Allport, G.
and Vernon, P. E. (1967). Studies in Expressive Movement. Reprint. New York and London: Hafner. (First publ. 1933.)
2.
Bank, J. A.
(1972). Tactus, Tempo and Notation in Mensural Music from the 13th to the 17th Century. Amsterdam: Netherlands Organ. for the Advancement of Pure Research.
3.
Braun, F. (1927). Untersuchung ueber das persoenliche Tempo. Arch. ges. Psychol., 60, 317-360. Cited in Miles, D. W. (1937).
4.
Brown, P. J. L. (1977). An Investigation into the Possible Origins and Nature of any Preferential Tempi in Musical Performance. Ph.D. thesis, Univ. of Leicester.
5.
Bunning, E.
(1967). The Physiological Clock. New York: Springer-Verlag. (First publ. 1958.)
6.
Buytendijk, F. J. J. (1947). La duree des mouvements de dimension variable. Misc. Psychol. Albert Michotte. Paris: Libr. Phil. Cited in Rimoldi, H. J. A. (1951).
7.
Cattell, R. B.
(1946). Description and Measurement of Personality. New York: Yonkers on Hudson, World Book Co.
8.
Cohen, J.
, Hansell, C. E. M. and Sylvester, J. D. (1954). Interdependence of temporal and auditory judgements. Nature, 174, 642-646.
9.
Cooke, D.
(1964). The Language of Music. Reprint. Oxford University Press. (First publ. 1959.)
10.
Cratty, B. J.
(1968). Psychology and Physical Activity. Prentice-Hall.
11.
Curtis, J. N.
(1916). Duration and the temporal judgement. Amer. J. Psychol., 27, 1-46.
12.
Dalcroze, E. J.
(1921). Rhythm, Music and Education. Dalcroze Soc. (1967 ed.).
13.
Dart, T.
(1964). The Interpretation of Music. 3rd ed. Reprint. London: Hutchinson. (First publ. 1954.)
14.
Donington, R.
(1974). The Interpretation of Early Music. 2nd ed. rev.London: Faber. (First publ. 1963.)
15.
Dorian, F.
(1942). The History of Music in Performance. New York: Norton.
16.
Dunlap, K. (1911). Rhythm and the specious present. J. of Phil. Psychol. and Scient. Method, 8. Cited in Mursell, J. L. (1937).
17.
Ellis, D. S.
and Brighouse, G. (1952). Effects of music on respiration and heart rate. Amer. J. Psychol., 65.
18.
Farnsworth, P. R.
, Block, H. A. and Waterman, W. C. (1934). Absolute tempo. J. Gen. Psychol., 10.
19.
Fox-Strangways, A. H.
(1929). Rhythm and tempo. In Maine, B. (Ed.) The Divisions of Music. Oxford University Press.
20.
Fraisse, P.
(1964). The Psychology of Time. Tr. Leith. London: Eyre and Spottiswoode.
21.
Frischeisen-Kohler, I.
(1933). The personal tempo and its inheritance. Char. and Person., 1, 301-313.
22.
Gabriel, C.
(1976). An Empirical Investigation of 'The Language of Music'. Paper given at Soc. for Res. in Psychol. of Music and Music Educ., Univ. of Reading.
23.
Gafurio, F.
(1496). Practica Musicae, Lib., 1, cap. 3. Cited in Bank, J. A. (1972).
24.
Gal, H.
(1939). The right tempo. Monthly Musical Record, LIX.
25.
Gooddy, W.
(1977). The time and timing of musicians. In Critchley, M. and Henson, R. A. (Ed.) Music and the Brain. London: Heinemann.
26.
Grimm, K.
(1934). Der Einfluss der Zeitform auf die Wahrnehmung der Zeit- dauer. Z. Psychol., 132, 104-132. Cited in Fraisse, P. (1964).
27.
Harding, R. E. M.
(1938). Origitns of Musical Time and Expression. Oxford University Press.
28.
Harrell, T. W.
(1937). Factors affecting preference and memory for auditors rhythm. J. Gen. Psychol., 17.
29.
Harrison, R.
(1941). Personal tempo and the interrelationships of voluntary and maximal rates of movement. J. Gen. Psychol., 24.
30.
Hiriarteborde, E. (1954). Etude du tempo preferentiel chez des enfants d'age scolaire. Enfance, 7, 229-243.
31.
Hirsch, I. J.
, Bilger, R. C. and Deathrage, B. H. (1956). The effect of auditory and visual background on apparent duration. Amer. J. Psychol., 69, 561-574.
32.
Hoagland, H.
(1933). The physiological control of judgenments of duration: Evidence for a chemical clock. J. Gen. Psychol., 9, 267-287.
33.
Hunter, H. (1970). Investigation of Psychological and Physiological Changes Apparently Elicited by Musical Stimuli. M.A. thesis, Univ. of Aston.
34.
Kolisch, R.
(1943). Tempo and character in Beethoven's music. Parts I and 11Mus. Quart., XXIX.
35.
Lanfranco, G.
(1953). Le Scintille di Musica. Brescia. Cited in Bank, J. A. (1972).
36.
McDougall, R.
(1902). The relation of auditory rhythm and nervous discharge. Psychol. Rev., 9.
37.
McLaughlin, T.
(1970). Music and Communication. London: Faber.
38.
Maine, B.
, Ed. (1929). The Divisions of Music. Oxford University Press.
39.
Mainwaring, J.
(1933). Kinaesthetic factors in the recall of musical experience. Brit. J. Psychol., 23.
40.
Marsden, C. D.
, Morton, P. A. and Merton, H. B. (1972). Servo actioni in human voluntary movement. Nature, 238.
41.
Mersenne, M.
