Harmony and timbre would be examples of non-temporal Gestalt qualities and with respect to chords, among others, Ehrenfels points out that “the Gestalt quality may sometimes force itself into the foreground, i.e., may make demands on our attention to such an extent that it is difficult to resolve its foundation into elements” (Ehrenfels 1890; Smith 1988, 95). This shows the need for abstraction to identify the various layers of tonal complexes, as we find in Stumpf’s (1883, 101) characterization of fusion of consonant tones as “less easily and completely recognized as a multiplicity”. Indeed, Ehrenfels also speaks of fusion, and like Stumpf (1890, 65 ff., 193), even of fusion (and hence Gestalten) among different senses: