In the following list of references you’ll find details of the original work published by psychologists, sociologists, musicologists, and many other -ologists of various persuasions, which I used as source material for this book. If any of the researchers involved find that I’ve quoted their work incorrectly, or without acknowledging them, please accept my profuse apologies and contact me ASAP so I can correct the error in future editions.
1. Peter J. Rentfrow and Jennifer A. McDonald, “Preference, Personality and Emotion,” chap. 24 of Handbook of Music and Emotion: Theory, Research, Applications, ed. P. N. Juslin and J. A. Sloboda (Oxford University Press, 2010), sec. 24.2.
2. See reference 1, section 24.3.2.
3. P. J. Rentfrow 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 (2003): 1236–56.
4. Adrian North and David Hargreaves, “Musical Preference and Taste,” chap. 3 of The Social and Applied Psychology of Music (Oxford University Press, 2008).
5. M. B. Holbrook and R. M. Schindler, “Age, Sex and Attitude towards the Past as Predictors of Consumers’ Aesthetic Tastes for Cultural Products,” Journal of Marketing Research 31 (1994): 412–422. See also M. B. Holbrook, “An Empirical Approach to Representing Patterns of Consumer Tastes, Nostalgia, and Hierarchy in the Market for Cultural Products,” Empirical Studies of the Arts 13 (1995): 55–71. And M. B. Holbrook and R. M. Schindler, “Commentary on ‘Is There a Peak in Popular Music Preference at a Certain Song-Specific Age? A Replication of Holbrook and Schindler’s 1989 Study,’” Musicae Scientiae 17, no. 3 (2013): 305–308.
6. A. C. North, D. J. Hargreaves, and S. A. O’Neill, “The Importance of Music to Adolescents,” British Journal of Educational Psychology 70, no. 2 (June 2000): 255–272.
7. Carl Wilson, Let’s Talk about Love: A Journey to the End of Taste (Bloomsbury, 2007), p. 91.
8. North and Hargreaves, “Musical Preference and Taste” (see reference 4).
9. Vladimir Konecni and Dianne Sargent-Pollock, “Choice between Melodies Differing in Complexity under Divided-Attention Conditions,” Journal of Experimental Psychology: Human Perception and Performance 2 (1976): 347–356.
10. R. G. Heyduk, “Rated Preference for Musical Composition as It Relates to Complexity and Exposure Frequency,” Perception and Psychophysics 17 (1975): 84–91; See also North and Hargreaves, “Musical Preference and Taste” (see reference 4).
11. A. N. North and D. Hargreaves, “Responses to Music in Aerobic Exercise and Yogic Relaxation Classes,” British Journal of Psychology 87, no. 4 (1996): 535–547.
12. Adrian North, David Hargreaves, and Jennifer McKendrick, “The Influence of In-Store Music on Wine Selections,” Journal of Applied Psychology 84, no. 2 (1999): 271–276. See also Adrian North and David Hargreaves, “Music, Business, and Health,” chap. 5 of The Social and Applied Psychology of Music (Oxford University Press 2008).
13. Charles Areni and David Kim, “The Influence of Background Music on Shopping Behaviour: Classical versus Top Forty Music in a Wine Store,” Advances in Consumer Research 20 (1993): 336–340.
14. Adrian North, “Wine and Song: The Effect of Background Music on the Taste of Wine,” British Journal of Psychology 103, no. 3 (August 2012): 293–301.
15. Peter Stone and Susan Hickey, “Sound Matters,” documentary on Irish radio station RTE, broadcast December 10, 2011.
16. Ronald Milliman, “Using Background Music to Affect the Behavior of Supermarket Shoppers,” Journal of Marketing 46 (1982): 86–91.
17. Ronald Milliman, “The Influence of Background Music on the Behavior of Restaurant Patrons,” Journal of Consumer Research 133 (1986): 286–289.
18. Clare Caldwell and Sally Hibbert, “The Influence of Music Tempo and Musical Preference on Restaurant Patrons’ Behavior,” Psychology and Marketing 19 (2002): 895–917.
19. T. C. Robally, C. McGreevy, R. R. Rongo, M. L. Schwantes, P. J. Steger, M. A. Wininger, and E. B. Gardner, “The Effect of Music on Eating Behavior,” Bulletin of the Psychonomic Society 23 (1985): 221–222.
20. North and Hargreaves, “Music, Business, and Health” (see reference 12). See also Adrian North and David Hargreaves, “The Effect of Music on Atmosphere and Purchase Intentions in a Cafeteria,” Journal of Applied Social Psychology 28 (1998): 2254–73.
21. North and Hargreaves, “Music, Business, and Health” (see reference 12), p. 290.
1. V. Stratton and A. H. Zalanowski, “Affective Impact of Music vs. Lyrics,” Empirical Studies of the Arts 12 (1994): 129–140.
2. Vladimir Konecni, “Elusive Effects of Artists’ ‘Messages,’” in Cognitive Processes in the Perception of Art, ed. W. R. Crosier and A. J. Chapman (Elsevier, 1984), pp. 71–93.
3. J. Leming, “Rock Music and the Socialisation of Moral Values in Early Adolescence,” Youth and Society 18 (June 1987): 363–383.
4. William Drabkin, notes to mini-score, Beethoven Symphony no. 6, Eulenburg ed., no. 407 (Eulenburg 2011), p. 8.
5. Eric F. Clarke, “Jimi Hendrix’s ‘Star Spangled Banner,’” chap. 2 of Ways of Listening: An Ecological Approach to the Perception of Musical Meaning (Oxford University Press, 2005).
6. Jostein Gaarder, Sophie’s World: A Novel about the History of Philosophy (1991; Orion, 2000).
7. Adrian North and David Hargreaves, The Social and Applied Psychology of Music (Oxford University Press, 2008), p. 79.
8. Philip Ball, The Music Instinct: How Music Works and Why We Can’t Do Without It (Bodley Head, 2010), p. 241.
1. N. H. Frijda, “The Laws of Emotion,” American Psychologist 43, no. 5 (May 1988): 349–358.
2. Patrik Juslin and John Sloboda, “Music and Emotion,” chap. 15 of The Psychology of Music, 3rd ed., ed. Diana Deutsch (Academic Press, 2013).
3. Robert Plutchik, Emotions and Life: Perspectives from Psychology, Biology, and Evolution (American Psychological Association, 2003).
4. Deryck Cooke, The Language of Music (Oxford University Press, 1959), p. 115.
5. See reference 4, p. 55.
6. W. F. Thomson and B. Robitaille, “Can Composers Express Emotions through Music?” Empirical Studies of the Arts 10 (1992): 79–89.
7. P. N. Juslin, S. Liljestrom, P. Laukka, D. Vastfjall, and L.-O. Lundqvist, “Emotional Reactions to Music in a Nationally Representative Sample of Swedish Adults: Prevalence and Causal Influences,” Musicae Scientiae 15 (July 2011): 174–207.
8. L.-O. Lundqvist, F. Carlsson, P. Hilmersson, and P. N. Juslin, “Emotional Responses to Music: Experience, Expression and Physiology,” Psychology of Music 37 (2009): 61–90.
9. Juslin and Sloboda, “Music and Emotion” (see reference 2).
10. Lars Kuchinke, Herman Kappelhoff, and Stefan Koelsch, “Emotion in Narrative Films: A Neuroscientific Perspective,” chap. 6 of The Psychology of Music in Multimedia, ed. Siu-Lan Tan, Annabel Cohen, Scott Lipscombe, and Roger Kendall (Oxford University Press, 2013).
11. Anne Blood and Robert Zatorre, “Intensely Pleasurable Responses to Music Correlate with Activity in Brain Regions Implicated in Reward and Emotion,” Proceedings of the National Academy of Sciences 98 (September 2001): 11818–23.
12. Stefan Koelsch, T. Fritz, D. Y. von Cramon, K. Muller, and A. D. Friederici, “Investigating Emotion with Music: An FMRI Study,” Human Brain Mapping 27 (2006): 239–250.
13. Juslin and Sloboda, “Music and Emotion” (see reference 2).
14. Juslin and Sloboda, “Music and Emotion” (see reference 2).
15. P. N. Juslin, S. Liljestrom, D. Vastfjall, G. Barradas, and A. Silva, “An Experience Sampling Study of Emotional Reactions to Music: Listener, Music and Situation,” Emotion 8 (2008): 668–683.
16. William Forde Thompson, Music, Thought, and Feeling: Understanding the Psychology of Music, 2nd ed. (Oxford University Press, 2015), p. 179.
17. John Sloboda, Exploring the Musical Mind: Cognition, Emotion, Ability, Function (Oxford University Press, 2004), pp. 319–331.
18. John Sloboda, “Music in Everyday Life: The Role of Emotions,” chap. 18 of Handbook of Music and Emotion: Theory, Research, Applications, ed. Patrik Juslin and John Sloboda (Oxford University Press, 2010).
19. E. Bigand, S. Filipic, and P. Lalitte, “The Time Course of Emotional Response to Music,” Annals of the New York Academy of Science 1060 (2005): 429–437.
20. Sloboda, “Music in Everyday Life: The Role of Emotions” (see reference 18), p. 495.
21. J. H. McDermott and M. D. Hauser, “Nonhuman Primates Prefer Slow Tempos but Dislike Music Overall,” Cognition 104 (2007): 654–668.
22. Aniruddh Patel and Steven Demorest, “Comparative Music Cognition: Cross-Species and Cross-Cultural Studies,” chap. 16 of Deutsch, The Psychology of Music (see reference 2).
23. K. E. Gfeller, “Musical Components and Styles Preferred by Young Adults for Aerobic Fitness Activities,” Journal of Music Therapy 25 (1988): 28–43. See also Suzanne B. Hanser: “Music, Health and Well-Being,” chap. 30 of Juslin and Sloboda, Handbook of Music and Emotion (see reference 18).
24. Sloboda, “Music in Everyday Life” (see reference 18), p. 508. See also John Sloboda, A. M. Lamont, and A. E. Greasley, “Choosing to Hear Music: Motivation, Process and Effect,” in The Oxford Handbook of Music Psychology, ed. Susan Hallam, Ian Cross, and Michael Thaut (Oxford University Press, 2009), pp. 431–440.
25. Elizabeth Margulis, “Attention, Temporality, and Music That Repeats Itself,” chap. 3 of On Repeat: How Music Plays the Mind (Oxford University Press, 2014).
26. T. Shenfield, S. E. Trehub, and T. Nakota, “Maternal Singing Modulates Infant Arousal,” Psychology of Music 31 (2003): 365–375.
27. J. M. Standley, “The Effect of Music-Reinforced Non-nutritive Sucking on Feeding Rate of Premature Infants,” Journal of Paediatric Nursing 18, no. 3 (June 2003): 169–173.
28. Juslin and Sloboda, “Music and Emotion” (see reference 2).
29. John A. Sloboda, The Musical Mind: The Cognitive Psychology of Music (Oxford University Press, 1985), p. 213.
30. S. Dalla Bella, I. Peretz, L. Rousseau, and N. Gosselin, “A Developmental Study of the Affective Value of Tempo and Mode in Music,” Cognition 80 (2001): B1–B10.
31. D. Huron and M. J. Davis, “The Harmonic Minor Scale Provides an Optimum Way of Reducing Average Melodic Interval Size, Consistent with Sad Affect Cues,” Empirical Musicology Review 7, no. 3–4 (2012): 103–117.
32. Patrik Juslin and Petri Laukka, “Communication of Emotions in Vocal Expression and Music Performance: Different Channels, Same Code?” Psychological Bulletin 129, no. 5 (2003): 770–814. See also Aniruddh Patel, Music, Language, and the Brain (Oxford University Press, 2010). And E. Coutinho and N. Dibben, “Psychoacoustic Cues to Emotion in Speech Prosody and Music,” Cognition and Emotion (2012), DOI:10.1080/02699931.2012.732559.
