1. M. T. Henderson, “Rhythmic Organization in Artistic Piano Performance”, Iowa Studies in Music, IV (1937), 281–305.
2.
2. C. E. Humphrey, J. E. Thompson, and H. L. Ensor, “The Measurement of Tracking Error: Time-on-Target”, Applied Physics Laboratory Report of Johns Hopkins University (April 22, 1953), TG-196.
3.
3. D. E. Johannsen, “Perception”, Annual Review of Psychology, XVIII (1967), 1–40.
4.
4. C. J. Knock, “Visual Training of the Pitch of the Voice”, Iowa Studies in Psychology, VIII (1922), 102–127.
5.
5. E. F. Lindquist, Design and Analysis of Experiments in Psychology and Education (Boston: Houghton Mifflin Co., 1953).
6.
6. N. E. Loveless, “Signal Detection with Simultaneous Visual and Auditory Presentation”, Report 1027 of the Air Ministry Flying Personnel Research Committee (1958).
7.
7. M. Metfessel, “Technique for Objective Studies of the Vocal Art”, Psychological Monographs, XXXVI (1926), 1–40.
8.
8. W. C. Osborn, R. W. Sheldon, and R. A. Baker, “Vigilance Performance Under Conditions of Redundant and Nonredundant Signal Presentation”, Journal of Applied Psychology, XLVII (1963), 130–134.
9.
9. Carl E. Seashore, The Psychology of Music (New York: Mc Graw-Hill, 1938).
10.
10. H. G. Seashore, “The Hearing of the Pitch and Intensity in Vibrato”, Iowa Studies in Music, I (1932), 213–235.
11.
11. J. Tiffen, “Photographic Apparatus”, Iowa Studies in Music, I (1932), 118–133.
12.
12. R. M. Travers, “Transmission of Information to Human Receivers”, Educational Psychologist, APA Newsletter, Division15, II, No. 1 (Dec. 1964).