. Lectures on the elementary psychology of feeling and attention. eed not detain us. The sensations ofcolour, however, are interesting in that theyhave no less than three qualitative given colour may be varied in hue or colour 12 SENSATION AND ITS ATTRIBUTES tone, in tint or brightness, and in chroma orsaturation; and reference to the colour pyra-mid will show that, within limits, these three attributes, hue,tint, and chroma,are independentvariables, — sothat we maychange hue whileG tint and chromaremain the same,change tint with-out changing hueand chroma, andchange chromawith co
. Lectures on the elementary psychology of feeling and attention. eed not detain us. The sensations ofcolour, however, are interesting in that theyhave no less than three qualitative given colour may be varied in hue or colour 12 SENSATION AND ITS ATTRIBUTES tone, in tint or brightness, and in chroma orsaturation; and reference to the colour pyra-mid will show that, within limits, these three attributes, hue,tint, and chroma,are independentvariables, — sothat we maychange hue whileG tint and chromaremain the same,change tint with-out changing hueand chroma, andchange chromawith constancy limits are set,of course, by the form of the double pyramid,which, as I have said, is an empirical, psycho-logical construction. But here are three dis-tinguishable attributes under the currently singleheading of quality. When we turn to audition, we are on moredebatable ground. I myself believe that tonalsensations show a qualitative duality, — thatthe quality of tone is a resultant of the twoattributes known respectively as pitch and as. Fig. 1. The Colour Pyramid. — H. Eb- V.^^ andbinghaus, Grundzuge der Psychologies i.,1905, 199. QUALITATIVE ATTRIBUTES: AUDITION 13 voluminousness (Stumpfs Tongrosse). I daresay that, at first thought, it seems far-fetched,even a little ridiculous, to make volume a quali-tative attribute, especially in view of the uses towhich it has been put in systematic I would remind you, in the first place, thatwe are inveterately addicted to spatial meta-phors, and that the term pitch contains a spa-tial reference no less obvious, on consideration,than that of volume/ Pitch means height,elevation; the German equivalent is Tonhohe^the French hauteur; and in characterisingpitch, we speak, in English, of high, low, deeptones. Yet nobody nowadays would dreamof making pitch an intensive attribute. Now-adays, no! — but listen to Fechner. Bei denTonen, he says, hat die Hohe, obwohl alsQualitat des Tones fassbar, doch a
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