33. Dwight Bolinger, Intonation and Its Parts: Melody in Spoken English (Stanford University Press, 1986).
34. Thompson, Music, Thought, and Feeling (see reference 16), p. 315.
35. David Huron, “The Melodic Arch in Western Folksongs,” Computing in Musicology 10 (1996): 3–23.
36. Diana Deutsch, “The Processing of Pitch Combinations,” chap. 7 of Deutsch, The Psychology of Music (see reference 2).
37. Patel, Music, Language, and the Brain (see reference 32).
38. G. Ilie and W. F. Thompson, “A Comparison of Acoustic Cues in Music and Speech for Three Dimensions of Affect,” Music Perception 23 (2006): 310–329.
39. Eric Clarke, Nicola Dibben, and Stephanie Pitts, Music and Mind in Everyday Life (Oxford University Press, 2010), pp. 18–19.
40. Deutsch, “The Processing of Pitch Combinations” (see reference 36).
41. Juslin and Sloboda, “Music and Emotion” (see reference 2). See also Patrik N. Juslin, Simon Liljestrom, Daniel Västfjäll, and Lars-Olov Lundqvist, “How Does Music Evoke Emotions? Exploring the Underlying Mechanisms,” chap. 22 of Juslin and Sloboda, Handbook of Music and Emotion.
1. Elizabeth Helmuth Margulis, On Repeat: How Music Plays the Mind (Oxford University Press, 2014), pp. 15–16.
2. Peter Kivy, The Fine Art of Repetition: Essays in the Philosophy of Music (Cambridge University Press, 1993), p. 356.
3. Margulis, On Repeat (see reference 1), p. 15.
4. J. S. Horst, K. L. Parsons, and N. M. Bryan, “Get the Story Straight: Contextual Repetition Promotes Word Learning from Storybooks,” Frontiers in Psychology 2, no. 17, DOI:10.3389/fpsyg.2011.00017.
5. D. Deutsch, T. Henthorn, and R. Lapidis, “Illusory Transformation from Speech to Song,” Journal of the Acoustical Society of America 129, no. 4 (April 2011): 2245–52.
6. R. Brochard, D. Abecasis, D. Potter, R. Ragot, and C. Drake, “The ‘Ticktock’ of Our Internal Clock: Direct Brain Evidence of Subjective Accents in Isochronous Sequences,” Psychological Science 14, no. 4 (July 2003): 362–366. See also David Huron, “Expectation in Time,” chap. 10 of Sweet Anticipation: Music and the Psychology of Expectation (MIT Press, 2006).
7. Robert B. Zajonc, “Attitudinal Effects of Mere Exposure,” Journal of Personality and Social Psychology, monograph suppl. 9 no. 2, pt. 2 (June 1968): 1–27.
8. David Huron, “Surprise,” chap. 2 of Sweet Anticipation: Music and the Psychology of Expectation (MIT Press, 2006).
9. Huron, “Surprise” (see reference 8), p. 38.
10. C. He, L. Hotson, and L. J. Trainor, “Development of Infant Mismatch Responses to Auditory Pattern Changes between 2 and 4 Months Old,” European Journal of Neuroscience 29, no. 4 (February 2009): 861–867. See also Laurel J. Trainor and Robert Zatorre, “The Neurobiological Basis of Musical Expectations,” chap. 16 of The Oxford Handbook of Music Psychology, ed. Susan Hallam, Ian Cross, and Michael Thaut (Oxford University Press, 2009), pp. 431–440.
11. Huron, “Surprise” (see reference 8).
12. John Sloboda, “Music Structure and Emotional Response: Some Empirical Findings,” Psychology of Music 19 (1991): 110–120. See also Patrik Juslin and John Sloboda, “Music and Emotion,” chap. 15 of The Psychology of Music, 3rd ed., ed. Diana Deutsch (Academic Press, 2013).
