. The last a began with in and changed through 123 and 143 to 167. The results are shown in Fig. 24.\nSubject E.\nExatnple 1. The period of the first a was constant at 817 (49 times). The periods of a' were: 7a (2 times), 617 (13 times), 5ff (66 times) ; those of the last a : 817 (27 times), g\u00b0 (10 times), io17 (7 times). The","page":36},{"file":"p0037.txt","language":"en","ocr_en":"Researches on rhythmic action.\n37\npitch of first a was constant at 125 vibrations a second ; the a' beginning with 143 vibrations a second changed through 167 to 200, which occu-\n2 50 2 00-150-100 50-\n200\t400\t600\n800\t1000\t1200\t1400\t1600\t1800\nFig. 25.\npied the most part of the entire length ; the last a began with 125 vibrations a second and glided downward through hi to 100 (Fig. 25).\nExample 2. The period of the first a was constant at 8\u00b0 (46 times;. The periods of the a\u2019 were : p7 (5 times), 6\u201d (5 times), (66 times) ; those of the last a : 8* (28 times), 9* (6 times), io17 (10 times). The pitch of the first a was constant at 125 vibrations a second, as in the\n0\t200\t400\t600\t800\t1000\t1200\t1400\t1600\t1800\nFig. 26.\nlast example, that of a' beginning with 143 changed upward through 167 to 200. The last a beginning with 125 vibrations a second glided downward through in to 100 (Fig. 26).\nWe observe again that there are individual differences between the two subjects in the mode of the change of the pitch. With the subject K the first a underwent a change, while with E it was constant ; with K, the last a glided upward, while with E it glided downward.\nE. Conclusions.\nFrom the above observations the following conclusions can be drawn :\n1.\tThe accented syllable has a higher pitch than the unaccented syllable.\n2.\tThe accented syllable begins in general with a higher pitch than the unaccented syllable.\n3.\tEven in the cases where both accented and unaccented syllables begin with the same pitch, the former glides upward higher than the latter.","page":37},{"file":"p0038.txt","language":"en","ocr_en":"38\tIshiro Miyake,\n4.\tThe pitch of the accented syllable undergoes greater changes than that of the unaccented one.\n5.\tThe pitch of the accented syllable always glides upward.\n6.\tThe pitch of the unaccented syllable also glides upward in the majority of cases, but sometimes glides downward.\nSweet1 2 3 accounts for the relation between intensity and pitch by attributing it to an emotional attitude of the subject. He thinks \u201c all energetic emotions naturally express themselves in high tones and forceful utterance, and increased vehemence of emotion is accompanied by a rise in force and pitch. \u2019 \u2019 This explanation is hardly applicable to our case, because we cannot suppose that in reciting a series of simple sounds, like a, a change of emotion would take place that would bring about such a difference between the accented and unaccented syllables.\nMitford 2 supposed that when we pronounce an accented syllable, we raise the tongue near to the palate, with the- consequence of the rise of the height of tone. \u201cTo produce the proper English intonation\u201d he says \u201cthe tongue must be raised up in pronouncing the strengthened syllable, the vibration will be felt more about the palate and the tone will be acuter, it will be a higher note.\u201d The change of the position of tongue in the mouth cavity would only affect the resonance tone and not the cord vibration. It thus gives no explanation of the fact.