Now, as one repeatedly passes aesthetic judgments and becomes aware of their peculiar validity, they come to exert “a slow pressure upon the [individual], who calls it his ‘conscience’” (SW I: 265). Only he who repeatedly generates aesthetic judgments in fact acquires such a “conscience”. We may take Herbart to be speaking here of a sense of artistic propriety characteristic of the connoisseur or the trained musician. In musical practice, for example, one makes myriad judgments regarding the tempo, articulation, or dynamics. Over time, these fuse into stable appercipient masses—the musical “conscience”—and music conflicting with them seems “wrong” and must be criticized. Such a Herbartian conscience is no kind of faculty of taste or judgment, but a facility acquired in accordance with the laws of concept formation.