13. R. R. McCrae, “Aesthetic Chills as a Universal Marker of Openness to Experience,” Motivation and Emotion 31, no. 1 (2007): 5–11.
14. Sloboda, “Music Structure and Emotional Response” (see reference 12).
15. L. R. Bartel, “The Development of the Cognitive-Affective Response Test—Music.” Psychomusicology 11 (1992): 15–26.
1. For serotonin, see S. Evers and B. Suhr, “Changes in Neurotransmitter Serotonin but Not of Hormones during Short Time Music Perception,” European Archives of Psychiatry and Clinical Neuroscience, no. 250 (2000): 144–147; for dopamine, see V. Menon and D. Levitin, “The Rewards of Music Listening: Response and Physiological Connectivity in the Mesolimbic System,” Neuroimage 28 (2005): 175–184.
2. M. H. Thaut and B. L. Wheeler, “Music Therapy,” chap. 29 of Handbook of Music and Emotion: Theory, Research, Applications, ed. Patrik Juslin and John Sloboda (Oxford University Press, 2010).
3. S. B. Hanser and L. W. Thompson, “Effects of a Music Therapy Strategy on Depressed Older Adults,” Journal of Gerontology (1994): 49 265–269. See also S. B. Hanser, “Music, Health and Well-Being,” chap. 30 of Handbook of Music and Emotion: Theory, Research, Applications, ed. Patrik Juslin and John Sloboda (Oxford University Press, 2010).
4. Hanser, “Music, Health and Well-Being” (see reference 3), p. 868.
5. C. J. Brown, A. Chen, and S. F. Dworkin, “Music in the Control of Human Pain,” Music Therapy 8 (1989): 47–60.
6. Adrian North and David Hargreaves, “Music, Business, and Health,” chap. 5 of The Social and Applied Psychology of Music (Oxford University Press, 2008), pp. 301–311. See also L. A. Mitchell, R. A. R. MacDonald, C. Knussen, and M. A. Serpell, “A Survey Investigation of the Effects of Music Listening on Chronic Pain,” Psychology of Music 35 (2007): 39–59. And William Forde Thompson, Music, Thought, and Feeling: Understanding the Psychology of Music, 2nd ed. (Oxford University Press, 2015), p. 220.
7. L. A. Mitchell and R. A. R. MacDonald, “An Experimental Investigation of the Effects of Preferred and Relaxing Music on Pain Perception,” Journal of Music Therapy 63 (2006): 295–316.
8. Oliver Sacks, “Speech and Song: Aphasia and Music Therapy,” chap. 16 in Musicophilia: Tales of Music and the Brain (Knopf, 2007).
9. Hanser, “Music, Health and Well-Being” (see reference 3), p. 870.
10. Sacks, Musicophilia (see reference 8), p. 252.
11. North and Hargreaves, “Music, Business, and Health” (see reference 6), p. 308.
12. S. A. Rana, N. Akhtar, and A. C. North, “Relationship between Interest in Music, Health and Happiness,” Journal of Behavioural Sciences 21, no. 1 (June 2011): 48.
13. Laszlo Harmat, Johanna Takacs, Robert Bodizs, “Music Improves Sleep Quality in Students,” Journal of Advanced Nursing 62, no. 3 (2008): 327–335.
14. Hui-Ling Lai and Marion Good, “Music Improves Sleep Quality in Older Adults,” Journal of Advanced Nursing 49, no. 3 (2005): 234–244.
15. D. Chadwick and K. Wacks, “Music Advance Directives: Music Choices for Later Life,” 11th World Congress of Music Therapy, Brisbane, Australia, July 2005, cited in Hanser, “Music, Health and Well-Being” (see reference 3).
1. F. H. Rauscher, G. L. Shaw, and K. N. Ky, “Music and Spatial Task Performance,” Nature 365 (October 1993): 611.
2. Adrian North and David Hargreaves discuss “the Mozart effect” in “Composition and Musicianship,” chap. 2 of The Social and Applied Psychology of Music (Oxford University Press, 2008), pp. 70–74.
