壹、中文部分
王文科、王智弘（2008）。教育研究法。台北：五南。
方銘健（1997）。藝術、音樂情感與意義。台北：全音。
宋婉萍（1998）。大學生音樂偏好、人格特質、與創造力之相關研究。國立臺灣師範大學教育心理與輔導研究所碩士論文，未出版，台北。
李毓娟、吳靜吉、郭俊賢、王文中（1997）。臺灣大學生心情的自我調適：心情不佳時的調適策略及其相關因素。政大學報，75，173-206。
林宜家（2006）。國中生歌唱學習經驗與情緒調節相關性之研究。國立臺灣師範大學音樂研究所碩士論文，未出版，台北。
林清山（2000）。實驗研究法。載於黃光雄、簡茂發（主編），教育研究法（頁309-340）。台北：師大書苑。
林新發（2000）。調查研究法。載於黃光雄、簡茂發（主編），教育研究法（頁255-289）。台北：師大書苑。
姚世澤（2000）。音樂教育與音樂行為。台北：師大書苑。
郭生玉（1999）。心理與教育測驗。台北：精華。
教育部統計處（2008）。大專院校概況。2008年11月26日，取自 http://www.edu.tw/statistics/content.aspx?site_content_sn=8956
張春興（1997）。教育心理學。台北：東華。
張春興（2006）。張氏心理學辭典。台北：東華。
陳曉雰（2002）。藝術與人文－以音樂實踐美感教育。美育，128，31- 40。
郭靜晃（2007）。社會行為研究法。台北：洪葉。
鈕文英（2007）。教育研究方法與論文寫作。台北：雙葉。
黃靜芳、吳舜文（2007）。大學生音樂選曲與情緒反應之相關研究。國際藝術教育學刊，5(1)，33-70。黃靜芳、林小玉（2009）。大學生人格特質、音樂偏好與聆賞情緒之相關研究。藝術研究期刊，5，181-202。葛樹人（1996）。心理測驗學。台北：桂冠。
鄭心怡（2007）。台南地區老年人音樂偏好與聆聽音樂之生理反應。國立台南大學音樂研究所碩士論文，未出版，台南。
蔡秀玲、楊智馨 （1999）。情緒管理。台北：楊智。
潘慧玲（主編）（2006）。教育研究的取徑：概念與應用。台北：高等教育。
謝婉如（1991）。音樂科情意教學與國中生情緒之相關研究。國立臺灣師範大學音樂研究所碩士論文，未出版，台北。
蘇郁惠（2005）。青少年流行音樂偏好、態度與音樂環境之相關研究。藝術教育研究，9，1-32。
貳、西文部分
Abeles, H. F., & Chung, J. W. (1996). Responses to music. In D. A. Hodges (Ed.), Handbook of music psychology (pp. 285-342). Saint Louis, MI: MMB Music.
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Bartlett, D. L. (1973). Effect of repeated listenings on structural discrimination and affective response. Journal of Research in Music Education, 21(4), 302-317.
Berg, B. L. (2007). Qualitative research methods for the social sciences (6th ed.). Boston: Allyn and Bacon.
Boardman, E., Andress, B., Pautz, M. P., & Willman, R. (1998). Music: Teachers edition. New York: Holt, Rinehard and Winston.
Boyle, J. D., & Radocy, R. E. (1987). Measurement and evaluation of music experience. New York: Schirmer Books.
Collier, G. L. (2007). Beyond valence and activity in the emotional connotation of music. Psychology of Music, 35(1), 110-131.
Creswell, J. W. (2008). Educational research: Planning, conducting, and evaluating quantitative and qualitative research (3rd ed.). Upper Saddle Creek, NJ: Pearson Education.
Crozier, W. R. (1997). Music and social influence. In D. J. Hargreaves & A. C. North (Eds.), The social psychology of music (pp. 67-83). New York: Oxford University.
DeNora, T. (2001). Aesthetic agency and musical practice: New directions in the sociology of music and emotion. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 161-180). New York: Oxford University.
Farina, F. (2008). The drawing and the perception of emotions in music in preschool-age children: An exploratory study. Paper presented at the 28th ISME world conference (abstract), University of Bologna, Italy.
Fredrickson, W. E. (1997). Elementary, middle, and high school student perceptions of tension in music. Journal of Research in Music Education, 45(4), 626-635.
Fritz, T., Jentschke, S.,Gosselin, N., Sammler, D., Peretz, I., Turner, R., Friederici, A. D., & Koelsch, S. (2009). Universal recognition of three basic emotions in music. Current Biology, 19, 573-576.
Fung, C. V. (1996). Musicians’ and nonmusicians’ preference for world musics: Relation to musical characteristics and familiarity. Journal of Research in Music Education, 44(1), 60-83.
Gabrielsson, A. (2001). Emotions in strong experiences with music. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp.431-449). New York: Oxford University.
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Gagnon, L., & Peretz, I. (2003). Mode and tempo relative contributions to “happy-sad” judgments in equitone melodies. Cognition and Emotion, 17(1), 25-40.
Gerardi, G. M., & Gerken, L. (1995). The development of affective responses to modality and melodic contour. Music Perception, 12(3), 279-290.
Geringer, J. M., Madsen, C. K., & Gregory, D. (2004). A fifteen-year history of the Continuous Response Digital Interface: Issues relating to validity and reliability. Bulletin of the Council for Research in Music Education, 160, 1-15.
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Gregory, D. (2008). 2D-CRDI software. Retrieved June 17, 2008, from http://mailer.fsu.edu/~ekawaguchi/CRDI/2DCRDISoft.html
Grewe, O., Nagel, F., Kopiez, R., & Altenmuller, E. (2007). Listening to music as a pre-creative process: Physiological, psychological, and psychoacoustical correlates of chills and strong emotions. Music Perception, 24(3), 297-314.
