Scarlet & Grey
Ohio State University
School of Music


Music 829F: History of Music Psychology

Historical Publications

Adler, Mortimer Jerome (1929) [1902-2001] Music Appreciation: An Experimental Approach to its Measurement. New York. Archives of Psychology Vol. 17, No. 110. PhD thesis, Columbia University.

Albersheim, Gerhard. (1939). Zur Psychologie der Ton- und Klangeigenschaften (unter Berücksichtigung der "Zweikomponenten-Theorie" und der Vokalsystematik) Strassburg: Heitz.

Bacon, Gough Evelyn (1922). The Effects of Practice on Judgments of Absolute Pitch. New York: Columbia University (also published as Ph.D. thesis).

Bartholomew, Edward Fry (1899) [1846- ] Relation of Psychology to Music. Rock Island, IL: Augustana Conservatory of Music.

Bean, Kenneth L. (1938). [1910- An Experimental Approach to the Reading of Music. Columbus, Ohio: American Psychological Association, Ohio State University.

Bingham, Walter Van Dyke. (1910). [1880-1952] Studies in Melody. Lancaster, PA: The Review Pub. Co. (Psychological Monographs. General and Applied. Vol. 12, No. 3. (Originally PhD thesis, University of Chicago, 1908.)

Bower, Libbie B. (1945) [1900- A Factor Analysis of Music Tests. Washington, DC: Catholic University of America Press, 1945.

Bugg, Eugene Gower (1933) [1901- An Experimental Study of Factors Influencing Consonance Judgments; by Eugene Gower Bugg; a Study from the Psychological Laboratory of Vanderbilt University. Princeton, NJ & Albany, NY: Psychological Review Company. Psychological Monographs: General and Applied Vol. 45, No. 2) From PhD dissertation, Vanderbilt University, 1933.

Cohen, H.F. (1984). Quantifying Music: the Science of Music at the First Stage of the Scientific Revolution, 1580-1650. Dordrecht.

Conradin, Hans. (1948) [1913- ] Die Tonreihe als Bewusstseinserscheinung. Zürich: Dissertationsdruckerei Gebr. Leemann.

Davies, John Booth. (1978). The Psychology of Music. Stanford, CA: Stanford University Press.

Deutsch, D. [ed.] (1982). The Psychology of Music. New York; 2nd edition 1999.

Diserens, Charles Murdock (1926). The Influence of Music on Behavior. Princeton, NJ: Princetone University Press. (PhD thesis, University of Cincinnati, 1922).

Diserens, Charles Murdock (1939). A Psychology of Music: The Influence of Music on Behavior. Cincinnati: The authors for the College of Music.

Douel, Jean (1944). Eassai de pédagologie musicale; principes techniques d'une pédagogie générale de la musique. Paris: Gallet & fils.

Dreisoerner, Charles (1945). The Psychology of Liturgical Music. Kirkwood, MO: Maryhurst Press.

Dupré, Ernest Pierre (1911) [1862-1921] Le langage musical: étude médico-psychologique. Paris: F. Alcan.

Farnsworth, Charles Hubert (1930) [1859-1947] Short Studies in Musical Psychology. Oxford: Oxford University Press.

Farnsworth, Charles Hubert (1958) [1859-1947] The Social Psychology of Music. New York.

Feininger, Karl (1909). [1844- An Experimental Psychology of Music. New York: A. Gemünder. Reprinted by Elibron Classics.

Fine, Harry (1937). A decade of Research in Experimental Psychology of Music. M.A. Thesis, University of Cincinnati.

Fisher, Henry (1905) [1845- ] Psychology for Music Teachers. The Laws of Thought Applied to Sounds and Their Symbols, with Other Relevant Matter. London: Curwen.; 3rd edition.

Gordon, Edwin (editor) (1970) [1927- ] Experimental Research in the Psychology of Music. Iowa City: University of Iowa Press.

Gordon, Edwin (1976) [1927- ] Tonal and Rhythm Patterns, An Objective Analysis: A Taxonomy of Tonal Patterns and Rhythm Patterns and Seminal Experimental Evidence of their Difficulty and Growth Rate. Albany: State University of New York press.

Heinemann, Rudolf. (1966). [1938- ] Untersuchungen zur Rezeption der seriellen Musik. Regensburg: Bosse.

Kurth, Ernst (1931). Musikpsychologie. Berlin. Reprint 1969, Hildesheim: G. Olms.

Laske, Otto Ernst (1980) [1936- ] Psychomusicology: A New Theory of Music. Bombay: Indian Musicological Society.