\nIt seems that the more probable explanation must be sought in the nature of the action of the larynx. Br\u00fccke 3 supposed that in strong accentuation the vocal cords on account of the strong pressure of the air are more stretched and come closer to each other and that, as a consequence of the increase of the tension of the cords, the pitch of the tone is raised. Scripture 4 thinks that the relation between the rise of pitch of the cord tone and the increase in the force of the puff would naturally result from a gradual tightening of the vocal muscles which is due to associated habits of innervation and not to the physical effect of the air pressure in stretching the cords.\nThe phenomenon perhaps depends also on the nature of the rhythm of speech itself. The three elements of rhythm : intensity, length and pitch, all have the function of producing the emphasis and, being closely associated in our minds, would naturally tend to occur together. This does not mean of course that a rise in pitch must necessarily occur with an\n1\tSweet, A Primer of Phonetics, 67, Oxford 1890.\n2\tMitford, An Inquiry into the Principles of Harmony in Language and of the Mechanism of Verse, Modern and Ancient, 62, London 1804.\n3\tBr\u00fccke, Die physiologischen Grundlagen der neuhochdeutschen Verskunst, 3, Wien 1871.\n\u2018Scripture, Nature of vowels, Amer. Journ. Sei., 1901 XI 302.","page":38},{"file":"p0039.txt","language":"en","ocr_en":"Researches on rhythmic action.\n39\nincrease of intensity in the rhythm of speech. The two elements can be separated according to different mental conditions. It can be avoided by voluntary control or as the result of practice. M\u00fcller 1 says that \u201csince the human organ of voice possesses the power of increasing the intensity of a note from the faintest \u2018 piano \u2019 to \u2018 fortissimo, \u2019 without its pitch being altered, there must be some other means of compensating the tendency of the vocal cords to emit a higher note when the force of the current of the air is increased. This means evidently consists in modifying the tension of the vocal cords. When a note is rendered more intense, the vocal cords must be relaxed by remission of the mus cular action in proportion as the force of the current of the breath through the glottis is increased. When the note is rendered fainter, the reverse of this must occur. \u2019 \u2019\nYI. Beating time in_ connection with rhythm of speech.\nThe following experiments were made to determine where the moment of the beat of the finger comes when it beats time in connection with the rhythm of speech.\nMeyer,2 working on the same problem with the purpose of determining the position of the arsis in rhythmic articulation, used for recording the voice a mouth trumpet, ending in a Marey tambour covered with a fine rubber membrane to which a small straw lever ending in a light pointer was attached. The beat of the finger was made on an apparatus composed of plates of hard rubber connected by a string to a time marker. The subject recited some syllables into the tambour through the trumpet, while he beat time on the rubber plate. Thus the breath curve and the moment of beating could be recorded simultaneously on the smoked drum. In all cases, except where the syllable began with a voiced explosive (b, d, g), the beat came before the vowel. Both the tambour and the beating apparatus, used in the experiment, had considerable latent times which could be only roughly measured to be about 8* for the former and 250' for the latter. A somewhat more accurate method seemed desirable.