Cuddy, L.L., & Arbuckle, T.Y. (1967). Stimulus and response meaningfulness in pairedassociate learning. Psychonomic Science, 8, 159-160.

Cuddy, L.L. (1968). Practice effects in the absolute judgment of pitch. Journal of the Acoustical Society of America, 43, 1069-1076.

Arbuckle, T.Y., & Cuddy, L.L. (1969). Discrimination of item strength at time of presentation. Journal of Experimental Psychology, 81, 126-131.

Cuddy, L.L. (1970). Training the absolute judgment of pitch. Perception and Psychophysics, 8, 265269.

Cuddy, L.L. (1971). The absolute judgment of musicallyrelated pure tones. Canadian Journal of Psychology, 25, 4255.

Bull, A.R., & Cuddy, L.L. (1972). Memory for pitch of fixed and roving stimulus tones. Perception and Psychophysics, 11, 105-109.

Cuddy, L.L. (1972). Comment on "Practice effects in the absolute judgment of frequency" by Heller and Auerbach. Psychonomic Science, 28, 68.

Cuddy, L.L., Pinn, J., & Simons, E. (1973). Anchor effects with biased probability of occurrence in the absolute judgment of pitch. Journal of Experimental Psychology, 100, 218-220.

Cuddy, L.L., & Cohen, A.J. (1976). Recognition of transposed musical sequences. Quarterly Journal of Experimental Psychology, 28, 255270.

Dewar, K.M., Cuddy, L.L., & Mewhort, D.J.K. (1977). Recognition memory for single tones with and without context. Journal of Experimental Psychology: Human Learning and Memory, 3, 6.

Cuddy, L.L., Cohen, A.J., & Miller, J. (1979). Melody recognition: The experimental application of musical rules. Canadian Journal of Psychology, 33, 148-157.

Cuddy, L.L., & Wiebe, M.G. (Eds.). (1979). Music and the experimental sciences. Special double issue of the Humanities Association Review, 30 (1+2), xi122.

Cuddy, L.L., & Lyons, H.I. (1981). Musical pattern recognition: A comparison of listening to and studying tonal structures and tonal ambiguities. Psychomusicology, 1(2), 15-33.

Cuddy, L.L., Cohen, A.J., & Mewhort, D.J.K. (1981). Perception of structure in short melodic sequences. Journal of Experimental Psychology: Human Perception and Performance, 7, 869-883.

Cuddy, L.L. (1982). From tone to melody to music: Some directions for a theory of musical cognition. Bulletin of the Council for Research and Music Education, 71, 1529.

Cuddy, L.L. (1982). Musical rules and pitch judgment. Acoustics and Noise Control in Canada, 10, 4048.

Cuddy, L.L. (1982). On hearing pattern in melody. Psychology of Music, 10(1), 310.

Cuddy, L.L., & Keane, D.R. (1982). Introduction to the Queen's Symposium on musical perception. Canadian University Music Review, 3, xixiii (with 6 collected and edited papers).

Dobbins, P., & Cuddy, L.L. (1982). Octave discrimination: An experimental confirmation of the "stretched" subjective octave. Journal of the Acoustical Society of America, 72, 411-415.

Zuk, I., Keane, D.R., & Cuddy, L.L. (1982). Factors of musical perception: Three points of view. Canadian University Music Review, 3, 102122.

Cuddy, L.L. (1985). Colour hearing: Some comments. Psychology of Music, 13(2), 133134. Cuddy, L.L. (1985). The color of melody. Music Perception, 2, 345-360.

Thompson, W.R., Cuddy, L.L., & Frost, B.J. (1985). Opponent processes in vowel perception. Canadian Journal of Psychology, 39, 115.

Smith, K.C., & Cuddy, L.L. (1986). The pleasingness of melodic sequences: Contrasting effects of repetition and rulefamiliarity. Psychology of Music, 14(1), 1732.

Cuddy, L.L., & Badertscher, B. (1987). Recovery of the tonal hierarchy: Some comparisons across age and musical experience. Perception and Psychophysics, 41, 609-620.

Thompson, W.F., & Cuddy, L.L. (1987). Musical judgements of Bach chorale excerpts. In J. Sundberg (Ed.). Harmony and tonality. Stockholm: Royal Swedish Academy of Music.

Cuddy, L.L., & Dobbins, P.A. (1988). Octave discrimination: Temporal and contextual effects. Canadian Acoustics, 16, 3-13.

Smith, K.C., & Cuddy, L.L. (1989). Effects of metric and harmonic rhythm on the detection of pitch alterations in melodic sequences. Journal of Experimental Psychology: Human Perception and Performance, 15, 457-471.

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.

Cuddy, L.L. (1991-1992). Melodic patterns and tonal structure: Converging evidence. Psychomusicology, 10, 107-126.

Cuddy, L.L., & Thompson, W.F. (1992). Asymmetry of perceived movement in chorale sequences: Converging evidence from a probe-tone analysis. 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.

Cuddy, L.L., & Upitis, R. (1992). Aural perception. In R. Colwell (Ed.). Handbook of research in music education, pp. 333-343. New York: Schirmer/Macmillan.

Cuddy, L.L. (1993). Melody comprehension and tonal structure. In T. Tighe and W.J. Dowling (Eds.). Psychology and Music: The understanding of melody and rhythm, pp. 19-38. New Jersey: Erlbaum.

Steinke, W.R., Cuddy, L.L., & Holden, R.R. (1993). Perception of musical tonality as assessed by the probe-tone method. Canadian Acoustics, 21, 85-86.

