Abstract
The experimental studies of aesthetic reactions to works of art that were carried out in the early part of this century were concerned with the identification of types of apperception, or apprehension, and one of the earliest of these typologies was formulated by Binet (1903) in his Experimental Study o/Intelligence. Bullogh's (1921) review of this research shows that some of Britain's leading psychologists were actively involved in experimental aesthetics, and refers to some of the \vork that was being carried out on music. Myers and Valentine (1914), for example, studied individual differences in attitude towards tones in large samples of subjects, and Myers (1922) extended this research to include real musical materials.
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