\nIn the following experiments I used the voice key described above on p. 24. As the light diaphragm of platinum vibrated very easily at a short distance from the mouth, it recorded the first vibration of the voice with a latent time of not over half a thousandth of a second. The voice key was put in one of the wire circuits of a lamp battery and a Deprez marker in the other, as in the preceding experiments (p. 25). The\n'Muller, The Physiology of the Senses, Voice and Muscular Motion, with the Mental Faculties, trans. by Baily, 1034, London 1848.\n\"Meyer, Beitr\u00e4ge zur Jeutschen Metrik, Neuere Sprachen, 1898 VI 1,121.","page":39},{"file":"p0040.txt","language":"en","ocr_en":"40\tIshiro Miyake,\nlatent time of the marker was less than i<r as had been previously determined by frequent tests.\nFor the beating apparatus the noiseless key in the rubber bag (p. 8) was used. The tension of the key was very small and the slightest touch was enough to overcome the resistance for breaking the contract ; the time, lost in compression of the finger before the key acted was infinitesimal. The key was connected to the primary circuit of a spark coil while the metallic point of the Deprez marker was attached to one pole of the secondary circuit. The arrangement for drawing the time line was the usual one of a ioo v. d. fork. The drum was run by a motor with the storage battery ; a very constant speed was attained.\nThe subject held the voice key in his hand and, putting its mouthpiece close to his lips, recited a syllable in a scanning manner, while he beat time on the noiseless key with the finger of his right hand (generally the index finger), the rate of the movement being left to his choice.\nThe following syllables were used by different subjects : (i) a, (2) 'a, (3) ma, (4) ha, (5) pa, (6) \u00e4p, (7) \u00e4p, (8) m\u00e2m, (9) main. In these the a was pronounced like a in \u201c father.\u201d The \u2019a was the same as a, but with slight glottal catch at the beginning. Both \u00e0 and \u00e4 were the same as a, but \u00e0 was shorter than \u00e4, as the sign indicates. All the consonants were pronounced as in English words.\nThe subjects were four : K, E, T and M. Ten records were generally taken at each single experiment. The results of the experiments are given in the Tables XXI to XXIX. In all the tables the positive signs indicate the deviations when the beats of the finger came before the vowel, and the negative ones those when the beats came after the beginning of the vowel. The first column gives the initials of the subjects, the\nTable XXL Finger beat with \u2018 a. \u2019\n\t\tTime of beat\t\tNumber of\tNumber\tNumber\tImmediate\nouujeei.\t\tbefore a.\t\tmeasurements.\tof +.\tof \u2014.\tprobable error.\n\t\t+\t22\t10\t9\tI\t10.2\n\t\t+\t8\t10\t6\t4\tI3'5\nK. \u2022\t\t+\t40\t10\t10\t0\t23.0\n\t\t+\t10\t10\t7\t3\t13.\u00b0\n\t\t+\t21\t10\t8\ti\t1.3-4\n\t\t+\t11\t10\t8\t2\t14.6\n\t\t+\t61\t10\t9\ti\t32-5\n\t\t+\t80\t10\t10\t0\t34-5\nT. \u25a0\t\t-f 108\t\t10\t10\t0\t38.6\n\t\t+\t38\t10\t10\t0\t20.7\n\t\t+\t75\t10\t10\t0\t27.0\n\t\t+\t68\t10\t10\t0\t20. i\nUnit of measurement, <t = o.oois.","page":40},{"file":"p0041.txt","language":"en","ocr_en":"Researches on rhythmic action.\n41\nsecond the average deviation of the beats of the finger from the beginning of the vowel. The unit of the measurement is a = 0.00T. The third column gives the number of records from which the average is obtained. The fourth and fifth columns give the number of the cases in which the positive and negative deviations occurred respectively. The probable errors are calculated according to the formula used above (p. 6). A summary of the results of the experiments is given in Tables XXX and XXXI. Table XXX contains the average results of individual subjects for different syllables and Table XXXI the total averages from all the results.