(1636-7). Harmonie Universelle. 2 pts. Paris. Cited in Donington, R. (1974).
42.
Meyer, L. B.
(1956). Enmotion and Meaning in Music. Univ. of Chicago Press.
43.
Michon, J. A.
(1964). Studies on subjective duration. Acta Psychologica, 22.
44.
Miles, D. W.
(1937). Preferred rates in rhythmic response. J. Gen. Psychol., 16.
45.
Miyaki, I.
(1902). Researches on rhythmic action. Yale Psychol. Stud., 10. Cited in Miles, D. W. (1937).
46.
Mundy-Castle, A. C.
and Sugarman, L. (1960). Factors influencing relations between tapping speed and alpha rhythm. Electroencephalog. Clin. Neuro- physiol., 12.
47.
Mursell, J. L.
(1937). The Psychology of Music. New York: Norton.
48.
Nurullah, S. (1927). A Study of Rhythm and Psychological Methods of Develop- ment of Regularity of Time and Stress in Movement. M.Ed. thesis, Univ. of Leeds.
49.
Oatley, K.
and Goodwin, B. C. (1971). The explanation and investigation of biological rhythms. In Colquhoun, W. P. (Ed.) Biological Rhythms and Human Performance. London: Academic Press.
50.
Olron, G. (1952). Influence de l'intensite d'un son sur l'estimation de sa duree apparante. Anneie psychol., 52, 383-392. Cited in McLaughlin, T. (1970).
51.
Orme, J. E.
(1969). Time, Experience and Behaviour. London: Iliffe Books.
52.
Ornstein, R. E.
(1969). On the Experience of Time. Penguin.
53.
Patterson, W. M.
(1916). The Rhythm of Prose. New York. Cited in Miles, D. W. (1937).
54.
Pieron, H.
(1951). The Sensations. Frederick Muller.
55.
Quantz, J. J. (1752). Versuch einer Anweissung die Flote traversiere zu spielen. Berlin. Tr. and Ed. Reilly, E. R., as On Playing the Flute. London: Faber(1966).
56.
Ramos, B.
(1492). Musica Practica. Ed. Wolf, J. (1901). Cited in Bank, J. A. (1972).
57.
Roederer, J. G.
(1973). Introduction to the Physics and Psychophysics of Music. London: English Univ. Press.
58.
Rimoldi, H. J. A.
(1951). Personal tempo. J. Abn. Soc. Psychol., 46, 280-303.
59.
Ruchmich, C. A.
(1913). The role of kinaesthesis in the perception of rhythm. Amer. J. Psychol., 24, 305-359.
60.
Sachs, C.
(1953). Rhythm and Tempo. London: Dent.
61.
Sanford, A. J.
(1971). A periodic basis for perception and action. In Colquhoun, W. P. (Ed.) Biological Rhythms and Human Performance. London: Academic Press.
62.
Sears, C. H.
(1902). A contribution to the psychology of rhythm. Amer. J. Psychol., 13.
63.
Seashore, C. E.
(1899). Motor ability, reaction time, rhythm and time sense. Univ. Iowa Stud. Psychol., 2. Cited in Miles, D. W. (1937).
64.
Seashore, C. E.
(1938). The Psychology of Music. New York: McGraw-Hill.
65.
Seashore, R. H.
(1926). Studies in motor rhythm. Psychol. Mon., 36.
66.
Sheldon, W. H.
, Stevens, S. S. and Tucker, W. B. (1940). The Varieties of Human Physique. New York: Harpers. Reprint (1963).
67.
Simpson, Christopher
(1665). The Principles of Practical Musick. London. Cited in Cole, H. (1974) Sounds and Signs. OUP.
68.
Smoll, F. L.
(1975a). Preferred tempo in performance of repetitive movements. Percept. & Motor Skills, 40.
69.
Smoll, F. L.
(1975b). Between-days consistency in personal tempo. Percept. & Motor Skills, 41.
70.
Solberger, A.
(1965). Biological Rhythm Research. New York. Cited in Bank, J. A. (1972).
71.
Stadlen, P.
(1967). Beethoven and the metronome, I. Music and Letters, 48.
72.
Stetson, R. H.
(1905). A motor theory of rhythm and discrete succession: Parts I and II. Psychol. Rev., 12, 250-270, 293-350.
73.
Stevens, D.
(1957). Thomas Tomkins. London: Macmillan.
74.
Stroud, J. M.
(1956). The fine structure of psychological time. In Information Theory in Psychology. Glencoe Illinois: Free Press. Cited in Fraisse, P. (1964).
75.
Summers, J. J. (1974). The Role of Timing in Motor Programme Representation. Ph.D. thesis, Univ. of Oregon.
76.
Swindle, P. F.
(1919). The peristaltic-like nature of organic responses. Amer. J. Psychol., 30.
77.
Temperley, N.
(1966). Tempo and repeats in the early nineteenth century. Music and Letters, 47.
78.
Thackray, R. (1969). Rhythmic Abilities and Their Measurement. Ph.D. thesis, Univ. of Reading.
79.
Treisman, M.
(1963). Laws of sensory magnitude. Nature, 198.
80.
Turner, E. O.
(1938). Tempo variation: with examples from Elgar. Music and Letters, XIX.
81.
Vernon, P. E.
(1935). Auditory perception, II. The evolutionary approach. Br. J. Psychol., 25.
82.
Wallin, J. E. W.
(1911). Experimental studies of rhythm and time. Parts I and II. Psychol. Rev., 18, 100-133, 202-222.
83.
Woodrow, H.
(1951). Time perception. In Stevens, S. S. (Ed.) Handbook of Experimental Psychology. New York: Wiley.
84.
Zacconi, L.
(1592). Prattica di Musica. Venice. Cited in Harding, R. E. M. (1938).