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Director: Bill Thompson

Publications

Books

• Thompson, W.F. (2009). Music Thought & Feeling: Understanding the Psychology of Music, New York: Oxford University Press, 320 pages, ISBN10: 0195377079. [link]

Book Chapters

• Thompson, W.F. (in press). Intervals and Scales. In Diana Deutsch (Ed.). The Psychology of Music (3rd edition). New York: Academic Press.
• Colling, L. & Thompson, W.F. (In press). Music, Action and Affect. In Tom Cochran, Bernardino Fantini, & Klaus R. Scherer, University of Geneva (Eds.). The Emotional Power of Music. London: Oxford University Press.
• Thompson, W.F., & Ammirante, P. (2012). Musical thought. In: Keith Holyoak and Bob Morrison (Eds.). The Oxford Handbook of Thinking and Reasoning. Chapter 39 (pp. 684-698). New York: Oxford University Press.
• Thompson, W.F. & Quinto, L. (2011). Music and Emotion: Psychological Considerations. In Peter Goldie and Elizabeth Schellekens (Eds.), The Aesthetic Mind: Philosophy and Psychology, Chapter 21 (pp. 357-375). Oxford University Press. [►pdf]
• Thompson, W.F. & Balkwill, L-L. (2010). Cross-cultural similarities and differences. In Patrik Juslin and John Sloboda (Eds.), Music and Emotion, 2nd edition. Chapter 27 (pp. 755-788). Oxford University Press. [►pdf]
• Livingstone, S. R., & Thompson, W. F. (2009). L'apparition de la musique de la théorie d'esprit. In Irene Deliege, Oliver Vitouch & Olivia Ladinig (Eds.), Musique et Evolution (pp. 47-63). Belgium: Pierre MARDAGA Press.
  
• Thompson, W.F. & Schellenberg, G. (2006). Listening to Music. In R. Colwell. MENC handbook of Music Cognition & Development. Oxford University Press, pp. 72-123.
• Thompson, W.F. & Schellenberg, E.G.. (2002). Basic cognition in musical context, In R. Colwell (Ed.) Handbook of Research on Music Teaching and Learning. 2nd Edition. Oxford University Press, pp. 461-486.
• Thompson, W.F. & Cuddy, L.L. (1987). Musical judgements of Bach Chorale excerpts. In Sundberg, J. (ed.) Harmony and Tonality. Royal Swedish Academy of Music, Stockholm, 85-95.

Journal Articles

• Thompson, W.F., Peter, V., Olsen, K.N., & Stevens, C.J. (In press). The effect of intensity on relative pitch. Quarterly Journal of Experimental Psychology. Accepted February 8, 2012.
• Ammirante, P., & Thompson, W.F. (in press). Continuation tapping to triggered melodies: Motor resonance effects of melodic motion. Experimental Brain Research. Accepted October 7, 2011. [►pdf]
• Eisenberg, J. & Thompson, W.F. (in press). The effects of competition on improvisers’ motivation, stress, and creative performance. Creativity Research Journal, 23 (2), 129-136.
• Fassbender E.A., Richards D.B., Bilgin, A.C., Thompson, W.F., & Heiden, W. (in press). The Effect Of Background Music And Immersive Display Systems On Memory For Facts Learned In An Educational Virtual Environment. Computers & Education. Accepted September 1, 2011.
• Liu, F., Jiang, C., Thompson, W.F., Xu, Y., Yang, Y., & Stewart, L. (2012). The mechanisms of speech processing in congenital amusia: Evidence from Mandarin Speakers. PLoS ONE 7(2): e30374. doi:10.1371/journal.pone.0030374 [►pdf]
• Vuoskoski, J., Thompson, W.F., McIlwain, D., & Eerola, T. (2011). Who enjoys listening to sad music and why? Music Perception, 29, 311-318. [►pdf]
• Mak-Fan, K.M, Thompson, W.F., & Green, R.E.A. (2011). Visual search for schematic emotional faces risks perceptual confound. Cognition & Emotion, 25(4), 573-584. [►pdf]
• Thompson, W.F., Schellenberg, E.G., & Letnic, A.K. (2011). Fast and loud music disrupts reading comprehension. Psychology of Music. Accepted January 5, 2011. [►pdf]
• Ammirante, P., Thompson, W. F., & Russo, F. A. (2011). Ideomotor effects of pitch on continuation tapping. Quarterly Journal of Experimental Psychology, 64, 381-393. [►pdf]
• Ilie, G., & Thompson, W.F. (2011). Experiential and cognitive changes following seven minutes exposure to music and speech. Music Perception, 28, 247-264. [►pdf]
• Peter, V., McArthur, G., & Thompson, W.F. (2010). Effect of deviance direction and calculation method on duration and frequency mismatch negativity (MMN). Neuroscience Letters, 482(1), 71-75. doi:10.1016/j.neulet.2010.07.010
  [link]
• Ammirante, P., & Thompson, W.F. (2010). Melodic Accent as an Emergent Property of Tonal Motion. Empirical Musicology Review, 5, 94-107.
  [►pdf]
• Quinto, L., Thompson, W.F., Russo, F.A., & Trehub, S.E. (2010). A Comparison of the McGurk Effect for Spoken and Sung Syllables. Attention, Perception & Psychophysics, 72, 1450-1454. [►pdf]
• Thompson, W.F., Russo, F.A., & Livingstone, S.L.. (2010). Facial expressions of singers influence perceived pitch relations. Psychonomic Bulletin and Review, 17, 317-322. [►pdf]
• Livingstone, S. R., Muhlberger, R., Brown, A. R., & Thompson, W.F. (2010). Changing musical emotion: A computational rule system for modifying score and performance. Computer Music Journal, 34(1), 41–64. [►pdf]
• Prince, J.B., Thompson, W.F., & Schmuckler, M.A. (2009). Pitch and time, tonality and meter: How do musical dimensions combine? Journal of Experimental Psychology: Human Perception and Performance. 35, 1598-1617. [►pdf]
• Livingstone, S.R, Thompson, W.F., & Russo, F.A. (2009). Facial Expressions and Emotional Singing: A Study of Perception and Production with Motion Capture and Electromyography. Music Perception. 26(5), 475-488. [►pdf]
• Livingstone, S. R., & Thompson, W. F. (2009). The emergence of music from the Theory of Mind. Musicae Scientiae, Special Issue 2009/10 "Music and Evolution", 83-115. [►pdf]
• Prince, J.B., Schmuckler, M.A., & Thompson, W.F. (2009). The effect of task and pitch structure on pitch-time interactions in music. Memory & Cognition, 37(3), 368-381. [►pdf]
• Ceaser, D.K., Thompson, W.F., & Russo, F.A. (2009). Expressing tonal closure in music performance: Auditory and visual cues. Canadian Acoustics, 37(1), 29-34.
  [►pdf]
• Prince, J.B., Schmuckler, M.A., & Thompson, W.F. (2009). Cross-modal perception of melodic contour. Canadian Acoustics, 37(1), 35-49. [►pdf]
• Richards, D., Fassbender, E., Bilgin, A., & Thompson, W. F. (2008), An investigation of the role of background music in IVWs for learning. ALT-J, 16 (3), 231 - 244.
• Thompson, W.F. & Coltheart, M. (2008). The role of signal detection and amplification in the induction of emotion by music. Behavioral and Brain Sciences, 31(5), 597-598. [►pdf]
• Thompson, W.F. & Russo, F.A. & Quinto, L. (2008). Audio-visual integration of emotional cues in song. Cognition & Emotion. 22(8), 1457-1470. [►pdf]
• Thompson, W. F., & Russo, F. A. (2007). Facing the music. Psychological Science, 18, 756-757. [►pdf]
• Russo, F.A., Cuddy, L.L., Galembo, A., & Thompson, W.F. (2007). Sensitivity to tonality across the pitch range. Perception, 36, 781-790. [►pdf]
• Thompson, W.F., Dalla Bella, S. & Keller, P. (2006). Music Performance. Advances in Cognitive Psychology, 2(2-3), 99-102.
• Livingstone, S.R. & Thompson, W.F. (2006). Multi-modal affective interaction: A comment on musical origins. Music Perception, 24, 89-94. [►pdf]
• Thompson, W.F. & Balkwill, L.-L. (2006). Decoding speech prosody in five languages. Semiotica, 158(1/4), 407-424. [►pdf]
• Ilie, G. & Thompson, W.F. (2006). A comparison of acoustic cues in music and speech for three dimensions of affect. Music Perception, 23, 319-329. [►pdf]
• Russo, F. & Thompson, W.F. (2005). The subjective size of melodic intervals over a two-octave range. Psychonomic Bulletin and Review, 12, 1068-1075. [►pdf]
• Russo, F.A. & Thompson, W.F. (2005). An interval size illusion: Extra pitch influences on the perceived size of melodic intervals. Perception & Psychophysics, 67, 559-568. [►pdf]
• Thompson, W.F., Graham, P., & Russo, F.A. (2005). Seeing music performance: Visual influences on perception and experience. Semiotica, 156(1/4), 203-227. [►pdf]
• Balkwill, L-L., Thompson, W.F., & Matsunaga, R. (2004). Recognition of emotion in Japanese, Western, and Hindustani music by Japanese listeners. Japanese Psychological Research, 46(4), 337-349. [►pdf]
• Thompson, W.F., Schellenberg, E.G., & Husain, G. (2004). Decoding speech prosody: Do music lessons help? Emotion, 4, 46-64. [►pdf]
• Thompson, W.F. & Russo, F.A. (2004). The attribution of meaning and emotion to song lyrics. Polskie Forum Psychologiczne, 9, 51-62. [►pdf]
• Green, R., Turner, G., & Thompson, W.F. (2004). Deficits in facial emotion perception in adults with recent traumatic brain injury. Neuropsychologia, 42, 133-141. [►pdf]
• Thompson, W.F. (2003). Is music unique among human activities? Bulletin of Psychology and the Arts, 4(1), 38-39.
• Jamieson, R.K., Thompson, W.F., Cuddy, L.L., & Mewhort, D.J.K. (2003). Do conjunction errors in auditory recognition imply feature migration? Canadian Journal of Experimental Psychology, 57(2), 125-130. [►pdf]
• Thompson, W.F., & Schellenberg, E.G., & Husain, G (2003). Perceiving prosody in speech: Effects of music lessons. Annals of the New York Academy of Sciences, 999, 530-532. [►pdf]
• Turner, G.R.,Green, R., Thompson, W.F. (2003). Deficits in facial emotion perception in recently traumatically brain injured adults. Brain and Cognition (brief report), 51(2), 175-177. [►pdf]
• Eisenberg, J. & Thompson, W.F. (2003). A Matter of Taste: Evaluating Improvised Music. Creativity Research Journal, 15(3), 287-296.
• Husain, G., Thompson, W.F. & Schellenberg, E.G. (2002). Effects of musical tempo and mode on arousal, mood, and spatial abilities: Re-examination of the "Mozart effect". Music Perception, 20, 151-171. [►pdf]
• Thompson, W.F. (2002) Evoking Terror In Film Scores. M/C: A Journal of Media and Culture 5(1). http://journal.media-culture.org.au/0203/evoking.php (See archives for Fear, March, 2002).
• Ranvaud, R., Thompson, W.F., Moriyama, L. & Balkwill, L.L. (2001). The speed of pitch resolution in a musical context. Journal of the Acoustical Society of America, 109(6), 3021-3031. [►pdf]