\nTable XXII.\nFinger beat with \u2018 'a. \u2019\nSubject.\tTime of beat\tNumber of\tNumber\tNumber\tImmediate\n\tbefore a.\tmeasurements.\tof +.\tof \u2014.\tprobable error.\n\t+109\t10\t10\t0\t15 7\n\t\u2022 139\t10\t10\t0\t22.0\nE\t+112\t10\t10\t0\t23.0\n\t+181\t10\t10\t0\t10.2\n\t4 i21\t10\t10\t0\t19.2\n\t+177\t10\t10\t0\t12.7\nM\t+147\t10\t10\t0\t19-5\n\t+ so\t10\t10\t0\t22.5\n\t+117\t10\t10\t0\t40.6\nUnit of measurement, 0\t\t= 0.001s.\t\t\t\n\t\tTable\tXXIII.\t\t\n\t\tFinger beat with \u2018 ma. \u2019\t\t\t\nSubject.\tTime of beat\tNumber of\tNumber\tNumber\tImmediate\n\tbefore a.\tmeasurements.\tof +.\tof \u2014.\tprobable error.\n\tf 4-112\t10\t10\t0\t28.0\n\t4- 60\t10\t9\ti\t22.2\nK <\t+ 7\u00b0\t10\t10\t0\t12.3\n\t+ 70\t10\t.10\t0\t12.0\n\t4- 74\t10\t10\t0\t23.0\n\tl 4- 70\t10\t10\t0\t14.4\n\t4-140\t10\t10\t0\t16.0\n\t-1-124\t10\t10\t0\t13-3\nE\t4- 104\t10\t10\t0\t14.9\n\t4-123\t10\t10\t0\t17.2\n\t4- hi\t10\t10\t0\t11.2\n\t\u25a04 245\t10\t10\t0\t39-8\n\t4-129\t10\t10\t0\t\nT\t-j- 208\t10\t10\t0\t27.6\n\t4- 83\t10\t10\t0\t39-0\n\t4- 261\t10\t10 *\t0\t36.3\n\t4- 80\t10\t10\t0\t41.i\n\t4- 177\t10\t10\t0\t8.8\nM\t4-234\t10\t10\t0\t19-5\n\t\u25a0+ 118\t10\t10\t0\t8.4\n\t4- 123\t10\t10\t10\t33-1\nUnit of measurement, <7 = 0.001s.","page":41},{"file":"p0042.txt","language":"en","ocr_en":"42\t\t\tlshiro Miyake,\t\t\t\n\t\t\tTable\tXXIV.\t\t\n\t\t\tFinger beat with \u2018 ha. \u2019\t\t\t\nSubject.\t\tTime of beat\tNumber of\tNum ier\tNumber\tImmediate\n\t\tbefore a.\tmeasurements.\tof -J-.\tof \u2014.\tprobable error.\n\t\t\u25a0+ 38\t10\tIO\to\t18.4\n\t\t+ 27\t10\t9\ti\t13-1\nK..\t\t+ 93\t10\tIO\to\t13-5\n\t\t4- 77\t10\tIO\t0\t8.8\n\t\t4- 5\u00b0\t10\tIO\to\t21.3\n\t\t+ 49\t10\tIO\to\t20.7\n\t\t+ IIO\t10\tIO\to\t12.0\n\t\t-4-\t84\t10\tIO\to\t14-7\nE.\t\t4- 87\t10\tIO\to\t15.0\n\t\t+ 78\t10\tIO\to\t25.1\n\t\t4-159\t10\tIO\to\t10.2\n\t\t+195\t10\tIO\to\t46.8\n\t\t4-134\t10\tIO\to\t20.1\nT. \u25a0\t\t4- to5\t10\tIO\to\t.24.6\n\t\t+ 44\t10\t8\t1\t20.7\n\t\t+ 111\t10\tIO\to\t20.1\n\t\t+ 76\t10\tIO\t0\tI9.6\nM. \u25a0\t\t4- 174\t10\tIO\to\t15.6\n\t\t-j- 182\t10\tIO\to\t19.7\nUnit of measurement, a\t\t\t= 0.001\u00ae.\t\t\t\n\t\t\tTable XXV.\t\t\t\n\t\t\tFinger beat with 1 pa.'\t\t\t\nSubject.\t\tTime of beat\tNumber of\tNumber\tNumber\tImmediate\n\t\tbefore a.\tmeasurements.\tof -K\tof \u2014.\tprobable error.\n\t\t+ 59\tIO\t9\ti\t26.6\n\t\t+ 75\tIO\tIO\to\t17.9\nK.\t\t+108\tIO\tIO\to\t14.6\n\t\t4- 62\tIO\tIO\t0\t16.7\n\t\t+ 76\tIO\tIO\to\t21.0\n\t\t+ 83\tIO\tIO\to\t18.5\n\t\t4-146\tIO\tIO\to\t21.3\n\t\t4- 85\tIO\tIO\to\t9-3\nE\t\t4- 142\tIO\tIO\to\t21-3\n\t\t4-118\tIO\tIO\to\t13.6\n\t\t4-119\tIO\tIO\to\t10.2\n\t\t4-287\t8\t8\to\t\n\t\t4- 207\tIO\tIO\t0\t24-5\nT\t\t4-170\t8\t8\to\t61.0\n\t\t- 135\tIO\tIO\to\t15-4\n\t\t4-152\t. IO\tIO\to\t21.3\n\t\t-j-161\tIO\tIO\to\t45.8\n\t\t4- 209\tIO\tIO\to\t18.8\nM\t\t4-140\tIO\tIO\to\tMV\n\t\t4-120\tIO\tIO\to\t14.7\n\t\t4- 157\tIO\tIO\to\t12.6\nUnit of measurement, <7 = 0.001*","page":42},{"file":"p0043.txt","language":"en","ocr_en":"Subject.\nK\nSubject.\nK\nSubject.\nK\n\tResearches on\trhythmic action.\t\t43\n\tTable\tXXVI.\t\t\n\tFinger beat with \u2018 \u00e4p. \u2019\t\t\t\nTime of beat\tNumber of\tNumber\tNumber\tImmediate\nbefore a.\tmeasurements.\tof 4.\tof \u2014.\tprobable error.\n+ 51\t10\t10\t0\tII.2\n+ 35\t10\t10\t0\t4-7\n+ 43\t10\t9\tI\t6.8\n+ \u00bb\t10\t6\t4\t10.4\n+ 31\t10\t10\t0\t8.1\n+ li\t10\t7\t3\t8.6\nf 4 89\t10\t10\t0\t7-9\n!