3. J. Pietschnig, M. Voracek, and A. K. Formann, “Mozart Effect–Shmozart Effect: A Meta-Analysis,” Intelligence 38 (2008): 314–323.
4. K. M. Nantais and E. G. Schellenberg, “The Mozart Effect: An Artifact of Preference,” Psychological Science 10 (1999): 370–373. See also E. Glenn Schellenberg and Michael W. Weiss, “Music and Cognitive Abilities,” chap. 12 of The Psychology of Music, 3rd ed., ed. Diana Deutsch (Academic Press, 2013).
5. M. Isen, “A Role for Neuropsychology in Understanding the Facilitating Influence of Positive Affect on Social Behavior and Cognitive Processes,” in The Oxford Handbook of Positive Psychology, 2nd ed., ed. S. J. Lopez and C. R. Snyder (Oxford University Press, 2011), pp. 503–518.
6. F. G. Ashby, A. M. Isen, and A. U. Turken, “A Neuropsychological Theory of Positive Affect and Its Influence on Cognition,” Psychological Review 106 (1999): 355–386.
7. W. F. Thompson, E. G. Schellenberg, and G. Hussain, “Arousal, Mood, and the Mozart Effect,” Psychological Science 12 (2001): 248–251.
8. E. G. Schellenberg and S. Hallam, “Music Listening and Cognitive Abilities in 10 and 11 Year Olds: The Blur Effect,” Annals of the New York Academy of Sciences 1060 (2005): 202–209.
9. William Forde Thompson, Music, Thought, and Feeling: Understanding the Psychology of Music, 2nd ed. (Oxford University Press, 2015), p. 302. See also Gabriela Ilie and William Forde Thompson, “Experiential and Cognitive Changes Following Seven Minutes Exposure to Music and Speech,” Music Perception 28, no. 3 (February 2011): 247–264.
10. D. Miscovic, R. Rosenthal, U. Zingg, D. Metzger, and L. Janke, “Randomized Control Trial Investigating the Effect of Music on the Virtual Reality Laparoscopic Learning Performance of Novice Surgeons,” Surgical Endoscopy 22 (208): 2416–20.
11. K. Kallinen, “Reading News from a Pocket Computer in a Distracting Environment: Effects of the Tempo of Background Music,” Computers in Human Behavior 18 (2002): 537–551.
12. Daniel Kahneman, Thinking Fast and Slow (Farrar, Straus and Giroux, 2013), p. 55.
13. C. F. Lima and S. L. Castro, “Speaking to the Trained Ear: Musical Expertise Enhances the Recognition of Emotions in Speech Prosody,” Emotion 11 (2011): 1021–31.
14. S. Moreno, E. Bialystok, R. Barac, E. G. Schellenberg, N. J. Cepeda, and T. Chau, “Short-Term Music Training Enhances Verbal Intelligence and Executive Function,” Psychological Science 22 (2011): 1425–33.
15. L. M. Patston and L. J. Tippett, “The Effect of Background Music on Cognitive Performance in Musicians and Non-musicians,” Music Perception 29 (2011): 173–183.
16. D. Southgate and V. Roscigno, “The Impact of Music on Childhood and Adolescent Achievement,” Social Science Quarterly 90 (2009): 13–21.
17. J. Haimson, D. Swain, and E. Winner, “Are Mathematicians More Musical Than the Rest of Us?” Music Perception 29 (2011): 203–213.
18. E. G. Schellenberg, “Music Lessons Enhance IQ,” Psychological Science 15 (2004): 511–514.
1. Annabel Cohen, “Music as a Source of Emotion in Film,” chap. 31 of Handbook of Music and Emotion: Theory, Research, Applications, ed. Patrik Juslin and John Sloboda (Oxford University Press, 2010).
2. Kathryn Kalinak, Film Music: A Very Short Introduction (Oxford University Press, 2010), p. 44.
3. Cohen, “Music as a Source of Emotion in Film” (see reference 1).
4. W. F. Thompson, F. A. Russo, and D. Sinclair, “Effects of Underscoring on the Perception of Closure in Filmed Events,” Psychomusicology 13 (1994): 9–27.
