IN THIS BOOK I HAVE TRIED to present a survey of those research studies in the psychology of music that I felt had a most direct bearing on musical art, musical artistry, and music education. The book is therefore intended primarily for the musician who may be interested in what experimental psychology has to say about his art and his vocation, whether as performer or teacher. It is my hope, however, that psychologists will find in these pages an adequate and convenient summary of accomplishments in this field of psychological research, and that the more critical-minded in the school music profession might discover in the studies here reported some suggestions for a program and procedure in general musical culture based upon scientifically established principles.
I have appended, in addition to the bibliography of works cited, a selected bibliography to indicate my indebtedness to the numerous investigators whose studies I have consulted in gathering the materials for this book, although their names are not mentioned in the body of the text.
I hereby express my indebtedness to the following publishers and individuals for permission to quote from their works: The Macmillan Company, for the figures from D. C. Miller, The Science of Musical Sounds. Longman's, Green and Company, for the quotation from H. Helmholtz, Sensations of Tone. Harcourt, Brace and Company, for passages from M. Schoen (ed.), The Effects of Music. The editors of The American Journal of Psychology, for the excerpts from the studies by Gilman and Downey. The editors of The Journal of Educational Psychology, for the passages from Jersild and Bienstock. The editor of The Musical Quarterly, for permission to reprint the greater portion of the article by Schoen on "The Basis of Music-Mindedness." Dr. Carl E. Seashore has kindly granted permission for the quotations from The IowaStudies in the Psychology of Music