Balkwill, L.-L., & Thompson, W. F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception, 17, 43–64.
Cacioppo, J. T., Gardner, W. L., & Bernston, G. C. (1997). Beyond bipolar conceptualizations and measures: The case of attitudes and evaluative space. Personality and Social Psychology Review, 1, 3–25.
Crowder, R. G. (1984). Perception of the major/minor distinction: I. Historical and theoretical foundations. Psychomusicology, 4, 3–52.
Dalla Bella, S., Peretz, I., Rousseau, L., & Gosselin, N. (2001). A developmental study of the affective value of tempo and mode in music. Cognition, 80, B1–B10.
Gabrielsson, A., & Lindström, E. (2001). The influence of musical structure on emotional expression. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 223–248). New York: Oxford University Press.
Gagnon, L., & Peretz, I. (2003). Mode and tempo relative contributions to “happy-sad” judgments in equitone melodies. Cognition and Emotion, 17, 25–40.
Garardi, G. M., & Gerken, L. (1995). The development of affective response to modality and melodic contour. Music Perception, 12, 279–290.
Gregory, A., Worral, L., & Sarge, A. (1996). The development of emotional responses to music in young children. Motivation and Emotion, 20, 341–349.
Gundlach, R. H. (1935). Factors determining the characterization of musical phrases. American Journal of Psychology, 47, 624–643.
Heinlein, C. P. (1928). The affective characters of the major and minor modes in music. Journal of Comparative Psychology, 8, 101–142.
Henkin, R. I. (1957). The prediction of behavior response patterns to music. The Journal of Psychology, 44, 111–127.
Hevner, K. (1935). The affective character of the major and minor modes in music. American Journal of Psychology, 47, 103–118.
Hevner, K. (1936). Experimental studies of the elements of expression in music. American Journal of Psychology, 48, 246–268.
Hevner, K. (1937). The affective value of pitch and tempo in music. American Journal of Psychology, 49, 621–630.
Husain, G., Thompson, W. F., & Schellenberg, E. G. (2002). Effects of musical tempo and mode on arousal, mood, and spatial abilities. Music Perception, 20, 151–171.
Jonas, K., Broemer, P., & Diehl, M. (2000). Attitudinal ambivalence. In W. Stroebe & M. Hewstone (Eds.), European review of social psychology (Vol. 11). New York: Wiley.
Juslin, P. N. (1997). Emotional communication in music performance: A functionalist perspective and some data. Music Perception, 14, 383–418.
Juslin, P. N., & Laukka, P. (2003). Communication of emotions in vocal expression and music performance: Different channels, same code? Psychological Bulletin, 129, 770–814.
Kastner, M. P., & Crowder, R. G. (1990). Perception of the major/minor distinction: IV. Emotional connotations in young children. Music Perception, 8, 189–202.
Kellaris, J. J., & Rice, R. C. (1993). The influence of tempo, loudness, and gender of listener on responses to music. Psychology and Marketing, 10, 15–29.
Kivy, P. (1990). Music alone: Philosophical reflections on the purely musical experience. Ithaca, NY: Cornell University Press.
Krumhansl, C. L. (2002). Music: A link between cognition and emotion. Current Directions in Psychological Science, 11, 45–50.
Lundin, R. W. (1967). An objective psychology of music (2nd ed.). New York: Ronald.
Peretz, I., Gagnon, L., & Bouchard, B. (1998). Music and emotion: Perceptual determinants, immediacy, and isolation after brain damage. Cognition, 68, 111–141.
Rigg, M. G. (1940). Speed as a determiner of musical mood. Journal of Experimental Psychology, 27, 566–571.
Rigg, M. G. (1964). The mood effects of music: A comparison of data from four investigators. The Journal of Psychology, 58, 427–438.
Robazza, C., Macaluso, C., & D’Urso, V. (1994). Emotional reactions to music by gender, age, and expertise. Perceptual and Motor Skills, 79, 939–944.
Russell, J. A. (1980). A circumplex model of affect. Journal of Personality and Social Psychology, 39, 1161–1178.
Schellenberg, E. G., Krysciak, A. M., & Campbell, R. J. (2000). Perceiving emotion in melody: Interactive effects of pitch and rhythm. Music Perception, 18, 155–171.
Scherer, K. R., & Oshinsky, J. S. (1977). Cue utilization in emotion attribution from auditory stimuli. Motivation and Emotion, 1, 331–346.
Schimmack, U. (2001). Pleasure, displeasure, and mixed feelings: Are semantic opposites mutually exclusive? Cognition and Emotion, 15, 81–97.
Sloboda, J. A. (1991). Music structure and emotional response: Some empirical findings. Psychology of Music, 19, 110–120.
Sopchak, A. L. (1955). Individual differences in responses to different types of music in relation to sex, mood, and other variables. Psychological Monographs, 69, 1–20.
von Helmholtz, H. L. F. (1895). On the sensation of tone as a physiological basis for the theory of music (4th ed.) (A. J. Ellis, Trans.). New York: Longman, Green, and Co. (Original work published 1877)
Watson, K. B. (1942). The nature and measurement of musical meanings. Psychological Monographs, 54, 1–43.
Wedin, L. (1972). A multi-dimensional study of perceptual-emotional qualities in music. Scandinavian Journal of Psychology, 13, 241–257.
Zajonc, R. B. (1980). Feeling and thinking: Preferences need no inferences. American Psychologist, 35, 151–175.
Zajonc, R. B. (1984). On the primacy of affect. American Psychologist, 39, 117–123.