5. M. G. Boltz, “Musical Soundtracks as a Schematic Influence on the Cognitive Processing of Filmed Events,” Music Perception 18, no. 4 (2001): 427–454, cited in David Bashwiner, “Musical Analysis for Multimedia: A Perspective from Music Theory,” chap. 5 of The Psychology of Music in Multimedia, ed. Siu-Lan Tan, Annabel Cohen, Scott Lipscombe, and Roger Kendall (Oxford University Press, 2013).
6. Cohen, “Music as a Source of Emotion in Film” (see reference 1); A. J. Cohen, K. A. MacMillan, and R. Drew, “The Role of Music, Sound Effects and Speech on Absorption in a Film: The Congruence-Associationist Model of Media Cognition,” Canadian Acoustics 34 (2006): 40–41.
7. Kalinak, Film Music (see reference 2), p. 27.
8. Kalinak, Film Music (see reference 2), pp. 14–15.
9. R. Y. Granot and Z. Eitan, “Musical Tension and the Interaction of Dynamic Auditory Parameters,” Music Perception 28 (2011): 219–245.
10. Zohar Eitan, “How Pitch and Loudness Shape Musical Space and Motion,” chap. 8 of Tan, Cohen, Lipscombe, and Kendall, The Psychology of Music in Multimedia (see reference 5).
11. William Forde Thompson, Music, Thought, and Feeling: Understanding the Psychology of Music, 2nd ed. (Oxford University Press, 2015), p. 162.
12. M. G. Boltz, M. Schulkind, and S. Kantra, “Effects of Background Music on the Remembering of Filmed Events,” Memory and Cognition 19, no. 6 (1991): 593–606, cited in Berthold Hoeckner and Howard Nusbaum, “Music and Memory in Film and Other Multimedia: The Casablanca Effect,” chap. 11 of Tan, Cohen, Lipscombe, and Kendall, The Psychology of Music in Multimedia (see reference 5).
13. E. S. Tan, Emotion and the Structure of Narrative Film: Film as an Emotion Machine (Routledge, 1995).
14. E. Eldar, O. Ganor, R. Admon, A. Bleich, and T. Hendler, “Feeling the Real World: Limbic Response to Music Depends on Related Content,” Cerebral Cortex 17 (2007): 2828–40, cited in Annabel Cohen, “Congruence Association Model of Music and Multimedia: Origin and Evolution,” chap. 2 of Tan, Cohen, Lipscombe, and Kendall, The Psychology of Music in Multimedia.
15. Kalinak, Film Music (see reference 2), p. 63.
16. Roger Kendall and Scott Lipscombe, “Experimental Semiotics Applied to Visual, Sound and Musical Structures,” chap. 3 of Tan, Cohen, Lipscombe, and Kendall, The Psychology of Music in Multimedia.
17. “Diegetic Music, Non-diegetic Music and Source Scoring,” www.filmmusicnotes.com, posted April 21, 2013, by Film Score Junkie.
18. Kalinak, Film Music (see reference 2), p. 102.
19. Hoeckner and Nusbaum, “Music and Memory in Film and Other Multimedia” (see reference 12).
20. Kalinak, Film Music (see reference 2), p. 105.
21. Sandra K. Marshall and Annabel J. Cohen, “Effects of Musical Soundtracks on Attitudes toward Animated Geometric Figures,” Music Perception 6, no. 1 (Fall 1988): 95–112.
22. Cohen, “Congruence Association Model” (see reference 14).
23. Carolyn Bufford, “The Psychology of Film Music,” Psychologyinaction.org, posted November 5, 2012.
24. Kendall and Lipscombe, “Experimental Semiotics Applied to Visual, Sound and Musical Structures” (see reference 16).
25. L. A. Cook and D. L. Valkenburg, “Audio-Visual Organization and the Temporal Ventriloquism Effect between Grouped Sequences: Evidence that Unimodal Grouping Precedes Cross-Modal Integration,” Perception 38, no. 8 (2009): 1220–33.
