Palgrave Studies in the Theory and History of Psychology,
2024,
цитирований: 0,
doi.org,
Abstract
The word “tempo” is, first and foremost, a musical expression; it refers to the appropriate temporal measure of a sequence of sounds. Every melody has its own tempo, that is to say there is a speed for its progression which is suitable, in a way that no other speed is, for bringing out its content for esthetic appreciation. From this, we can already deduce that tempo is not only an objective melodic tempo but also a tempo of subjective apprehension. If we generalize this last observation then we arrive at a psychological phenomenon which has so far received curiously little attention in the scientific field. For every mental process that occurs over time there is a certain speed of progression which, on the one hand, subjects feel to be appropriate, natural, pleasing when compared to all other speeds and, on the other, which they themselves use entirely automatically, almost instinctively, if they are able to perform the mental process in the way they think fit. In the case of perception (listening to a melody or a speech), every listener is immediately able to judge whether they find the tempo of the acoustic impression pleasing. In the case of voluntary acts that are expressed using motor means, such as speaking, walking, playing a piece of music, etc., we choose a natural pace of our own volition; and thought, too, has its tempo.