Student Resources

Bowman, W. (1998). Philosophical perspectives on music. New York: Oxford University Press.

Gazzaniga, M. (2008). Human: The science behind what makes us unique. New York: HarperCollins.

Hodges, D. (2017). A concise survey of music philosophy. New York: Routledge.

Langer, S. (1967, 1972, 1982). Mind: An essay on human feeling, vols. 1-3. Baltimore, MD: Johns Hopkins University Press.

Meyer, L. (1956). Emotion and meaning in music. Chicago: The University of Chicago Press.

Cross, I. (2016). The nature of music and its evolution. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology, 2d ed., 3-17. Oxford: Oxford University Press.

Fitch, T. (2006). The biology and evolution of music: A comparative perspective. Cognition, 100, 173-215.

Hodges, D. (2019). Music through the lens of cultural neuroscience. In M. Thaut & D. Hodges (Eds.), Oxford handbook on music and the brain, 19-41. Oxford, UK: Oxford University Press.

Krause, B. (2002). Wild soundscapes: Discovering the voice of the natural world.  Berkeley, CA: Wilderness Press.

Krause, B. (2012). The great animal orchestra: Finding the origins of music in the world’s wild places. Boston: Little, Brown and Company.

Krause, B. (2015). Voices of the wild: Animal songs, human din, and the call to save natural soundscapes. New Haven & London: Yale University Press.

Osborne, N. (2009). Towards a chronobiology of musical rhythm. In S. Malloch & C. Trevarthen (Eds.), Communicative musicality: Exploring the basis of human companionship, 545-564. Oxford: Oxford University Press.

Becker, J. (2009). Ethnomusicology and empiricism in the twenty-first century. Ethnomusicology, 53(1), 478-501.

Blacking, J. (1995). Music, culture, and experience. Chicago: University of Chicago Press.

Clayton, M., Herbert, T., & Middleton, R. (Eds.). (2003). The cultural study of music: A critical introduction. New York: Routledge.

Mithen, S. (2006). The singing neaderthals: The origins of music, language, mind, and body. Boston, MA: Harvard University Press.

Morley, I. (2013). The prehistory of music. Oxford, UK: Oxford University Press.

Rice, T. (2014). Ethnomusicology: A very short introduction. Oxford, UK: Oxford University Press.

Wade, B. (2009). Thinking musically: Experiencing music, expressing culture, 2d ed. New York: Oxford University Press.

Alexander, S. (2016). The jazz of physics. New York: Basic Books.

Chaigne, A. & Kergomard, J. (2016). Acoustics of musical instruments. New York: Springer-Verlag.

Everest, F. & Pohlmann, K. (2009). Master handbook of acoustics, 5th ed. New York: McGraw-Hill.

Fletcher, N. & Rossing, T. (2005). The physics of musical instruments. New York: Springer Science+Business Media.

Hall, D.  (2002). Musical acoustics, 3d ed. Boston, MA: Brooks Cole.

Howard, D. & Angus, J. (2006). Acoustics and psychoacoustics, 3d ed. Oxford: Focal Press.

Johnston, I. (2002). Measured tones: The interplay of physics and music, 2d ed. Philadelphia: Institute of Physics Publishing.

Beament, J. (2003). How we hear music: The relationship between music and the hearing mechanism. Rochester, NY: Boydell Press.

Kunchur, M. (2008). Probing the temporal resolution and bandwidth of human hearing. Proceedings of Meetings on Acoustics, Acoustical Society of America 154ASA (Vol. 2, No. 1, p. 050006). ASA.

Hodges, D. (2014). The development of the musical brain. In McPherson (Ed.), The Child as Musician, 52-66. Oxford: Oxford University Press.

Plack, C. (2005). The sense of hearing. Malwah, NJ: Lawrence Erlbaum.

Schreiner, C. & Winer, J. (2007). Auditory cortex mapmaking: Principles, projections, and plasticity. Neuron, 56(2), 356-365.

Watson, A. (2009). The biology of musical performance and performance-related injury. Lanham, MD: The Scarecrow Press.

Cross, I. (ed.). (2016). Part 2. Music perception. In S. Hallam, I. Cross, & M. Thaut, (Eds.), The Oxford handbook of music psychology, 63-180. New York: Oxford University Press.

Desain, P. & Honing, H. (2003). The formation of rhythmic categories and metric priming. Perception, 32, 341-365.