26. G. L. Fain, Sensory Transduction (Sinauer Associates, 2003).
27. Scott Lipscombe, “Cross-Modal Alignment of Accent Structures in Multimedia,” chap. 9 of Tan, Cohen, Lipscombe, and Kendall, The Psychology of Music in Multimedia (see reference 5), p. 196.
28. Herbert Zettl, Sight, Sound, Motion: Applied Media Aesthetics, 7th ed. (Wadsworth Publishing Co., 2013), p. 80.
29. Marilyn Boltz, “Music Videos and Visual Influences on Music Perception and Appreciation: Should You Want Your MTV?” chap. 10 of Tan, Cohen, Lipscombe, and Kendall, The Psychology of Music in Multimedia (see reference 5).
30. Lipscombe, “Cross-Modal Alignment of Accent Structures in Multimedia” (see reference 27), p. 208.
1. John A. Sloboda, Jane W. Davidson, Michael J. A. Howe, and Derek G. Moore, “The Role of Practice in the Development of Performing Musicians,” British Journal of Psychology 87 (1996): 287–309.
2. K. Anders Ericsson, Ralf Th. Krampe, and Clemens Tesch-Romer, “The Role of Deliberate Practice in the Acquisition of Expert Performance,” Psychological Review 100, no. 3 (1993): 363–406, cited in Geoff Colvin, Talent Is Overrated (Nicholas Brealey Publishing, 2008), pp. 57–61.
3. Anthony Kemp and Janet Mills, “Musical Potential,” in The Science and Psychology of Musical Performance, ed. Richard Parncut and Gary E. McPherson (Oxford University Press, 2002), pp. 3–16.
4. Sloboda, Davidson, Howe, and Moore, “The Role of Practice in the Development of Performing Musicians” (see reference 1), p. 301.
5. J. W. Davidson, M. J. A. Howe, D. G. Moore, and J. A. Sloboda, “The Role of Teachers in the Development of Musical Ability,” Journal of Research in Music Education 46 (1998): 141–160.
6. S. Hallam and V. Prince, “Conceptions of Musical Ability,” Research Studies in Music Education 20 (2003): 2–22.
7. Isabelle Peretz, “The Biological Foundations of Music: Insights from Congenital Amusia,” chap. 13 of The Psychology of Music, 3rd ed., ed. Diana Deutsch (Academic Press, 2013).
1. Paul Roberts, Images: The Piano Music of Claude Debussy (Amadeus Press, 1996), p. 121.
2. David Huron, “Statistical Properties of Music,” chap. 5 of Sweet Anticipation: Music and the Psychology of Expectation (MIT Press, 2006).
3. David Temperley, Music and Probability (MIT Press, 2010), p. 58.
4. Huron, “Statistical Properties of Music” (see reference 2), p. 65.
5. Huron, “Statistical Properties of Music” (see reference 2), p. 195.
6. Temperley, Music and Probability (see reference 3), p. 147.
7. David Temperley, “Revision, Ambiguity, and Expectation” chap. 8 of The Cognition of Basic Musical Structures (MIT Press, 2004).
8. Diana Deutsch, “The Processing of Pitch Combinations,” chap. 7 of The Psychology of Music, 3rd ed., ed. Diana Deutsch (Academic Press, 2013).
9. C. Liegeois, I. Peretz, M. Babei, V. Laguitton, and P. Chauvel, “Contribution of Different Cortical Areas in the Temporal Lobes to Music Processing,” Brain 121 (1998): 1853–67.
10. Aniruddh Patel and Steven Demorest, “Comparative Music Cognition: Cross-Species and Cross-Cultural Studies,” chap. 16 of Deutsch, The Psychology of Music (see reference 8).
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1. Andreas C. Lehman, John A. Sloboda, and Robert H. Woody, Psychology for Musicians (Oxford University Press, 2007), p. 85.
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