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This study was undertaken to develop a test that would objectively measure the rhythmic element in dance, and one that could be used by teachers of dance. The resulting Test of Rhythmic Motor Response was administered to 92 college women enrolled in dance classes. Test reliability coefficients ranged from .90 to .91; validity coefficients with teachers' ratings, .49 to .51. An investigation of the relationship between this test and the rhythm imagery section of the Gordon Measures of Musical Perception yielded correlation coefficients ranging from .52 to .69. These findings are all statistically significant at the .01 level. The Test of Rhythmic Motor Response appears to have a substantial relationship with the rhythmic element in dance.

T PRESENT, the only criterion for the evaluation of achievement of high school music performance groups seems to be music performance for its own sake. It would appear, on the basis of recent thinking by prominent music educators, that an evaluation of music learnings and music understandings achieved through performance by high school students would necessarily be considered in the assessment of the high school performance program. The Fluke Test in Music Perception for High School Performance Groups represents an attempt to create an instrument that would measure the extent to which students in high school performance groups had obtained some of the tools necessary for an understanding and appreciation of music. The test was designed to measure musical perception of certain aspects of several of the constituent elements of music in a concert situation where the listener would hear the music as a whole, i.e., with all the elements of the particular number or passage heard at the same time.'

THE PROBLEM of the relationship of the history of music to psychology could not have been raised as long as psychology concerned itself only with the perception of musical elements, only with a psychology of musical sounds, and not of music. A breakthrough in the established train of thinking was made in 1930 by Ernest Kurth.' His method of handling vastly differing musical styles, as exemplified by Bach, Wagner, or, say, Bruckner, revealed the existence of a road of cooperation between the two interacting musicological disciplines, interacting though operating on widely differing premises. This article is about the methodological problems contemporary research in the history of music brings into play when the illumination of the psychological aspect of the examined issues is attempted: I have in mind the conclusions of the music historian