Justus, T. & Bharucha, J. (2002). Music perception and cognition. In S. Yantis (Ed.), Handbook of experimental psychology, Vol. I: Sensation and perception, 3d ed., 453-492. New York: Wiley and Sons.

London, J. (2012). Hearing in time, 2d ed. Oxford, UK: Oxford University Press.

Zatorre, R. (2003). Absolute pitch: A model for understanding the influence of genes and development on neural and cognitive function. Nature Neuroscience, 6, 692-695.

Ashley, R. & Timmers, R. (2017). The Routledge companion to music cognition. New York: Routledge.

Bregman, A. (1990). Auditory scene analysis: The perceptual organization of sound. Cambridge, MA: The MIT Press.

Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: MIT Press.

Lerdahl, F. (2009). Genesis and architecture of the GTTM project. Music Perception, 26(3), 187-194.

Rebuschat, P., Rohmeier, M., Hawkins, J., & Cross, I. (Eds.). (2012).  Language and music as cognitive systems. Oxford, UK: Oxford University Press.

Patel, A. (2008). Music, language, and the brain. Oxford: Oxford University Press.

Sloboda, J. (2005). Exploring the musical mind. New York: Oxford University Press.

Grahn, J. (ed.). (2016). Part 4: Music and the brain. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford Handbook of Music Psychology, 2d ed., 285-368. Oxford: Oxford University Press.

Koelsch, S. (2012). Brain and music. West Sussex, UK: Wiley-Blackwell.

Neurosciences and music VI: Music, sound and health. (2018). Annals of the New York Academy of Sciences, 1423.

Thaut, M., & Hodges, D. (Eds.). (2019). The Oxford handbook on music and the brain. Oxford: Oxford University Press.

Grahn, J. (ed.). (2016). Part 4: Music and the brain. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford Handbook of Music Psychology, 2d ed., 285-368. Oxford: Oxford University Press.

Koelsch, S. (2012). Brain and music. West Sussex, UK: Wiley-Blackwell.

Neurosciences and music VI: Music, sound and health. (2018). Annals of the New York Academy of Sciences, 1423.

Thaut, M., & Hodges, D. (Eds.). (2019). The Oxford handbook on music and the brain. Oxford: Oxford University Press.

Gabrielsson, A. (2011). Strong experiences with music. Oxford, UK: Oxford University Press.

Gabrielsson, A. & Juslin, P. (2003). Emotional expression in music. In R. Davidson, K. Scherer & H. Goldsmith, (Eds.), Handbook of affective sciences (pp. 503–534). New York: Oxford University Press.

Juslin, P. (2019). Musical emotions explained. Oxford, UK: Oxford University Press.

Juslin, P., Liljeström, S.,Västfjäll, D., & Lundqvist, L-O. (2010). How does music evoke emotions? Exploring the underlying mechanisms. In P. Juslin & J. Sloboda, (Eds.), Handbook of music and emotion, 605-642. Oxford: Oxford University Press.

Konečni, V. (2005). The aesthetic trinity: Awe, being moved, thrills. Bulletin of Psychology and the Arts, 5(2), 27-44.

Sloboda, J. & Juslin, P. (2010). At the interface between the inner and outer world: Psychological perspectives. In P. Juslin & J. Sloboda, (Eds.), Handbook of music and emotion (73-97). Oxford: Oxford University Press.

Abeles, H. (2009). Are musical instrument gender associations changing? Journal of Research in Music Education, 57(2), 127-139.

Greasley, A. & Lamont, A. (2016). Musical preferences. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology, 263-281. Oxford: Oxford University Press.

Järvelä, I. (2019). Genomics approaches for studying musical aptitude and related traits. In M. Thaut & D. Hodges (Eds.), The Oxford handbook of music and the brain (pp. 439-459). Oxford, UK: Oxford University Press.

Kemp, A. (1996). The musical temperament. Oxford: Oxford University Press.

MacDonald, R., Hargreaves, D., & Miell, D. (Eds.). (2017). Handbook of musical identities. Oxford, UK: Oxford University Press.

North, A. & Hargreaves, D. (2008). The social and applied psychology of music. Oxford: Oxford University Press.

Sloboda, J. (2000). Music and worship: A psychologist's perspective. In J. Astley, T. Hone, & M. Savage (Eds.), Creative chords: Studies in music, theology and Christian formation, (pp. 110-125). Leominster: Gracewing.