\t126\t10\t10\t0\t14.0\n+ 54\t10\t10\t0\t9.8\nl + 84\t10\t10\t0\t3\u00b0. i\nmeasurement, a\t= 0.001s.\t\t\t\n\tTable\tXXVII.\t\t\n\tFinger beat with \u2018 \u00e4p. \u2019\t\t\t\nTime of beat\tNumber of\tNumber\tNumber\tImmediate\nbefore a.\tmeasurements.\tof +\u2022\tof \u2014.\tprobable error.\n+ 13\t10\t7\t3\t6.4\n\u2022+\u25a0 43\t10\t9\tI\tII.6\n+ 23\t10\t8\t2\t14.2\n+ 4\t10\t5\t5\t17.4\n\u2014 3\t10\t4\t6\t12.6\n\u2014 19\t10\t2\t8\t15-9\nf\t+ 99\t10\tIO\t0\t20.1\n+ 94\t10\tIO\t0\t20.2\n+ 9\u00b0\t10\tIO\t0\t22. s\nmeasurement, a\t= O.OOI8\t\t\t\n\tTable XXVIII.\t\t\t\n\tFinger beat with \u2018 m\u00e0m. \u2019\t\t\t\nTime of beat\tNumber of\tNumber\tNumber\tImmediate\nbefore a.\tmeasurements.\tof 4-\tof \u2014.\tprobable error.\n+ 70\t10\tIO\t0\t18.6\n+ 81\t10\t10\t0\t28.8\n+ 32\t10\tIO\t0\tI3I\n+ 33\t10\t8\t0\t26.5\n+ 60\t10\tIO\t0\t10.0\n4- 60\t10\tIO\t0\t12.3\n+ 53\t10\tIO\t0\t22. i\n+ 71\t10\tIO\t0\t13-8\nmeasurement, a\t= O.OOI8.\t\t\t","page":43},{"file":"p0044.txt","language":"en","ocr_en":"44\nIshiro Miyake,\nTable XXIX.\nFinger beat with \u2018 mam. \u2019\nSubject.\tTime of beat\tNumber of\tNumber\tNumber\tImmediate\n\tbefore a.\tmeasurements.\tof +.\tof \u2014.\tprobable error\n\t+ 66\t10\t10\t0\t13.0\nE\t+ 73\t10\t10\t0\t12 2\n\t+ 67\t10\t10\t0\t7i-\n\t+ 53\t10\t10\t0\t13-9\n\t+ 5\u00b0\t10\t9\t0\t24.7\nK\t+ 65\t10\t10\t0\t2S.8\n\t+ 51\t10\t9\ti\t27.8\n\t+ 72\t10\t10\t0\t24.4\nUnit of measurement, a\t\t= 0.001s.\t\t\t\nTable XXX. Summary of Tables XXI to XXIX, for individuals.\t\t\t\t\t\nSubject.\tma\tpa\tha\t\u2019a\ta\t\u00e2p\t\u00e2p\tm\u00e2m\tm\u00e2m\nK\t+ 76\t+ 96 + 56\t+ 19\t+30\t+ 10\t+ 54\t4- 60\nE\t+120 T\t+169 M\t+163\t4-140 +103 + 181\t+133 + 157 +172\t+ 132\t+88 + 86 + 130\t-+- 94\t+ 61\t+64\nUnit of measurement, u = o.ooia.\nTable XXXI.\n\tSummary of Tables XXI to XXIX, for sounds.\t\t\t\n\tAverage time of beat before vowel.\tNumber of measurements.\tNumber of +.\tNumber of \u2014.\nma\tT !32\t210\t209\t\u2022 i\npa\t+ 143\t206\t205\tI\nha\t+ 118\t190\t187\t2\n\u2019a\t+ !3[\t70\t90\t0\na\t+ 52\t120\t107\t12\n\u00e0P\t+ 59\t100\t92\t8\n\u00e2p\t+ 52\t90\t65\t25\nm\u00e2 m\t+ 57\t80\t80\ti\nm\u00e2m\t+ 62\t80\t78\ti\nUnit of measurement, <x = o.oois.\nThe tables show that the beat of the finger comes before the beginning of the vowel in all the following conditions :\n(i) when the vowel is preceded by a consonant and is not followed by any other sound ;","page":44},{"file":"p0045.txt","language":"en","ocr_en":"Researches on rhythmic action.\n45\n(2)\twhen the vowel has the glottal catch at the beginning ;\n(3)\twhen the vowel is neither preceded nor followed by any sound ;\n(4)\twhen a short vowel is followed by a consonant ;\n(5)\twhen a long vowel is followed by a consonant ;\n( 6 ) when the short vowel is preceded and followed by consonants ;\n(7) when the long vowel is preceded and followed by consonants.\nIt will be observed also that the amount of time by which the beat occurs before the beginning of the vowel is not the same in the different combinations in which the vowel stands.\nThe results for the subjects K and T show that the length of time by which the beat occurs before a, when not preceded by a consonant, is considerably shorter than that before the vowel when preceded by a consonant. This fact indicates that the consonant lengthens the time between the beat and the beginning of the vowel.\nThe amount of time between the beat and the beginning of the vowel differs with the different consonants which precede it. The subjects K, E, T all agree in making this difference greatest in pa, the next greatest in ma, and least in ha.