Diserens, C. M., & Fine, H. (1939). Animal auditors. In C. M. Diserens & H. Fine, A psychology of music: The influence of music on behavior (pp. 47-69). Cincinnati, OH, : College of Music.
http://dx.doi.org/10.1037/14790-002
Thus we may raise the general question—How does a man respond to music? It may be that even here a study of the behavior of the lower animals may contribute something to a completely satisfactory answer. It cannot supply the whole answer, for man is a more complex being than any animal. A great musician, composing a symphony, relies on association areas in the forebrain, which are nonexistent in the animal, not even in an intelligent ape. But Beethoven, the highly trained music critic, the man in the" street, and the savage galvanized into ecstasy by "A thigh bone, beating on a tin pan gong," all respond in some degree with their entire organism. In Beethoven and the critic, the cerebral element predominates. This is true in some measure of every trained musician. Still the musician, to a considerable degree, understands with his body. The untrained listener and the Congo Savage respond to music almost wholly in this fashion, as do the animals. Most people are probably closer to the savage or the animal in this respect. That is why they annoy the musician and the aesthete, by drumming out rhythms, and whistling and singing at concerts. It is the primitive form of response to music—response with the whole being, with the body as well as the mind. Now since musicians play for auditors, and if most human auditors respond in this primitive fashion, it is clear that a study of animal auditors may be of considerable interest and value to the professional musician who wishes to stir the public, such as it is, rather than gratify the highly trained critic, or win eternal fame as a composer. (PsycINFO Database Record (c) 2016 APA, all rights reserved)