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Absorption measurements were made in the ranges 1.5 to 230 Mc/sec and 0° to 45°C at various concentrations. Diethylamine solutions showed single-relaxation behavior, attributed to complex formation by hydrogen bonding. Absorption attributed to separation of phases near the lower critical solution temperature was shown in addition by triethylamine solutions. In methyl diethylamine solutions (L.C.S.T.=49°C), the transition from single- to double-relaxation behavior arising from these 2 mechanisms was observed. The absorption by n-amylamine solutions was compared with that by n-octylamine solutions, which form micelles. dμmax/dc decreased sharply at the critical micelle concentration. (μmax=maximum absorption per wavelength, c=concentration). Nine further solutes with hydrogen-bonding sites were studied. In each, the concentration for peak sound absorption (PSAC) was less than 0.5 MF, showing that more than one water molecule was associating with each solute molecular. Empirical relations between PSAC, relaxation frequency, and molecule weight were obtained. Quantitative interpretation of the measurement has been attempted in terms of models allowing for successive addition of water molecules to a complex and for breakdown of the water structure. Limiting values of bond energies, applicable to completely isothermal and adiabatic conditions, were calculated, but meaningful intermediate conditions could not be determined.

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LETTERSTO THE EDITOR bands. The vertical lines within the bands represent the locations of the centers of the holes in the circles of the perforated disk. In order to facilitate for the reader any wish on his part to derive, for his own satisfaction, a speculative notion of why the brain reacts to such stimulation with giving to consciousness doubled or undoubled beats, I have added in the figure the common crescendo and decrescendo signs used in musical scores. For myself I ask permission to abstain from any verbalism. The reader should be aware of the following. Those signs which straddle the top parallel belong to the loudness of the tone "30" when combined with "46." Those signs which are in the upper part of the middle band belong to the loudness of the tone "46" when combined with "30." Those signs which are in the lower part of the middle band belong to the loudness of the tone "46" when combined with "15." And those signs which straddle the bottom parallel belong to the loudness of the tone "15" when combined with "46." Such relations are often called "mistuned consonances," a term which I use reluctantly because I have long ceased to accept "consonance" as a scientific term at all. We are dealing here of course with the frequency ratios 2:3 and 1:3. It is of considerable importance to keep in mind that the former is composed of an even and an odd number, whereas the latter is composed of two odd numbers. That in such combinations the higher pitch and the lower pitch invariably beat alternately has been known for a hundred years due to the magnificent observational skill of Rudolph Koenig. 9 That certain beats are doubled and others are undoubled, has