\nThe amount of time by which the beat is ahead in \u2019a is not very different from that in ma, pa and ha. It is probably due to the fact that the glottal catch at the beginning of the vowel is of the same nature as a consonant in so far as the complexity of action of the vocal organs is concerned.\nThe results for m\u00e4m and m\u00e4m seem to indicate, if not in a very conclusive manner, that when a vowel is preceded as well as followed by a consonant, the beat tends to come nearer the beginning of the vowel than when the vowel is preceded by a consonant but not followed by another.\nThe preceding observations show that the finger beat occurs before the vowel. But where does it come in respect to a consonant which precedes the vowel ?\nAmong the three consonants m, p and h which formed the objects of our experiments in combination with the vowel a, the last two ( p and li) could be found in the records. The curve for the consonant in our records did not consist of vibrations like those of the vowel, but of a smooth deviation from the record line due to the air pressure. The lengths of the consonants could thus be measured. The results of the measurements are given in Tables XXXII and XXXIII. The unit of the measurement is <r = 0.00T.\nA summary is given in Table XXXIV.","page":45},{"file":"p0046.txt","language":"en","ocr_en":"46\nIshiro Miyake,\nTable XXXII.\nFinger beat with \u2018 ha. \u2019\n\tAverage\tImmediate\tAverage time\tNumber\tNumber of+.\tNumber of \u2014.\tImmediate\nSubject.\tlength of h.\tprobable error.\tof beat before h.\tof measurements.\t\t\tprobable error.\ni\t43\t5-i\t+ 67\t10\tIO\t0\t7-5\nE\t34\t90\t+ 53\t10\tIO\t0\t12.0\n1\t39\t6.i\t+ 34\t10\tIO\t0\t9-4\nr\t109\t131\t\u2014 67\t10\t0\tIO\t27.2\n\t124\t15-4\t\u2014 3\u00b0\t10\tI\t8\t18.9\nK1\t148\t7-4\t\u2014 88\t10\t0\tIO\t33-3\n.\t99\t21.0\t\u2014 64\t10\t0\tIO\t27.0\n\t106\t21.4\t\u2014 62\t10\t0\tIO\t32-4\nUnit of measurement, o = 0.001-.\nTable XXXIII.\nFinger beat with \u2018pa. \u2019\n\t\tAverage Immediate\t\tAverage time\tNumber of\tNum-\tNum-\tImmediate\nSubject.\t\tlength\tprobable\tof beat be-\tmeasure-\tber\tber\tprobable\n\t\tof f.\terror.\tfo:e p.\tments.\tof+.\tof\u2014.\terror.\n\tf\t54\t7.6\t\u25a0+91\t10\t10\t0\t17.6\n\t\t40\t3-4\t+ 49\t10\t10\t0\t10.9\nE\t\t47\t4 7\t+ 87\t10\t10\t0\t18.6\n\t\t47\t5.8\t+ 6.\t10\t10\t0\t\u20224-5\n\tl\t53\t9-3\t+ 56\t10\t10\t0\t15 0\n\t\t56\t6.2\t+ 16\t10\t7\t2\t15-2\n\t\t60\t8.1\t+ 5\t10\t7\t3\t18.9\nK \u2022\t\t57\t26.0\t+ 29\t10\t9\ti\t19-3\n\t\t73\t33-3\t+ 5\t10\t5\t5\t18.2\n\t\t51\t7-7\t-+ I I\t10\t6\t4\t7.0\n\t\t55\t10.6\t+ 25\t10\t8\t2\tJ9-5\nUnit of measurement, <r = 0.001s.\t\t\t\t\t\t\t\t\n\t\t\t\tTable XXXIV.\t\t\t\t\n\t\t\tFinger beat with rhythm of speech.\t\t\t\t\t\nSubiects.\t\tAverage\t\tAverage time\tAverage\t\tAverage time\t\n\t\tlength of p.\t\tof beat before p.\tlength of h.\t\tof beat before h.\t\nE\t\t49\t\t+ 69\t39\t\t\t+ 51\nK\t\t59\t\t+15\t117\t\t\t\t6l\nUnit of measurement, ff = o.ooi\u201d.\nThe following points may be observed in the tables :\n1.\tFor the syllable pa two subjects agree in beating time before the beginning of the consonants.\n2.\tFor the syllable ha, with the subject E the beats come constantly before the beginning of the consonant, but with K they come in most","page":46},{"file":"p0047.txt","language":"en","ocr_en":"Researches on rhythmic action.\n47\ncases after the beginning of the consonant, about midway between the consonant and the vowel which follows it.