Lausch, Johann Joseph (1782) [1751-1825] Psychologische Abhandlung über den Einfluss der Tone und ins besondere der Musik auf die Seele; nebst einem Anhange über den unmittelbaren Zwek der schönen Künste. Bresslau: Bei J.F. Korn, dem älteren.

Lee, Vernon (1933) [1856-1935] Music and its lovers, an Empirical Study of Emotional and Imaginative Responses to Music. New York: E.P. Dutton and Co. (Vernon Lee is a pseudonym)

Lichthorn, Hans Gerhard (1962) [1926- ] Zur Psychologie des Intervalhörens. PhD dissertation, University of Hamburg.

Lipps, Theodor (1905) [1851-1914] Psychologische Studien. Leipzig: Dürr. Translated as: Consonance and Dissonance in Music. by William Thomson (1995). San Marino, California: Everett Books.

Lipps, Theodor (1926) [1851-1914] Psychological Studies. Baltimore: Williams & Wilkins. Reprinted 1973, New York: Arno Press.

Lundin, R.L. (1953). An Objective Psychology of Music. New York.

Lüthy, Werner (1931) [1896-] Mozart und die tonartenscharacteristik. Strassburg: Heitz & cie.

Mayrhofer, Robert (1907). Psychologie des Kianges; und die daraus herorgelhende theoretisch-praktische Harmonielehre, nebst den Grundlagen der klaglichen Asthetik. Leipzig: Kommissionsverlag von F. Schuberth, jr.

Matthay, Borias. (1939) [1858-1945] An Introduction to Psychology for Music Teachers; Three Lectures by Tobias Matthay. London: Oxford University Press.

Meyer, Leonard, B. (1956). Emotion and Meaning in Music. Chicago: University of Chicago Press.

Meyer, Max (1901). Contributions to a Psychological Theory of Music. Columbia, Mo.: University of Missouri.

Moore, Henry Thomas (1914). The Genetic Aspect of Consonance and Dissonance. Princeton, NJ & Lancaster, PA: Psychological Review Company. Psychological Monographs. General and Applied. Vol. 17, No. 2.

Mursell, J.L. (1937). The Psychology of Music. New York.

Nagosky, John (1962) [1929- ] Timbre Thresholds of Sinusoid Mixtures. Ann Arbor: University Microfilms. PhD thesis, Indiana University.

Narmour, Eugene (1991). The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model. Chicago: University of Chicago Press.

Narmour, Eugene (1992). The Analysis and Cognition of Melodic Complexity: The Implication-Realization Model. Chicago: University of Chicago Press.

Petran, Laurence Armstrong (1932) [1902-1978] An Experimental Study of Pitch Recognition. Princeton, NJ & Albany, NY: Psychological Review Company. Psychological Monographs Vol XLII, No. 6. PhD dissertation, Johns Hopkins University.

Pilo, Mario (1904) [1859-1920] Psicologia musicale; appunti, pensieri e discussioni di Mario Pilo. Milano: U. Hoepli.

Plomp, R. & Levelt W.J.M. (1965). Tonal consonance and critical bandwidth. Journal of the Acoustical Society of America, Vol. 38, pp. 548-560.

Rigg, Melvin Gillison. (1939) [1895- ] What Features of a Musical Phrase have Emotional Suggestiveness? Stillwater, Oklahoma: Oklahoma Agricultural and Mechanical College. (Bulletin of the Oklahoma Agricultural and Mechanical College, vol. 36, No. 13)

Révész, Géza (1946) [1878-1955] Einführung in die Musikpsychologie. Berne, 1946. Dutch trans. as Inleiding tot de musiekpsychologie. Amsterdam: Noors-Hollandsche U.M., 1946. English trans. as Introduction to the Psychology of Music. Norman: University of Oklahoma, 1953.

Riemann, Hugo. (1919) [1849-1919] Wie hören wir Musik?: Grundlinien der Musik-Asthetik. Berlin: M. Hesse.

Schoen, Max (1927). The Effects of Music; A Series of Essays. New York: Harcourt, Brace.

Seashore, Carl Emil (1924) [1866-1949] A Survey of Musical Talent in the Public Schools, Representing the Examination of Children of the Fifth and the Eighth Grades in the Public Schools of Des Moines, Iowa, with the Author's Measures of Musical Talent. Iowa City: University of Iowa.

Seashore, Carl Emil [ed.] (1937) [1866-1949] Objective Analysis of Musical Performance. Iowa City: University of Iowa.

Seashore, Carl Emil (1938) [1866-1949] The Psychology of Music. New York.

Seashore, Carl Emil (1947) [1866-1949] In Search of Beauty in Music: A Scientific Approach to Musical Esthetics. New York.