• Thompson, W.F., Hall, M. & Pressing, J. (2001). Illusory conjunctions of pitch and duration in unfamiliar melodies. Journal of Experimental Psychology: Human Perception and Performance, 27, 128-140. [►pdf]
• Thompson, W.F., Schellenberg, E.G. & Husain, G. (2001). Mood, arousal, and the Mozart effect. Psychological Science, 12(3), 248-251. [►pdf]
• Thompson, W.F., Balkwill, L.L. & Vernescu, R. (2000). Expectancies generated by recent exposure to music. Memory and Cognition, 28, 547-555. [►pdf]
• Balkwill, 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. [►pdf]
• McPherson, G. & Thompson, W.F. (1998). Assessing Music Performance: Issues and influences. Research Studies in Music Education, 10, 12-24. [►pdf]
• Thompson, W.F., Diamond, C.T.P. & Balkwill, L. (1998). The adjudication of six performances of a Chopin Etude: A study of expert knowledge. Psychology of Music, 26, 154-174.
• Thompson, W.F. & Stainton, M. (1998). Expectancy in Bohemian folk song melodies: Evaluation of implicative principles for Implicative and closural intervals. Music Perception, 15, 231-252. [►pdf]
• Thompson, W.F., & Cuddy, L. L. (1997). Music performance and the perception of key. Journal of Experimental Psychology: Human Perception and Performance, 23, 116-135. [►pdf]
• Thompson, W.F., Cuddy, L. L., & Plaus, C. (1997). Expectancies generated by melodic intervals: Evaluation of principles of melodic implication in a melody completion task. Perception & Psychophysics, 59(7), 1069-1076. [►pdf]
• Thompson, W.F., & Parncutt, R. (1997). Perceptual judgments of triads and dyads: Assessment of a psychoacoustic model. Music Perception, 14(3), 263-280.
• Thompson, W.F., & Stainton, M. (1995/1996). Using Humdrum to analyze melodic structure: An assessment of Narmour's implication-realization model. Computing in Musicology, 10, 24-33.
• Thompson, W.F. (1994). Sensitivity to combinations of musical parameters: pitch and duration, and pitch pattern with durational pattern. Perception & Psychophysics, 56, 363-374. [►pdf]
• Thompson, W.F., Russo, F.A. & Sinclair, D. (1994). Effects of underscoring on the perception of closure in film excerpts. Psychomusicology, 13, 9-27. [►pdf]
• Thompson, W.F., & Sinclair, D. (1993). Pitch pattern, durational pattern, and timbre: A study of the perceptual integration of auditory qualities. Psychomusicology, 12, 29-47. [►pdf]
• Thompson, W.F. (1993). Modeling perceived relationships between melody, harmony, and key. Perception & Psychophysics, 53, 13-24. [►pdf]
• Cuddy, L.L., & Thompson, W.F. (1992). Asymmetry of perceived key movement in chorale sequences: converging evidence from a probe-tone investigation. Psychological Research, 54, 51-59.
• Thompson, W.F., & Cuddy, L.L. (1992). Perceived key movement in four-voice harmony and single voices, Music Perception, 9, 427-438. [►pdf]
• Thompson, W.F., & Mor, S. (1992). A perceptual investigation of polytonality. Psychological Research, 54, 60-71. [►pdf]
• Thompson, W.F. & Robitaille, B. (1992). Can composers express emotions through music? Empirical Studies of the Arts, 10, 79-89. [►pdf]
• Thompson, W.F., (1989). Composer-specific aspects of musical performance: an evaluation of Clynes' theory of "pulse" for performances of Mozart and Beethoven. Music Perception, 7, 15-42. [►pdf]
• Thompson, W.F. & Cuddy, L.L. (1989). Sensitivity to key change in chorale sequences: A comparison of single voices and four-voice harmony. Music Perception, 7, 151-168. [►pdf]
• Thompson, W.F., Sundberg, J., Fryden, L., & Friberg, A. (1989). The use of rules for expression in the performance of melodies. Psychology of Music, 17, 63-82.
• Thompson, W.F., Fryberg, A., Fryden, L. & Sundberg, J. (1986). Testing of rules for the automatic performance of melodies. Quarterly Progress and Status Report, 2(3), 27-44, Technical report: Department of Speech Communication and Music Acoustics, KTH, Stockholm.
• Thompson, W.F., Cuddy, L.L., and Frost, B.J. (1985). Opponent processes in vowel perception. Canadian Journal of Psychology, 39, 1-15. [►pdf]