\nFrom the observations reported in this section, the final conclusion can be drawn that the beat of the finger in connection with the rhythm of speech comes before the vowel and before or in the course of the consonant which precedes the vowel.\nThe preceding observations would not be complete unless a few words are added about the point of emphasis in rhythmic articulation. We would naturally raise a question as to the relation of the beat of the finger to the point of greatest emphasis.\nOur experience seems to show that when we recite a verse while we beat time with our hand, the point of the highest emphasis in the rhythm comes at the same moment with the beat.\nAlthough it is not certain whether the innervations of the movements of hand and vocal organ proceed from their nervous centers at exactly the same moment, still we may suppose that the two movements are so closely associated that the innervations of them take place almost simultaneously. But when we attempt to determine the position of the point of emphasis from the beat of the finger, we find that it cannot be easily done. It does not follow that the movements themselves are executed at the same time from the mere supposition that innervations of the movements of hand and vocal organs take place simultaneously.\nMeyer 1 supposed that the movements of hand and vocal organ would take place at the same moment, provided the nerve fibers which transmit the impulses are equal in length. He calculated from the rate of nervous transmission that the impluse reaches hand 1.47 hundredths of a second later than vocal organ. Adding the latent time of apparatus to this lost time of nerve transmission he arrived at the final conclusion that the point of emphasis lies in the course of a voiced consonant or shortly before an explosive.\nThe difference in the length of the nerve fibers is not the only factor which disturbs the simultaneity of the two movements. K\u00fclpe\u2019s experiments 1 2 showed that we have difficulty in moving our hands at the same time to react to a single stimulus. If even the two hands\u2014alike in construction and symmetrically arranged\u2014are not moved simultaneously, it must be still more difficult to execute the movements of two disparate organs like hand and vocal organs at the same moment.\nBesides these differences there may be several other factors which cause the deviation of the two movements. The difference of the complexity\n1\tMeyer, Birtr\u00e4'e zur deutschen Metrik, Neuere Sprachen, 1898 VI 121.\n2\tK\u00fclpe, Ueber die Gleichzeitigkeit von Bewegungen, Philos. Stud., 1891 VI 514.","page":47},{"file":"p0048.txt","language":"en","ocr_en":"48\nIshiro Miyake.\nof the constructions of the two organs, might be one of such factors. The condition of attention during the movements might be another.\nTherefore, until all the conditions on which the simultaneity of the two movements depends are known, nothing definite can be said about the relation of point of emphasis to the finger beat.\nIf we assume, however, that the movements of the hand and vocal organs are executed simultaneously, we can conclude from the foregoing experiments that the point of emphasis in the rhythmic speech comes before the vowel and before or in the course of the consonant which precedes the vowel. In other words, the point of emphasis in rhythmic articulation lies at the beginning of the movement of the vocal organs for the production of the sound.","page":48}],"identifier":"lit28749","issued":"1902","language":"en","pages":"1-48","startpages":"1","title":"Researches on rhythmic action","type":"Journal Article","volume":"10"},"revision":0,"updated":"2022-01-31T14:26:53.615860+00:00"}