Seashore, Carl Emil (1956) [1866-1949] Measures of Musical Talents Manual. New York: Psychological Corporation. Revised edition.

Shepard, Roger N. (1964). Circularity in judgments of relative pitch. Journal of the Acoustical Society of America, Vol. 36, pp. 2346-2353.

Shuter-Dyson, Rosamund. (1968). The Psychology of Musical Ability. London: Methuen.

Steblin, Rita (1996). A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries. Rochester, NY: University of Rochester Press.

Stephani, Hermann. (1956) [1877-1960] Zur Psychologie des musikalischen Hörens; hören wir naturrein, quintengestimmt, temperiert? Erfüllt sich der Sinn der Musiktonal, freitonal, atonal? Regensburg: G. Bosse.

Swisher, Walter Samuel. (1927) [1882- ] Psychology for the Music Teacher. Boston: Oliver Ditson Co.

Tenny, J. (1988). A History of 'Consonance' and 'Dissonance.' New York: Excelsior Music Publishing.

Teploy, Boris Mikhailovich (1966). Psychologie des aptitudes musicales, par B.M. Teplov. Traduit du russe par Jean Deprun. Paris: Presses universitaires de France.

Trotter, Thomas Henry Yorke (1924) [1854-1934] Music and Mind. London: Methuen & co., Ltd. New York: George H. Doran Co.

Truslit, A. (1938). Gestaltung und Bewegung in der Musik. Berlin.

Wallace, William (1914) [1860-1922] The Musical Faculty, Its Origins and Processes. London: Macmillan and Co.

Wallach, Michael A., & Greenberg, Carol. (1960). Personality Functions of Symbolic Sexual Arousal to Music. Washington: American Psychological Association. Psychological Monographs. General and Applied. Vol. 74, No. 7.

Washco, Alec, Jr. (1933). The Effects of Music Upon Pulse Rate, Blood-Pressure and Mental Imagery. Ed.D. Thesis, Temple University.

Watson, Karl Brantley (1942) [1911- ] The Nature and Measurement of Musical Meanings. Evanston, IL: The American Psychological Association. Psychological Monographs, Vol. 54, No. 2, whole no. 244. Condensation of PhD thesis, Duke niversity, 1939.

Weaver, Homer Ellsworth. (1943). Studies of Ocular Behavior in Music Reading. Evanston, IL: The American Psychological Association. (Psychological Monographs. General and Applied. Vol. 55, No. 1. Revision of PhD thesis, Stanford University (1930).)

Wellek, A. (1939). Typologie der Musikbegabung im deutschen Volke. Munich.

Winckel, F. (1967). Music, Sound and Senation: A Modern Exposition. New York: Dover.

Wing, Herbert Daniel (1971). Tests of Musical Ability and Appreciation; An Investigation into the Measurement, Distribution, and Development of Musical Capacity. Cambridge: Cambridge University Press, 1971.

Wolff, Ernst Georg (1934-1938) Grundlagen einer autonomen musikästhetik. Strassburg[etc.]: Heitz & co.

Wyatt, Ruth Fox (1945). Improvability of Pitch discrimination. Evanston, IL: American Psychological Association. Psychological Monographs, General and Applied, Vol. 58, No. 2.

Contemporary Literature

Butler, David M. (1973). An historical investigation and bibliography of nineteenth century music psychology literature. PhD Thesis, School of Music, Ohio State University.

Library of Congress, Music Division, Archive of Folk Song (1965). A brief list of material relating to the psychological and emotional effects of music.

Bharucha, J. & Krumhansl, C.L. (1983). The representation of harmonic structure in music: Hierarchies of stability as a function of context. Cognition, Vol. 13, pp. 63-102.

Bharucha, J. J. (1984). Anchoring effects in music: The resolution of dissonance. Cognitive Psychology, Vol. 16, pp. 485-518.

Bregman, A. S. (1990). Auditory scene analysis; The perceptual organization of sound. Cambridge, MA: M.I.T. Press

Brown, H. (1988). The interplay of set content and temporal context in a functional theory of tonality perception. Music Perception, Vol. 5, No. 3, pp. 219-250.

Butler, D. (1979). A further study of melodic channeling. Perception & Psychophysics, Vol. 25, pp. 264-268.

Butler, David & Brown, Helen. (1984). Tonal structure versus function: Studies in the recognition of harmonic motion. Music Perception, Vol. 1, pp. 6-24.

Cooper, G. & Meyer, L.B. (1960). The Rhythmic Structure of Music. Chicago: University of Chicago Press.

Deliege, I., & Sloboda, J. (eds.) (1996). Musical Beginnings: Origins and Development of Musical Competence. Oxford: Oxford University Press.

