is in the focus of the mind's eye.) Psychology deals with the consciousness-of-the-object. The two sides of experience are inseparably connected.
Metaphysics states, on the one hand, that the Object exists independently of consciousness; on the other, that mind-stuff has this independent existence. Such abstractions should not have it predicated of them that they are "real," but rather that they are "autic" (Stoney).
Science has only to deal with, and separately to deal with, the consciousness-of-the-object, and the object-in-consciousness. In this paper, we are not attempting to get behind phenomena. As a working hypothesis we assume that consciousness is associated in "me" and "my like" with certain complex modes of energy in "my brain or in some part of me." It does not here matter whether this leads to dualism or monism. Evolutionarily, neural modes of energy have been developed from infra-neural modes, and these from the simpler modes of energy of inorganic nature. So states of consciousness have been evolved from infra-conscious states, and these stretch back to the simple infra-consciousness of inorganic nature.
It seems that of the three hypotheses possible – special creation of consciousness, evolution of consciousness from energy, evolution of consciousness from infra-consciousness – we have to accept the third. The only logical alternative is special creation.
Music exemplifies two psychological laws: those of systematic association and systematic inhibition. Our music is characterized by tonality; the tonica predominates, the morceau begins and ends (as a rule) with its perfect chord. The aspect and significance of a succession of tones are entirely different, according to the mind's previous preparation for them; and the same holds of tones simultaneously given, whether the chords be complete or incomplete. Dissonance provokes desire for the perfect chord. The influence of tonality, again, can be exerted in the way that the natural significance of chords is inhibited.
One of the ends of melody and harmony is, then, to preserve tonality; hence most of their rules. If, on the other hand, a tone is to be changed by modulation, (1) equivocal combinations or suc-