Altenmüller, E., Wiesendanger, M., & Kesselring, J. (2006). Music, motor control, and the brain. Oxford: Oxford University Press.

Davidson, J. (Ed.). (2004). The music practitioner: Research for the music performer, teacher, and listener. Burlington, VT: Ashgate Publishing Co.

Ericsson, E. (2008). Deliberate practice and acquisition of expert performance: A general overview. Academic Emergence Medicine, 15, 988-994.

Fabian, D., Timmers, R., & Schubert, E. (Eds.). (2014). Expressiveness in music performance Oxford, UK: Oxford University Press.

Juslin, P., Friberg, A., Schoonderwaldt, E., & Karlsson, J. (2004). Feedback learning of musical expressivity. In A. Williamon (Ed.), Musical excellence, 247-270. Oxford: Oxford University Press.

McPherson, G. (Ed.). (2014). The child as musician, 2nd ed. Oxford, UK: Oxford University Press.

Parncutt, R. & McPherson, G. (Eds.). (2002). The science and psychology of music performance. New York: Oxford University Press.

Bandura, A. (1989). Social cognitive theory. In R. Vasta (Ed.), Annals of child development. Vol. 6. Six theories of child development (pp. 1-60). Greenwich, CT: JAI Press.

Braun, A. & Bock, J. (2007). Born to learn: Early learning optimizes brain function. In W. Gruhn & F. Rauscher (Eds.), Neurosciences in Music Pedagogy, 27-51. New York: Nova Science Publishers.

Lefrançois, G. (2006). Theories of human learning, 5th ed. Belmont, CA: Thomson Wadsworth.

Matlin, M. & Farmer, T. (2015). Cognition, 9th ed. New York: John Wiley& Sons.

McPherson, G. (Ed.). (2016). Musical prodigies. Oxford, UK: Oxford University Press.

Zull, J. (2002). The art of changing the brain: Enriching the practice of teaching by exploring the biology of learning. Sterling, VA: Stylus Publishing.

Brandfonbrener, A. & Lederman, R. (2002). Performing arts medicine. In R. Colwell & C. Richardson (Eds.), The new handbook of research on music teaching and learning, (pp. 1009-1022). Oxford: Oxford University Press.

Chasin, M. (2009). Hearing loss in musicians. San Diego, CA: Plural Publishing.

Horden, P. (Ed.). (2017). Music as medicine: The history of music therapy since antiquity. London: Routledge.

Klickstein, G. (2009). The musician's way: A guide to practice, performance, and wellness. Oxford: Oxford University Press.

Sataloff, R. (2005). Professional Voice, Vols. I, II, & III, 3rd ed. San Diego: Plural Publishing.

Spintge, R. (2012). Clinical use of music in operating theatres. In R. MacDonald, G. Kretutz, & L. Mitchell (Eds.), Music, health, and wellbeing, 276-286. Oxford, UK:  Oxford University Press.

MacDonald, R., Kreutz, G., & Mitchell, L. (2012). Music, health, and wellbeing. Oxford, UK: Oxford University Press.

Wheeler, B., & Murphy, K. (2016). Music therapy research, 3d ed. Dallas: Barcelona Publishers.

Csikszentmihalyi, M. & Hunter, J. (2004). Happiness in everyday life: The uses of experience sampling. Journal of Happiness Studies, 4(2), 185-199.

Fung, V., & Lehmberg, L. (2016).  Music for life. Oxford, UK: Oxford University Press.

Hallam, S. & McDonald, R. (2009). The effects of music in community and educational settings. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology, 471-480. Oxford: Oxford University Press.

Juslin, P., Liljeström, S., Västfjäll, D., Barradas, G., & Silva, A. (2008). An experience sampling study of emotional reactions to music: Listener, music, and situation. Emotion, 8(5), 668-683.

MacDonald, R., Kreutz, G., & Mitchell, L. (2012). Music, health, and wellbeing. Oxford, UK: Oxford University Press.

McPherson, G., Davidson, J., & Faulker, R. (Eds.). (2012). Music in our lives. Oxford, UK: Oxford University Press.

North, A. & Hargreaves, D. (2010). Music and marketing. In P. Juslin & J. Sloboda (Eds.), Handbook of Music and Emotion, (pp. 909-930). Oxford: Oxford University Press.

Rideout, V., Foehr, U., & Roberts, D. (2010). Generation M2: Media in the lives of 8- to 18-year-olds. Menlo Park, CA: Kaiser Family Foundation.