Review Articles

• Thompson, W.F., & Green, R. (in press). Priming. In M. Danesi (Ed.). Encyclopedia of Media and Communications. M.E. Sharp Inc.
• Thompson, W.F. (2007). Review of David Huron, Sweet Anticipation: Music and the Psychology of Expectation (MIT Press: Cambridge, Mass.). Empirical Musicology Review, 2, 67-70. [►pdf]
• Thompson, W.F. (2003). Review of Patrik Juslin & John Sloboda (Ed) "Music and Emotion: Theory and Research" (Oxford University Press). Musica Scientiae.
• Thompson, W.F. (1999). Review of Water Hewlitt & Eleanor Selfridge-Field's (Ed) "Melodic Similarity: Concepts, Procedures, and Applications" (Computing and Musicology 11). Music Perception, 17, 261-274.
• Thompson, W.F. (1996). A review and empirical assessment of Eugene Narmour's 'The Analysis and Cognition of Basic Melodic Structures' (1990) and 'The Analysis and Cognition of Melodic Complexity' (1992). Journal of the American Musicological Society, XLIX(1), 127-145.

Conference Proceedings

• Thompson, W.F. (2011). Expressive performance in music: Mapping acoustic cues onto facial expressions. Proceedings of the International Symposium on Performance Science, August 2011, ISBN 978-94-90306-02-1. [►pdf]
• Thompson, W.F., Bennetts, R., Neskovic, B., & Palmer, C. (2009). Emotional lingering: Facial expressions of musical closure. Proceedings of the International Symposium on Performance Science, December 15-18, ISBN 978-94-90306-01-4.
• Ammirante, P., Thompson, W.F., & Russo, F.A. (2009). Tapping to pitched auditory feedback tones: Effects of pitch contour and interval size on intertap-interval and tap force. Proceedings of the Annual Conference of the Canadian Acoustical Association , October 14-16, 2009.
• Fassbender, E., Richards, D., Thompson, W.F., Bilgin, A. Taylor, A. (2008). The effect of Music on Learning in Virtual Environments - Initial Results. Proceedings of the 14th International Conference on Auditory Display, Paris, France, June 24-27, 2008
• Thompson, W.F. (2007). Exploring variants of amusia: tone deafness, rhythm impairment, and intonation insensitivity. Proceedings of the International Conference on Music Communication Science. December 5-7, Sydney, Australia.
• Fassbender, E., Richards, D., & Thompson, W.F. (2007). How do Tempo and Pitch shifts of soundtracks for role-playing games influence memory of facts conveyed in virtual-immersive environments? Proceedings of the International Conference on Music Communication Science. December 5-7, Sydney, Australia.
• Ilie, G., & Thompson, W.F. (2006). A comparison of the effects of music and speech prosody on three dimensions of affective experience. Proceedings of the 9th International Conference on Music Perception and Cognition, Bologne, August 20-27. ISBN 88-7395-155-4.
• Thompson, W.F., & Russo, F.A. (2006). Facial expressions of pitch structure. Proceedings of the 9th International Conference on Music Perception and Cognition, Bologne, August 20-27. ISBN 88-7395-155-4.
• Russo, F.A., Vuvan, D., & Thompson, W.F. (2006). Setting words to music: An empirical investigation concerning effects of phoneme on the experience of interval size. Proceedings of the 9th International Conference on Music Perception and Cognition, Bologne, August 20-27. ISBN 88-7395-155-4.
• Thompson, W.F., Russo, F.A., & Quinto, L. (2006). Preattentive integration of visual and auditory dimensions of music. Second International Conference on Music and Gesture, Royal Northern College of Music Manchester, UK, July 20-23. ISBN 0-9553329-0-7.
• Russo, F. A., & Thompson, W. F. (2004). Judgments of interval size by musically trained and untrained listeners. Proceedings of the 8th International Conference on Music Perception and Cognition, Northwestern University, USA. ISBN 1-876346-50-7.
• Thompson, W. F. & Russo, F. A. (2004). Visual influences on the perceived size of sung intervals. Proceedings of the 8th International Conference on Music Perception and Cognition, Northwestern University, USA. ISBN 1-876346-50-7.
• Balkwill, L., Thompson, W.F., & Schubert, E., (2002). Rhetoric revisited: Cues to affective content in music and speech. Proceedings of the 7th International Congress of Music Perception and Cognition. July, Sydney, Australia. ISBN 1876346396 CD-ROM.
• Balkwill, L. & Thompson, W.F. (1998). Basic perceptual cues to emotion in music: A cross-cultural perspective. Proceedings of the European Society for the Cognition of Music. May 28-30, Rome, Italy.

Conference Presentations

• Peter, V., McArthur, G. M., & Thompson, W. F. (2008). The relationship between auditory processing and prosodic perception: An ERP study. Forthcoming presentation at the HCSNet Summerfest, Sydney, Australia.
• Colling, L. J., and Johnson, B.W. (2008, June). Neuromagnetic correlates of mental rotation of hands. Poster presented at Human Brain Mapping, Melbourne, Australia.
• Peter, V., McArthur, G., Thompson, W. F., Crain, S., & Coltheart, M. (2007). Auditory processing disorder and specific language impairment: Is prosody the missing link? Presentation given at the Postgraduate Research Festival, Macquarie University, Sydney, Australia, December 11.
• Colling, L. J., Johnson, B.W., and Hautus, M.J. (2007, July). Neural response correlates of interaural time differences and spectral cues to pitch. Poster presented at The Auditory Brain, Lorne, Australia.
• Russo, F. A., Ammirante, P., & Thompson, W. F. (2003, June). Beyond Music Training: Influence of Cerebral Lateralization on Musical Ability. Poster presented at the Society for Music Perception and Cognition, University of Nevada at Las Vegas, USA.

Other publications

• Hautus, M. J., Johnson, B. W., & Colling, L. J. (2009). Event-related potentials for interaural time differences and spectral cues. Neuroreport, 20 (10), 951-956.
• Livingstone, S. R., Muhlberger, R., Brown, A. R., & Loch, A. (2007). Controlling Musical Emotionality: An Affective Computational Architecture for Influencing Musical Emotion. Digital Creativity, 18, 43-53. [►pdf]
• Da Milano, Francesco (2001). Ricercare III, P. Ammirante (trans.). In Guitar Repertoire and Studies/Etudes 8, Royal Conservatory of Music (ed.), p. 10. Mississauga: Frederick Harris Music.