Written by a musician untrained in psychology, this article draws attention to problems arising from the separation of the disciplines of perceptual psychology and musical analysis. Psychologists are apt to make prescriptions about the nature of music based on a narrow and often primitive understanding of the medium. Musicians, on the other hand, are in the habit of basing analysis on sweeping assumptions about the nature of perception for which there is little experimental evidence. The author argues, however, that although it would be useful for such assumptions to be subjected to rigorous psychological testing, the assumptions themselves are not to be dismissed as evidence of the way the mind understands music.

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