PSYCHOLOGY OF MUSIC BY CARL E. SEASHORE, PH. D., LL. D., BC. D., D.
LITT. McGRAW-HILL BOOK COMPANY, INC. NEW YORK AND LONDON To my
comrades in research for the last forty years this volume is
affectionately dedicated. npms volume is dedicated to my comrades
in research, professors J. and students, for the last forty years.
I am writing as a spokes man for them all, attempting to present in
high lights the new approaches developed during this period. This
involves the right to draw freely from more than one hundred
publications emanating from the group. Wherever possible I have
named the person pri marily responsible for the contribution but
the text embodies facts which in large part are common stock in the
laboratory. In doing the overhead work for all these years, it has
been difficult to separate my own ideas from the ideas of
collaborators because our policy has been to share ideas with the
utmost gener osity. In the interest of condensation and clarity, I
have interpreted and classified as much as is consistent with the
purpose and, there fore, have not used quotation marks extensively.
It is difficult to give proper acknowledgment to all the persons
and sources represented. All authors of publications from which
substantial units are drawn are mentioned in the text with a super
script number which refers to the corresponding number in the
bibliography. The sources of illustrations are indicated in the
text. Acknowledgment to authors and publishers for permission to
use material is herewith gratefully extended. Owing to the nature
of the situation, I have counted upon many of my collaborators to
read and criticize the manuscript in whole or in part both from the
point of view ofscience and from the point of view of music. The
following note from the Music Educator Journal, September, 1937, IB
self explanatory In a series of reports from the laboratory-studio
for the Psychology of Music, Carl E. Seashore has presented to
Journal readers specimens of scientific findings dealing with
various phases of the psychology of music. Appearing in the October
issue of the Journal will be the tenth in a series, which will deal
with the problem of the tempered scale a x PREFACE The Psychology
of Musical Talent, 1 7 published by Silver Burdett Company, in
1919, is a monograph which marks a ne v vantage ground in the
psychology of music. It covers a restricted field in which it has
permanent value and should, therefore, not be revised, but
supplemented. In the present volume, I have aimed to avoid
duplication of that work to which this is a logical sequel.
Concentration in this field of work has been favored by a gen erous
attitude on the part of the University of Iowa toward this project
and through a series of generous fellowships provided by Mr. George
Eastman, the National Research Council, the Guggen heim Foundation,
and the Carnegie Foundation. Through a special interest in this
subject and such generous financial support, it has been possible
to maintain a continuous project through trained investigators,
working on a unified program for a generation. The purpose of this
book is to stimulate and guide the student of music in scientific
observation and reasoning about his art. It is, therefore, not a
summary of all the known facts on any subject, but rather a series
of flashes illustrating the scientific approach from as many angles
as space and material permit in anelementary textbook. Since the
book is written for beginners, no technical description of
apparatus or method is given except in most elementary general
principles. Material for the student to work upon is, however,
furnished abundantly. My attitude throughout may be expressed in
the invitation, Come with me into the laboratory-studio for the
psychology of music and see how the study of science of the art of
music works. As in my other text books the motto has been Not
psychology but to psychologize. This book has been many years in
the making...
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