ASSEMBLIES 2$I
it manifestly obstructs the unifying process, while if all take part the unifying effect is very great.
It is upon this one means of inducing mental unity that ritualistic bodies, whether churches or lodges, chiefly rely; but, although its whole tendency is in that direction, the ritualistic method is not so well adapted to produce intense effects as the non-ritualistic. And the reason doubtless is that the formulae and concerted actions required by the rituals are not, as a rule, such as to stir intense emotions, and that their frequent repetition takes off the keen edge of the feelings which they do excite. In non-ritualistic bodies concerted action is used more effectively as a means of fusion because prescribed formulae are not employed, and the common movements suggested in informal exercises are not fixed and habitual, but, being unusual or at least infre quent, are more stimulating to the emotions. When used in connection with other means to the same end they gener ally secure a more complete submergence of the individuality than ever occurs in ritualistic observances. Hence the phenomena of psychical fusion are observed much more frequently and are much more striking in bodies which use a minimum of prescribed ritual. In fact the ritual, by rea son of its habitual or customary character, tends to prevent more than a moderate degree of mental fusion.
Singing, especially if it is congregational, is a quite effec tive means of melting the assembled individuals into a psychical mass. Its effectiveness lies both in the fact that it is concerted action and in its power as a stimulus of the emotions. By reason of its rhythmical quality it is one of the most natural expressions of the feelings, and con versely, one of the most unfailing means of arousing feel ing. This is true even when the music is devoid of idea- tional content. The rhythmical sounds alone develop corresponding effects, according to their length and com bination. " A short musical unit tends to light, vivacious, or joyful effects, irrespective of the rapidity of succession of notes or of the melodic intervals employed. A unit
�� �
