Music Perception and Cognition

Readings

The complete citations for the readings associated with each lecture session are available in the bibliography listed below the table.

LEC #	TOPICS	READINGS
1	Course introduction Overviews: structure of music, music’s psychological and social functions	Levitin, Chapters 1-2.
2	Overview: auditory perception and the time sense	Rasch, R., and R. Plomp. “The Perception of Musical Tones.” Chapter 4 in Deutsch. Recommended Weinberger, N. M. “Music and the Auditory System.” In Deutsch. Handel, Chapter 12, “The Physiology of Listening.”
3	Overview of the auditory system
4	Pitch	De Cheveigne (2005) Cariani (1999) Recommended Cariani & Delgutte (1996); Cedolin & Delgutte (2005)
5	Pitch mechanisms and neurocomputational models	De Cheveigne (2005) Cariani (2001)
6	Central representation of pitch - problems and prospects	Cariani (1999) Bendor & Wang (2005)
7	Timbre	Risset, J. C., and D. L. Wessel. “Exploration of Timbre by Analysis and Synthesis.” Chapter 5 in Deutsch. Recommended Handel, Chapters 4-6, “Sound Generation by Musical Instruments,” “Sound Generation by Voice,” and “Commonalities: Physical and Perceptual.” (Parallels between musical timbre and phonetics.)
8	Consonance, dissonance, and roughness	Rasch, R., and R. Plomp. “The Perception of Musical Tones.” In Deutsch. Tramo, et al. (2001) Recommended - Source Papers Plomp & Levelt (1965)
9	Scales, tuning and harmony	Burns, E. M. “Intervals, Scales and Tuning.” Chapter 7 in Deutsch.
10	Melody	Handel, Chapter 10, “Grammars of Music and Language.” (Concentrate on sections pertaining to melody) Snyder, Chapter 11, “Melody.” Also look at Deutsch, “The Processing of Pitch Combinations.” Chapter 9 in Deutsch.
11	Harmony Tonal expectation (guest lecture/demonstration by Elizabeth Chew, MIT)
12	Music therapy: clinical applications of the neuropsychology of music (guest lecture by Dr. Kathleen Howland, Boston Conservatory and Wellesley MA Public Schools)
13	Music and the cerebral cortex (guest lecture by Dr. Daniel Bendor, MIT)	Bendor & Wang (2005, 2006) Janata, et al. (2002)
14	Absolute pitch, tone deafness, and cortical representation of music (guest lecture by Psyche Louie, Harvard Medical School)	Optional Ward, W. Dixon. “Absolute Pitch.” Chapter 8 in Deutsch.
15	Neurology of music and music-based therapies (guest lecture by Dr. Gottfried Schlaug, director of Music and Neuroimaging Laborabory at Harvard Medical School)	Tramo (2001) Peretz & Coltheart (2003) Bendor & Wang (2006) Janata, et al. (2002)
16	Rhythm, timing, and expectation	Handel, Chapter 11, “Rhythm.” Deutsch, D. “Grouping Mechanisms in Music.” Chapter 9 in Deutsch. Clark, E. F. “Rhythm and Timing in Music.” Chapter 13 in Deutsch. Optional Snyder, Chapters 3-5. Handel, Chapter 7, “Breaking the Acoustic Wave into Events: Stream Segregation.” Zanto, et al. (2006)
17	Emotion, meaning, expectation and reward	Brattico, et al. (2006) Koelsch, et al. (2004) Levitin, Chapter 4, on anticipation Meyer (1961) Blood & Zatorre (2001) on music & pleasure Huron’s Sweet Anticipation
18	Imaging studies of creativity and musical performance (guest lecture by Aaron Berkowitz, Harvard University)	Pressing (1998)
19	Formal theories of music cognition and language	Jackendoff & Lerdahl (2006) Bigand, Chapter 8 in McAdams and Bigand. Leonard Bernstein lectures Patel (2008)
20	Developmental psychology of music Guest lecture by Adena Schachner on beat synchronization in animals	Trehub (2003) Hannon & Johnson (2005) Animal Rhythm readings: Schachner (2009), Patel (2008), etc.
21	Music perception by cochlear implant users (Guest lecture by Ray Goldsworthy, Sensimetrics)
22	Evolutionary origins	Brown (2001) Fitch (2006)
23	Music and speech
24	Student final project presentations
25	Music and personality, music and multimodal interactions Audio-visual interactions	Rentfrow and Gosling
26	Wrap up and recapitulation

Course Textbooks

Required

Deutsch, D., ed. The Psychology of Music. 2nd ed. San Diego, CA: Academic Press, 1998. ISBN: 9780122135651.

Handel, S. Listening: An Introduction to the Perception of Auditory Events. Cambridge, MA: MIT Press, 1989. ISBN: 9780262081795.

Levitin, D. This Is Your Brain On Music. New York, NY: Dutton Adult/Penguin, 2006. ISBN: 9780525949695.

Snyder, B. Music and Memory. Cambridge, MA: MIT Press, 2001. ISBN: 9780262194419.

Recommended

Aello, R., ed. Musical Perceptions. New York, NY: Oxford University Press, 1994. ISBN: 9780195064759.

McAdams, S., and E. Bigand. Thinking in Sound: The Cognitive Psychology of Human Audition. New York, NY: Oxford University Press, 1993. ISBN: 9780198522584.

Moore, B. C. J. An Introduction to the Psychology of Hearing. 5th ed. San Diego, CA: Academic Press, 2003. ISBN: 9780125056281.

Additional Readings

Table of Contents

• General sources
• Pitch
• Timbre
• Consonance
• Scales and Tunings
• Tonality and Harmony
• Melody
• Rhythm and Time Perception
• Animal Rhythm
• Temporal Models
• Auditory Grouping
• Music and the Cortex
• Music and Speech Perception
• Music, Language, and Cognition
• Emotion, Meaning, and Expectation
• Evolutionary Perspectives
• Development
• Music and Personality
• Musical Performance

General Sources

Auditory Demonstrations (CD), Acoustical Society of America, 1989.

Christensen, Thomas ed. Cambridge Handbook of the History of Western Music Theory. Cambridge, MA: Cambridge University Press, 2002. ISBN: 9780521623711.

Seashore, Carl E. Psychology of Music. New York, NY: McGraw-Hill, 1938.

Zatorre, Robert J. The Biological Foundations of Music. Vol. 930. New York, NY: New York Academy of Sciences, 2001. ISBN: 9781573313070.

Pitch

Bendor, D., and X. Wang. “The Neuronal Representation of Pitch in Primate Auditory Cortex.” Nature 436 (August 25, 2005): 1161-1165. doi:10.1038/nature03867.

———. “Cortical Representations of Pitch in Monkeys and Humans.” Current Opinion in Neurobiology 16, no. 4 (2006): 391-399.

Burns, Edward M. “Intervals, Scales, and Tuning.” In Deutsch. [course text]

Cariani, P. “Temporal Coding of Periodicity Pitch in the Auditory System: An Overview.” Neural Plast 6, no. 4 (1999): 147-72.

Cariani, Peter A., and Bertrand Delgutte. “Neural Correlates of the Pitch of Complex Tones. I. Pitch and Pitch Salience. II. Pitch Shift, Pitch Ambiguity, Phase-invariance, Pitch Circularity, and the Dominance Region for Pitch.” J Neurophysiology 76, no. 3 (1996): 1698-1734.

Cedolin, L., and B. Delgutte. “Pitch of Complex Tones: Rate-Place and Interspike Interval Representations in the Auditory Nerve.” J Neurophysiol 94 (2005): 347-362.

de Boer, E. “On the ‘Residue’ and Auditory Pitch Perception.” In Auditory System (Handbook of Sensory Physiology). Vol. 5, no. 3. Edited by W. D. Keidel, and W. D. Neff. Berlin, Germany: Springer Verlag, 1974-1976, pp. 479-583. ISBN: 9780387066769.

de Cheveigné, Alain. “Pitch Perception Models.” In Pitch: Neural Coding and Perception. Edited by C. J. Plack, et al. New York, NY: Springer Science - Business Media, 2005. ISBN: 9780387234724.

Goldstein, J. L. “An Optimum Processor Theory for the Central Formation of the Pitch of Complex Tones.” J Acoust Soc Am 54, no. 6 (1973): 1496-1516.

Louie, P., et al. “A Generalized Mechanism for Perception of Pitch Patterns.” The Journal of Neuroscience 29, no. 2 (January 14, 2009): 454- 459.

Lyon, Richard, and Shihab Shamma. “Auditory Representations of Timbre and Pitch.” In Auditory Computation. Edited by R. R. Fay. New York, NY: Springer Verlag, 1995. ISBN: 9780387978437.

Meddis, R., and M. J. Hewitt. “Virtual Pitch and Phase Sensitivity of a Computer Model of the Auditory Periphery. I. Pitch Identification.” J Acoust Soc Am 89, no. 6 (1991): 2866-2882.

———. “Virtual Pitch and Phase Sensitivity of a Computer Model of the Auditory Periphery. II. Phase Sensitivity.” J Acoust Soc Am 89, no. 6 (1991): 2883-2894.

Moore, B. C. J. An Introduction to the Psychology of Hearing. 5th ed. San Diego, CA: Academic Press, 2003. ISBN: 9780125056281. [course text]

Schwarz, D. W. F., and R. W. W. Tomlinson. “Spectral Response Patterns of Auditory Cortical Neurons to Harmonic Complex Tones in Alert Monkey (Macaca Mulatta).” Journal of Neurophysiology 64 (1990): 282-298.

Slaney, Malcolm, and Richard F. Lyon. “On the Importance of Time - A Temporal Representation of Sound.” In Visual Representations of Speech Signals. Edited by M. Crawford. New York, NY: John Wiley, 1993. ISBN: 9780471935377.

Terhardt, E. “Pitch, Consonance, and Harmony.” J Acoust Soc Am 55 (May 1974): 1061-1069.

Terhardt, Ernst, Gerhard Stoll, and Manfred Seewann. “Pitch of Complex Signals according to Virtual-Pitch Theory: Test, Examples, and Predictions.” J Acoust Soc Am 71, no. 3 (1982): 671-678.

Wightman, F. L., and D. M. Green. “The Perception of Pitch.” American Scientist 62 (1974): 208-215.

Timbre

Handel, chapter 8 “Identification of Speakers, Instruments, and Environmental Events,” and chapter 10 “Grammars of Music and Language.” [course text]

Risset, Jean-Claude. “Musical Acoustics.” In Hearing: Handbook of Perception. Vol. IV. Edited by B. C. Carterette and M. P. Friedman. New York, NY: Academic Press, 1978. ISBN: 9780121619046.

Consonance

Cariani, P. “A Temporal Model for Pitch Multiplicity and Tonal Consonance.” In Proceedings of the 8th International Converence on Music Perception and Cognition (ICMPC), Evanston IL, 2004. Adelaide, Australia: Causal Productions, 2004.

DeWitt, Lucinda A., and Robert G. Crowder. “Tonal Fusion of Consonant Musical Intervals: The Oomph in Stumpf.” Perception and Psychophysics 41, no. 1 (1987): 73-84.

Kameoka, A., and M. Kuriyagawa. “Consonance Theory I. Consonance of Dyads.” J Acoust Soc Am 45 (1969): 1451-1459.

———. “Consonance Theory II. Consonance of Complex Tones and Its Calculation Method.” J Acoust Soc Am 45 (1969): 1460-1469.

Plomp, Reinier. Aspects of Tone Sensation. London, UK: Academic Press, 1977. ISBN: 9780125583503.

Plomp, R., and W. J. M. Levelt. “Tonal Consonance and Critical Bandwidth.” J Acoust Soc Am 38 (1965): 548-560.

Rasch, R., and R. Plomp. “The Perception of Musical Tones.” Chapter 4 in Deutsch. [course text]

Sethares, William. Tuning, Timbre, Spectrum, Scale. 2nd ed. London, UK: Springer, 2005. ISBN: 9781852337971.

Stumpf, C. Tonpsychologie. Vols. I and II. Leipzig: S. Hirzel, 1883/1890.

Terhardt, E. “Pitch, Consonance, and Harmony.” J Acoust Soc Am 55 (May 1974): 1061-1069.

Tramo, M. J., P. A. Cariani, B. Delgutte, and L. D. Braida. “Neurobiological Foundations for the Theory of Harmony in Western Tonal Music.” Ann N Y Acad Sci 930 (2001): 92-116.

von Helmholtz, Hermann. On The Sensations of Tone as a Physiological Basis for The Theory of Music. Mineola, NY: Dover, 1895. (Reprint 1954). ISBN: 9780486607535.

Scales and Tunings

Brattico, E., et al. “Musical Scale Properties are Automatically Processed in the Human Auditory Cortex.” Brain Research 1117 (2006): 162-174.

Sethares, William. Tuning, Timbre, Spectrum, Scale. 2nd ed. London, UK: Springer, 2005. ISBN: 9781852337971.

Tonality and Harmony

Bharucha, Jamshed J. “Neural Nets, Temporal Composites, and Tonality.” Chapter 11 in Deutsch. [course text]

Bharucha, Jamshed J., and Peter M. Todd. “Modeling the Perception of Tonal Structure with Neural Nets.” In Music and Connectionism. Edited by P. M. Todd, and G. Loy. Cambridge, MA: MIT Press, 1991. ISBN: 9780262200813.

Bharucha, J. J., and K. Stoeckig. “Reaction Time and Musical Expectancy: Priming of Chords.” J Exp Psychol (Human Perception and Performance) 12 (1986): 403-410.

Handel, S. Listening: An Introduction to the Perception of Auditory Events. Cambridge, MA: MIT Press, 1993. ISBN: 9780262581271. [course text]

Janata, P., J. L. Birk, J. D. Van Horn, M. Leman, B. Tillmann, and J. J. Bharucha. “The Cortical Topography of Tonal Structures Underlying Western Music.” Science 298, no. 5601 (2002): 2167-70.

Krumhansl, Carol L. Cognitive Foundations of Musical Pitch. New York, NY: Oxford University Press, 1990. ISBN: 9780195054750.

Piston, W. Harmony. 5th ed. New York, NY: W.W. Norton & Company, 1987. ISBN: 9780393954807.

Rameau, J. P. Treatise on Harmony. Translated by P. Gossett. Mineola, NY: Dover, 1722. (Reprint 1971). ISBN: 9780486224619.

Thomson, W. “Deductions Concerning Inductions of Tonality.” Music Perception 19, no. 1 (Fall 2001): 127-138.

Tillman, B., J. J. Bharucha, and Emmanuel Bigand. “Implicit Learning of Tonality: A Self-organizing Approach.” Psychological Review 107, no. 4 (2000): 885-913.

Melody

Deutsch, Diana. “Grouping Mechanisms in Music.” Chapter 9 in Deutsch. [course text]

Handel, S. Listening: An Introduction to the Perception of Auditory Events. Cambridge, MA: MIT Press, 1993. ISBN: 9780262581271. [course text]

Rhythm and Time Perception

Chen, J. L., R. J. Zatorre, and V. B. Penhune. “Interactions Between Auditory and Dorsal Premotor Cortex During Synchronization to Musical Rhythms.” Neuroimage 32 (2006): 1771-1781. (PDF)

Clynes, M., and J. Walker. “Neurobiologic Functions, Rhythm, Time, and Pulse in Music.” In Music, Mind, and Brain: the Neuropsychology of Music. Edited by M. Clynes. New York, NY: Springer, 1982. ISBN: 9780306409080.

Clynes, Manfred. “When Time is Music.” In Rhythm in Psychological, Linguistic, and Musical Processes. Edited by M. Clynes. Springfield, IL: Charles C. Thomas, 1986. ISBN: 9780398052355.

Clarke, E. F. “Rhythm and Timing in Music.” Chapter 13 in Deutsch.

Essens, Peter J., and Dirk-Jan Povel. “Metrical and Nonmetrical Representations of Temporal Patterns.” Perception and Psychophysics 37, no. 1 (1985): 1-7.

Fraisse, Paul. The Psychology of Time. Translated by Jennifer Leith. New York, NY: Harper and Row, 1976. ISBN: 9780837185569.

———. “Time and Rhythm Perception.” In Handbook of Perception. Volume VIII: Perceptual Coding. Edited by E. C. Carterette, and M. P. Friedman. New York, NY: Academic Press, 1979. ISBN: 9780121619084.

Janata, P., and S. T. Grafton. “Swinging in the Brain: Shared Neural Substrates for Behaviors Related to Sequencing and Music.” Nature Neuroscience 6, no. 7 (July 2003): 682-687.

Jones, Mari Riess. “Time, Our Lost Dimension: Toward a New Theory of Perception, Attention, and Memory.” Psychological Review 83, no. 5 (1976): 323-255.

———. “Perspectives on Musical Time.” In Action and Perception in Rhythm and Music. Edited by A. Gabrielsson. Stockholm, Sweden: Royal Swedish Academy of Music, 1987.

Jones, Mari Riess, and William Yee. “Attending to Auditory Events: The Role of Temporal Organization.” In Adams and Bigand. [course text]

Large, Edward. “Periodicity, Pattern Formation, and Rhythmic Structure.” J New Music Research 30, no. 2 (2001).

Snyder, J. S., and E. W. Large. “Gamma-band Activity Reflects the Metric Structure of Rhythmic Tone Sequences.” Cognitive Brain Research 24 (2005): 117-126.

Zanto, T. P., et al. “Neural Correlates of Rhythmic Expectancy.” Advances in Cognitive Psychology 2, nos. 2-3 (2006): 221-231.

Animal Rhythm

Schachner, A., et al. “Spontaneous Motor Entrainment to Music in Multiple Vocal Mimicking Species.” Current Biology 19, no. 10 (May 26, 2009): 1-6. DOI: 10.1016/j.cub.2009.03.061. Also see published supplemental data and results.

Patel, A. D., et al. “Investigating the Human-specificity of Synchronization to Music.” In Proceedings of the 10th Intl. Conf. on Music Perception and Cognition_._ August 2008, Sapporo, Japan. Edited by M. Adachi, et al. Adelaide, Australia: Causal Productions, 2008. (PDF)

Wikipedia: Snowball (Cockatoo)

Viegas, Jennifer. “IN DEPTH: Got Rhythm? Animals Do Too.” Discovery Channel News.

Temporal Models

Cariani, Peter. “Temporal Codes, Timing Nets, and Music Perception.” J New Music Res 30, no. 2 (2002): 107-136.

Leman, Marc. “An Auditory Model of the Role of Short-term Memory in Probe-tone Ratings.” Music Perception 17, no. 4 (2000): 481-510.

Auditory Grouping

Bregman, Albert S. Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge, MA: MIT Press, 1994. ISBN: 9780262521956.

Snyder, B. Music and Memory. Cambridge, MA: MIT Press, 2001. ISBN: 9780262194419. [course text]

Stumpf, C. Tonpsychologie. Vols. I and II. Leipzig: S. Hirzel, 1883/1890.

Darwin, C. J., and R. P. Carlyon. “Auditory Grouping.” In Handbook of Perception and Cognition: Hearing. Edited by B. C. J. Moore. New York, NY: Academic Press, 1995.

Deutsch, Diana. “The Processing of Pitch Combinations.” Chapter 10 in Deutsch. [course text]

Leman, Marc, ed. Music, Gestalt, and Computing. Proceedings of Joint International Conference on Cognitive and Systematic Musicology (Bruges, Belgium 1996.) New York, NY: Springer, 1997. ISBN: 9783540635260.

Music and the Cortex

Bhattacharya, J., et al. “Long-Range Synchrony in the γ Band: Role in Music Perception.” The Journal of Neuroscience 21, no. 16 (August 15, 2001): 6329-6337.

Brattico, E., et al. “Musical Scale Properties are Automatically Processed in the Human Auditory Cortex.” Brain Research 1117 (2006): 162-174.

Janata, P., J. L. Birk, J. D. Van Horn, M. Leman, B. Tillmann, and J. J. Bharucha. “The Cortical Topography of Tonal Structures Underlying Western Music.” Science 298, no. 5601 (2002): 2167-70.

Peretz, I., and M. Coltheart. “Modularity of Music Processing.” Nature Neuroscience 6, no. 7 (July 2003): 688-691.

Samson, S., and R. J. Zatorre. “Contribution of the Right Temporal Lobe to Musical Timbre Discrimination.” Neuropsychologia 32, no. 2 (1994): 231-240.

Tramo, Mark Jude. “Music of the Hemispheres.” Science 291 (2001): 54-56.

Tramo, Mark Jude, Gaurav D. Shah, and Louis D. Braida. “The Functional Role of Auditory Cortex in Frequency Processing and Pitch Perception.” J Neurophysiol 87 (2002): 122-139.

Zatorre, R. J., A. C. Evans, and E. Meyer. “Neural Mechanisms underlying Melodic Perception and Memory for Pitch.” The Journal of Neuroscience 14, no. 4 (1994): 1908-1919.

Music and Speech Perception

Handel, S. Listening: An Introduction to the Perception of Auditory Events. Cambridge, MA: MIT Press, 1993. ISBN: 9780262581271.

Moore B. C. J. An Introduction to the Psychology of Hearing. 5th ed. San Diego, CA: Academic Press, 2003. ISBN: 9780125056281.

