Outlines of physiological psychology : A text-book of mental science for academies and colleges / by George Trumbull Ladd.

  • George Trumbull Ladd
Date:
1891 [©1890]
Catalogue details

Licence: Public Domain Mark

Credit: Outlines of physiological psychology : A text-book of mental science for academies and colleges / by George Trumbull Ladd. Source: Wellcome Collection.

Provider: This material has been provided by the Augustus C. Long Health Sciences Library at Columbia University and Columbia University Libraries/Information Services, through the Medical Heritage Library. The original may be consulted at the the Augustus C. Long Health Sciences Library at Columbia University and Columbia University.

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    and sight less so still. Genuinely sesthetical feelings arise and develop in connection with perception and imagina- tion ; they therefore imply an intellectual origin and law of progress. They may be said to spring from the combi- nation of the sensuous feelings under the ideal forms of space and time. Hearing is the principal sense for the com- bination of sensuous feelings so as to produce sesthetical feelings under time-form, and sight (the geometrical sense ) under space-form. ^sthetical Feelings of the Ear. — Harmony and rhythm are the two principal forms of the sesthetical feelings of hearing. [The laws under which the sensation-complexes of consonance and dissonance are produced, have already been discussed (see p. 250 f.),] Harmony is colored by the way in which the clangs composing the harmony are held together. In the major chord all the clangs are firmly bound together by the fundamental clang, and a peculiar agreeable feeling of satisfaction is the result. In the minor chord the coincident overtone performs the same office less obviously, and the result is an sesthetical feeling tinged with dissatisfaction, or longing. Great intensity of the former kind of sensation-complexes may involve the pain of over-excitement; of the latter, the pain of unrest. In musical time the periodicity of the acoustic sensation- complexes, of itself, stirs the sesthetical feelings. These regularly recurring impressions, which may have a differ- ent content of sound, are combined into series; certain members of the series are then accentuated. Thus the two fundamental kinds of musical time, or rhythm, are origi- nated. These are two-time and three-time ; and the feelings corresponding to each are markedly different. The funeral march produces the most pronounced form of the sesthetical feeling appropriate to two-time ; the feeling of the waltz is the typical form produced by the musical rhythm of three-time. Thus waves of different forms of