I. Introduotion (pp. 29-30). 11. symsthesia of a youvbq s*ect (pp. 30-3). 111. Summary of the literature of synaresthesia in children (pp. 33-5). IV. ClassiJication of synaesthesia (pp. 35-6). V. A theory of synaesthesia (pp. 36-40). VI. Conclusion (pp. 40-1). References (p. 41).Synaesthesia the usual way, and were found entirely normall. Imagery, both visual and auditory, was tested with standard technique. It is not eidetic, but is strong in both modalities. Her spaesthetic experience takes the two forms of coloured hearing and coloured personality.
SYNAESTHESIA OF A YOUNG SUBJECT.M asserted that her coloured hearing was determined by the pitch of the note which aroused it. In order to determine how this took place, the experimenter prepared a series of ten scales, major, minor, and chromatic. Each scale was played through rapidly upon the piano, and then it was played again slowly, so that the subject could respond, after each note, with the colour which it aroused. It was apparent from the subject's responses that there was no pattern or consistency of the colours with respect either to the absolute pitch of the note or to its position in each scale. For example, middle A was 'seen' as yellow, grey, yellow, blue, orange, purple, red, blue, orange, and green. Similarly fa, the fourth note of the scale, was called pink, black, red, pink, rose, purple, purple, blue, and green. When the same procedure was repeated two months later, there was practically no correspondence with the original results. Evidently M's photisms do not have a one-to-one correspondence with the pitch of the notes which arouse them.Subsequent experiments showed that grosser systems of connections were operating more consistently. First, a low tone and a high one were sounded on the piano, and the oolours noted, Then several more low and high tones were played, and M was asked whether there was any difference between the two groups. She said, "Yes, the low tones are dark and the high tones are bright." Notes one octave apart were assigned the same hue, but the high note was lighter than the low one. In the same way it was found that the louder the sound, the darker was its colour.Then two notes were sounded together; M reported two colours. Chords of three or more notes she described as a "jumbled mixture" of colours from the constituent tones. More complex groups of notes she saw as more unitary, and dark. All the above data may be summarized in the formula: Complexity of tone m a b s for darkness of colour. For we 1 M was particularly tested in pitch discrimination and tonal memory. Seashore's records were used. In the pitch discrimination test, the score attained was high enough to place the subject in the 55th percentile of norms for fifth grade. The average age for these norms is about eleven years. On the test for tonal memory she ranked in the 7@th percentile, or distinctly above the average in the eleventh year norms. The results of these testa gave evidence of the fact that M was competent to perceive and remember musical tones.