Patel, A. D., I. Peretz, M. J. Tramo, and R. Labreque. “Processing Prosodic and Musical Patterns: A Neuropsychological Investigation.” Brain and Language 61 (1998): 123-144.

Music, Language, and Cognition

Bernstein, Leonard. The Unanswered Question. Norton Lectures, 1974. Cambridge, MA: Harvard University Press, 2006. ISBN: 9780674920019. [Also available in video and audio formats.]

Lerdahl, F. Tonal Pitch Space. New York, NY: Oxford University Press, 2001. ISBN: 9780195058345.

Lerdahl, F., and R. Jackendoff. A Generative Theory of Tonal Music. Cambridge, MA: MIT Press, 1996. ISBN: 9780262621076.

———. “The Capacity for Music: What is it, and What’s Special About it?” Cognition 100 (2006): 33-72.

Bigand, E. “Contributions of Music to Research on Human Auditory Cognition.” Chapter 8 in McAdams and Bigand. [course text]

Emotion, Meaning, and Expectation

Blood, A. J., and Zatorre, R. J. “Intensely Pleasurable Responses to Music Correlate with Activity in Brain Regions Implicated with Reward and Emotion.” Proceedings of the National Academy of Sciences 98 (2001): 11818-11823 (PDF)

Koelsch, S., et al. “Music, Language and Meaning: Brain Signatures of Semantic Processing.” Nature Neuroscience 7, no. 3 (March 2004): 302-307.

Huron, David. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press, 2006. ISBN: 9780262083454.

Meyer, Leonard B. Emotion and Meaning in Music. University of Chicago, IL: Chicago, 1961. ISBN: 9780226521398.

Evolutionary Perspectives

Brown, Steven. “The ‘Musilanguage’ Model of Music Evolution.” In Origins of Music. Edited by N. L. Wallin, B. Merker, and S. Brown. Cambridge, MA: MIT Press, 2001. ISBN: 9780262731430.

Fitch, W. T. “The Biology and Evolution of Music: A Comparative Perspective.” Cognition 100 (2006): 173-215.

Hauser, M. D. The Evolution of Communication. Cambridge, MA: MIT Press, 1997. ISBN: 9780262581554.

Hauser, M. D., and J. McDermott. “The Evolution of the Music Faculty: A Comparative Perspective.” Nature Neuroscience 6, no. 7 (July 2003): 663-668.

Development

Hannon, E. E., and S. P. Johnson. “Infants Use Meter to Categorize Rhythms and Melodies: Implications for Musical Structure Learning.” Cognitive Psychology 50 (2005): 354-377.

Hannon, E. E., and S. E. Trehub. “Tuning in to Musical Rhythms: Infants Learn More Readily than Adults.” PNAS 102, no. 35 (August 30, 2005): 12639-12643.

Phillips-Silver, J., and L. J. Trainor. “Feeling the Beat: Movement Influences Infant Rhythm Perception.” Science 308 (June 3, 2005): 1430.

Trainor, L. J. “Are There Critical Periods for Musical Development?” Developmental Psychology 46, no. 3 (2005): 262-278.

Trainor, L. J., and S. E. Trehub. “A Comparison on Infants’ and Adults’ Sensitivity to Western Musical Structure.” Journal of Experimental Psychology: Human Perception and Performance 18, no. 2 (1992): 394-402.

Trehub, S. E. “Infants’ Perception of Musical Patterns.” Perception and Psychophysics 41, no. 4 (1987): 635-641.

———. “The Developmental Origins of Musicality.” Nature Neuroscience 6, no. 7 (July 2003): 669-673.

Trehub, S. E., and E. E. Hannon. “Infant Music Perception: Domain-general or Domain-specific Mechanisms?” Cognition 100 (2006): 73-99.

Music and Personality

Rentfrow, P. J., and S. D. Gosling. “The Do Re Mi’s of Everyday Life: The Structure and Personality Correlates of Music Preferences.” Journal of Personality and Social Psychology 84 no. 6 (2003): 1236-1256.

Musical Performance

Clarke, Eric F. “Generativity, Mimesis and the Human Body in Music Performance.” Contemporary Music Review 9, parts 1 and 2 (1993): 207-219.

Pressing, J. “Psychological Constraints on Improvisational Expertise and Communication.” Chapter 2 in The Course of Performance: Studies in the World of Musical Improvisation. Edited by B. Nettl, and M. Russell. Chicago, IL: University of Chicago Press, 1998, pp. 47-67. ISBN: 9780226574110.