Guhn, M. G., Hamm, A., & Zentner, M. (2007). Physiological and music-acoustic correlates of the chill response. Music Perception, 24(5), 473-483.
Hanson, W. E., Piano Clark, V. L., Petaka, K. S., Creswell, J. W., & Creswell, J. D. (2005). Mixed methods research designs in counseling psychology. Journal of Counseling Psychology, 52(2), 224-235.
Hargreaves, D. J. (1984). The effects of repetition on liking for music. Journal of Research in Music Education, 32(1), 35-47.
Heppner, P. P., Wampold, B. E., & Kivlighan, D. M. (2008). Research design in counseling (3rd ed.). San Francisco: Thomson Brook/Cole.
Hevner, K. (1935). The affective character of major and minor modes in music. The American Journal of Psychology, 47(1), 103-118.
Hevner, K. (1936). Experimental studies of the elements of expression in music. The American Journal of Psychology, 48(2), 246-268.
Hevner, K. (1937). The affective value of pitch and tempo in music. The American Journal of Psychology, 49(4), 621-630.
Huron, D. (2008). Lost in music. Nature, 453, 456-457.
Husain, G., Thompson, W. F., & Schellenberg, E. G. (2002). Effects of musical tempo and mode on arousal, mood, and spatial abilities. Music Perception, 20(2), 151-171.
Juslin, P. N., & Laukka, P. (2004). Expression, perception, and induction of emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research, 33(3), 217-238.
Juslin, P. N., & Lindström, E. (2003). Musical expression of emotions: Modeling composed and performance features. Paper presented at the 5th Triennial ESCOM conference (abstract), Hanover University of music and drama, Germany.
Kamenetsky, S. B., Hill, D. S., & Trehub, S. E. (1997). Effect of tempo and dynamics on the perception of emotion in music. Psychology of Music, 25(2), 149-160.
Kastner, M. P., & Crowder, R. G. (1990). Perception of the major/minor distinction: Ⅳ. Emotional connotation in young children. Music Perception, 8(2), 189-201.
Kellaris, J., & Kent, R. (1994). An exploratory investigation of responses elicited by music varying in tempo, tonality, and texture. Journal of Consumer Psychology, 2(4), 381-401.
Krugman, H. E. (1943). Affective response to music as a function of familiarity. Journal of Abnormal & Social Psychology, 38, 388-392.
Krumhansl, C. L. (2002). Music: A link between cognition and emotion. Current Directions in Psychological Science, 11(2), 45-50.
Livingstone, S. R., Mühlberger, R., Brown, A. R., & Loch, A. (2007). Controlling musical emotionality: An affective computational architecture for influencing musical emotions. Digital Creativity, 18(1), 43-53.
Lychner, J. A. (1998). An empirical study concerning terminology relating to aesthetic response to music. Journal of Research in Music Education, 46(2), 303-319.
Madson, C. K. (1997). Focus of attention and aesthetic response. Journal of Research in Music Education, 45(1), 80-89.
Madson, C. K. (1998). Emotion versus tension in Haydn’s Symphony no. 104 as measured by the two-dimensional continuous response digital interface. Journal of Research in Music Education, 46(4), 546-554.
Madsen, C. K., Brittion, R. V., & Capperella-Sheldon, D. A. (1993). An empirical method for measuring the aesthetic experience to music. Journal of Research in Music Education, 41(1), 57-69.
Madson, C. K., Geringer, J. M., & Fredrickson, W. E. (1997). Focus of attention to musical elements in Haydn’s symphony ＃104. Bulletin of the Council for Research in Music Education, 133, 57-63.
Maxwell, J. A. (2005). Qualitative research design: An interactive approach. Thousand Oaks, CA: Sage.
McCulloch, R. (1999). Modality and children’s affective responses to music. Retrieved November 28, 2007, from http://www.mus.cam.ac.uk/%7Eic108/PandP/McCulloch99/McCulloch99.html
North, A. C., & Hargreaves, D. J. (1997). Liking, arousal, and the emotions expressed by music. Scandinavian Journal of Psychology, 38, 45-53.
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Phelps, R. P., Ferrara, L., & Goolsby, T. W. (1993). A guide to research in music education (4th ed.). London: The Scarecrow.
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Reimer, B. (2005). New brain research on emotion and feeling: Dramatic implications for music education. The International Journal of Arts Education, 3(1), 8-36.
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Scherer, K. R., & Zentner, M. R. (2001). Emotional effects of music: Production rules. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 223-248). New York: Oxford University.
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Schubert, E. (1999). Measuring emotion continuously: Validity and reliability of the two-dimensional emotion space. Australian Journal of Psychology, 51(3), 154-165.
Schubert, E. (2001). Continuous measurement of self-report emotional response to music. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 393-414). New York: Oxford University.
Schubert, E. (2007). The influence of emotions, locus of emotion and familiarity upon preference in music. Psychology of Music, 35(3), 499-515.
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參、翻譯書籍
Campbell, D. (1997/2005). The Mozart effect: Tapping the power of music to heal the body, strengthen the mind, and unlock the creative spirit.
林珍如、夏荷立（譯）。莫札特效應－音樂身心靈療法。台北：先覺。
Goleman, D. (1996/2008). Emotional intelligence: Why it can matter more than IQ.
張美惠（譯）。EQ－為什麼EQ比IQ更重要？台北：時報。
Miller, H. M., Taylor, P., & Williams, E. (1978/1999). Introduction to music.
桂冠學術編輯室（譯）。音樂概論。台北：桂冠。