Desain, P. & Honing, H. (1992). Music, Mind and Machine: Studies in Computer Music, Music Cognition and Artificial Intelligence. Amsterdam: Thesis Publishers.

Dowling, W.J. & Harwood, D.L. (1986). Music Cognition. San Diego: Academic Press.

Edlund, B. (1985). Performance and Percetion of Notational Variants: A Study of Rhythmic Patterning in Music. Stockholm: Almqvist & Wiksell International.

Francés, R. (1958/1988). La perception de la musique. Translated by W.J. Dowling as The Perception of Music. Hillsdale, N.J.: Lawrence Erlbaum Associates, 1988.

Gabrielsson, A. (ed.) (1987). Action and Perception in Rhythm and Music. Stockholm: Royal Swedish Academy of Music.

Gordon, E.E. (1997). Learning Sequences in Music: Skill, Content, and Patterns. Chicago: GIA Publications.

Hargreaves, D.J. (1986). The Developmental Psychology of Music. Cambridge: Cambridge University Press.

Hodges, D.A. (ed.) (1996). Handbook of Music Psychology. 2nd edition. San Antonio, Texas: IMR Press, University of Texas, San Antonio.

Jourdain, R. (1997). Music, the Brain, and Ecstasy. William Morrow & Co.

Kameoka, A. & Kuriyagawa, M. (1969a). Consonance theory, part I: Consonance of dyads. Journal of the Acoustical Society of America, Vol. 45, No. 6, pp. 1451-1459.

Kameoka, A. & Kuriyagawa, M. (1969b). Consonance theory, part II: Consonance of complex tones and its computation method. Journal of the Acoustical Society of America, Vol. 45, No. 6, pp. 1460-1469.

Kemp, A.E. (1996). The Musical Temperament: Psychology and Personality of Musicians. Oxford: Oxford University Press.

Krumhansl, Carol L. (1979). The psychological representation of musical pitch in a tonal context. Cognitive Psychology, Vol. 11, pp. 346-374.

Krumhansl, Carol L. & Kessler, E.J. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review, Vol. 89, pp. 579-594.

Leman, M. (ed.) (1997). Music, Gestalt, and Computing: Studies in Cognitive and Systematic Musicology. Berlin: Springer-Verlag.

Lerdahl, F. (2001). Tonal Pitch Space. Oxford: Oxford University Press.

Lerdahl, F. & Jackendoff, R. (1983). A Generative Theory of Tonal Music. Cambridge, Massachusetts: MIT Press.

Levinson, J. (1997). Music in the Moment. Ithaca: Cornell University Press.

Longuet-Higgins, H.C. (1987). Mental Processes: Studies in Cognitive Science. Cambridge, Massachusetts: MIT Press.

Parncutt, Richard. (1989). Harmony: A Psychoacoustical Approach. Berlin: Springer-Verlag.

Parncutt, R. & McPherson, G.E. (2002). The Science and Psychology of Music Performance. Oxford: Oxford University Press.

Roederer, J.G. (1975). Introduction to the Physics and Psychophysics of Music. 2nd edition. Berlin: Springer-Verlag.

Sloboda, J. (ed.) (1988). Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition. Oxford: Oxford University Press.

Sloboda, J. (1985). The Musical Mind: The Cognitive Psychology of Music. Oxford: Oxford University Press.

Steinberg, R. (ed.) (1990). Music and the Mind Machine: The Psychophysiology and Psychopathology of the Sense of Music. Berlin: Springer-Verlag.

Snyder, B. (2000). Music and Memory: An Introduction. Cambridge, Massachusetts: MIT Press.

Storr, A. (1992). Music and the Mind. New York: The Free Press.

Sundberg, J. (ed.) (1987). Harmony and Tonality. Stockholm: Royal Swedish Academy of Music.

Temperley, D. (2001). The Cognition fo Basic Musical Structures. Cambridge, Massachusetts: MIT Press.

Tighe, T.J. & Dowling, W.J. (eds.) (1993). Psychology of Music: The Understanding of Melody and Rhythm. Hillsdale, NJ: Lawrence Erlbaum Associates.

Walker, R. (1990). Musical Beliefs: Psychoacoustic, Mythical, and Educational Perspectives. New York: Teachers College, Columbia University.

Wilson, F.R. & Roehmann, F.L. (eds.) (1990). Music and Child Development: The Biology of Music Making. Saint Louis: MMB Music.

Zbikowski, L.M. (2002). Conceptualizing Music: Cognitive Structure, Theory, and Analysis. Oxford: Oxford University Press.



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