Miles George, Thomas Goode Tucker, and Edgar Allan Poe were friends from the University of Virginia.
This is a short list of music researchers who helped shape some of my musical decisions in Tones for Poe. This is by no means an exhaustive list but rather a nod and a tip of the hat to those
Carr, Nathan R., Kirk N. Olsen, and William Forde Thompson. “The Perceptual and Emotional Consequences of Articulation in Music.” Music Perception 40, no. 3 (2023): 202–219. https://doi.org/10.1525/mp.2023.40.3.202.
Dowling, W. Jay, and Dane L. Harwood. “Timbre, Consonance, and Dissonance.” In Music Cognition, 62–89. Academic Press, Inc., 1986. and “Emotion and Meaning.” In Music Cognition, 202–224. Academic Press, Inc., 1986.
Jimenez, Ivan, Tuire Kuusi, Juha Ojala, Isabella Czedik-Eysenberg, Peter Harrison, and Aditya Chander. “Effect of Timbre on Goodness-of-Fit Ratings of Short Chord Sequences.” Music Perception: An Interdisciplinary Journal, 2025, 1–24. https://doi.org/10.1525/mp.2025.2397481.
Meyer, Leonard B. “Notes on Image Processes, Connotations and Moods.” In Emotion and Meaning in Music, 256–272. Chicago, Illinois: The University of Chicago Press, 1956.
Reymore, Lindsey, Jason Noble, Charalampos Saitis, Caroline Traube, and Zachary Wallmark. “Timbre Semantic Associations Vary Both between and within Instruments.” Music Perception 40, no. 3 (2023): 253–74. https://doi.org/10.1525/mp.2023.40.3.253.
Wallmark, Zachary. “A Corpus Analysis of Timbre Semantics in Orchestration Treatises.” Psychology of Music 47, no. 4 (2019): 585–605. https://doi.org/10.1177/0305735618768102.
“Your professions of friendship I reciprocate from the inmost depths of my heart.”