Cuddy, L.L. (1993). Synästhesie. In H. Bruhn, R. Oerter, & H. Rösing (Eds. and Trans.). Musikpsychologie, Ein Handbuch, pp. 499-505. Hamburg: Rowholt.

Smith, K.C., Cuddy, L.L., & Upitis, R. (1994). Figural and metric understanding of rhythm. Psychology of Music, 22, 117-135.

Oram, N., & Cuddy, L.L. (1995). Responsiveness of Western adults to pitch distributional information in melodic sequences. Psychological Research/Psychologische Forshung, 57, 103-118.

Cuddy, L.L., & Lunney, C.A. (1995). Expectancies generated by melodic intervals: Perceptual judgments of melodic continuity. Perception and Psychophysics, 57, 451-462.

Cuddy, L.L. (1997). Tonal relations. In I. Deliège and J. Sloboda (Eds.), Perception and cognition of music, pp. 329-352. London: Taylor & Francis.

Thompson, W.F., & Cuddy, L.L. (1997). Music performance and the perception of key movement. Journal of Experimental Psychology: Human Perception and Performance, 23, 116-135.

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 and Psychophysics, 59, 1069-1076.

Steinke, W.R., Cuddy, L.L., & Holden, R.R. (1997/1998). Dissociation of musical tonality and pitch memory from nonmusical cognitive abilities. Canadian Journal of Experimental Psychology, 51, 316-334.

Galembo, A., Askenfelt, A., & Cuddy, L.L. (1999). Observations on the effects of phase on pitch and timbre in the piano bass range. Speech, Music and Hearing Laboratory Quarterly Progress and Status Report, Dept. of Speech Communication and Music Acoustics, Royal Institute of Technology, Stockholm, Sweden, TMH-QPSR 4/1998, 61-83.

Cuddy, L.L. & Smith, N.A. (2000). Perception of tonal pitch space and tonal tension. In D. Greer (Ed.), Musicology and Sister Disciplines, pp. 47-59. Oxford: Oxford University Press.

Kilgour, A.R., Jakobson, L.S., & Cuddy, L.L. (2000). Music training and rate of presentation as mediators of text and song recall. Memory & Cognition, 28, 700-710.

Galembo, A., Askenfelt, A., Cuddy, L.L., & Russo, F.A. (2001). Effects of phase on pitch and timbre in the piano bass range. Journal of the Acoustical Society of America, 110, 1649-1666.

Rousseau, L., Hébert, S., and Cuddy, L.L. (2001). Impaired short temporal interval discrimination in a dyslexic adult. Brain & Cognition, 46, 249-254.

Steinke, W.R., Cuddy, L.L., & Jakobson, L.S. (2001). Dissociations among functional subsystems governing melody recognition after right-hemisphere damage. Cognitive Neuropsychology, 18, 411-437.

Nicholson, K.G., Baum, S., Cuddy, L.L., & Munhall, K.G. (2002). A case of impaired auditory and visual speech prosody perception after right-hemisphere damage. Neurocase, 8, 314-322.

Hébert, S., & Cuddy, L.L. (2002). Detection of metric structure in auditory figural patterns. Perception and Psychophysics, 64, 909-918.

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, 125-130.

Lantz, M.E., Kilgour, A.R., Nicholson, K.G., & Cuddy, L.L. (2003). Judgments of musical emotion following right hemisphere damage. Brain and Cognition, 51, 190-191.

Nicholson, K.G., Baum, S., Kilgour, A.R., Koh, C.K., Munhall, K.G., & Cuddy, L.L. (2003). Impaired processing of prosodic and musical patterns. Brain and Cognition 52, 382-389.

Smith, N.A., & Cuddy, L.L. (2003). Perceptions of musical dimensions in Beethoven's Waldstein sonata: An application of Tonal Pitch Space theory. Musicae Scientiae, 7, 7-34.

Cuddy, L.L. (2003). Music cognition. In D. Randel (Ed.), The New Harvard Dictionary of Music (2nd Edition). Cambridge, MA: Harvard University Press.

Kilgour, A.R., Jakobson, L.S., & Cuddy, L.L. (2003). Time-tagging: A key to musicians' superior memory. Music Perception 20, 307-313.

Russo, F.A., Windell, D.L., & Cuddy, L.L. (2003). Learning the "Special Note": Evidence for a critical periods for absolute pitch acquisition. Music Perception 21, 119-127.

Galembo, A., Askenfelt, A., Cuddy, L. L., & Russo, F. A. (2004) Perceptual relevance of inharmonicity and spectral envelope in the piano bass range. Acta Acustica, 90, 528-536.

Krumhansl, C.L. & Cuddy, L.L. (2005). Musical frames of reference: Tonal hierarchies. In T. Stoffer and R. Oerter (Eds.), German Encyclopedia of Psychology.

Cuddy, L.L., & Duffin, J. M. (2005).   Music, memory, and Alzheimer's Disease: Is music recognition spared in dementia, and how can it be assessed?  Medical Hypotheses, 64, 229-235.

Cuddy, L. L., Balkwill, L-L., Peretz. I, & Holden, R. R. (2005). Musical difficulties are rare: A study of “tone deafness” among university students. Annals of the New York Academy of Science, 1060, 311-324.

Hébert, S., & Cuddy, L.L. (in press). Music-reading deficiencies and the brain. Advances in Cognitive Psychology (Special Issue on Music Performance). Available online.

Russo, F. A., Cuddy, L. L., Galembo, A., & Thompson, W. F. (in press). Sensitivity to tonality across the pitch range. Perception.