the range of vibrations which produce it. It does not extend to the first note of the octave above it, but it constitutes one nearly complete octave in itself.
To make this quite clear let us place the two scales one above the other.[1]
Of course the selection of the note C as a starting-point of comparison is purely arbitrary. All that it is wished to show is that, recognizing the musical octave as the physio-logical basis of music, there is a corresponding octave of colour with its lowest and highest points also separated by a proportionate increase of speed of vibrations.
This is a very remarkable fact, and would seem to point to some common foundation or organic basis in nerve structure, or in mental constitution for receiving both colour and musical impressions. Its significance may, however, easily be exaggerated, and too much stress should not be laid upon it.
It is possible that it is a coincidence, and nothing more, but it suggests, as I have said, that there may be laws connected with the
- ↑ See Appendix.
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