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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. | THE DIMENSIONS OF AESTHETIC REACTIONS TO MUSIC DAVID J. HARGREAVES AND ANDREW M. COLMAN 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 of 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 work 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. Bullogh identified four types of apperception in his research on the appreciation of single colours and simple colour-combinations and modified this to take reactions to music into account. The objective type takes an impersonal view concentrating on the properties of the stimulus itself the intra-subjective type concentrates on the personal idiosyncratic moods that are evoked by the stimulus the associative type bases his reactions on associations or memory images of past experiences that are called up and the character type attributes a mood emotional character or temperament to the stimulus. Bullogh elaborates upon the correspondence between this scheme and Binet s type descripteur type observateur type d erudit and type imaginatif or émotionel. The implication seems to be that these types represent relatively stable aspects of an individual s behaviour whether or not this is the case the distinctions between them are likely to be helpful in the study of individual reactions to particular works of art. This early interest in aesthetic reactions to music declined in the 1930s 1940s and 1950s and research since then has been sparse and uncoordinated see brief review by .
