Myers, Charles Samuel, 1873-1946 (psychologist)
Biography
Charles Samuel Myers (1873-1946), psychologist, was born in London on 13 March 1873. He attended the City of London School, and entered Gonville and Caius College, Cambridge, in 1891, becoming a Fellow in 1919. In 1898 he joined the Cambridge anthropological expedition to the Torres Straits, where he carried out experimental studies on the sensory reactions of the natives and studied their music. He returned to Cambridge in 1902, and was demonstrator in experimental psychology, 1904-1907, and university lecturer and reader, 1907-1930. He was also Professor of Experimental Psychology at King's College, London, 1906-1909. Myers moved to London in 1922, becoming principal of the National Institute of Industrial Psychology, which he had founded with H.J. Welch in 1921, and devoted himself to its development. He died at Winsford Glebe, Somerset, on 12 October 1946.
Found in 123 Collections and/or Records:
'Die Theorie der Konsonanz: Eine Psychologische. Auseinandersetzung Vornehmlich mit C. Stumpf und Th. Lipps' by Felix Krueger, 1908
'Die Theorie der Konsonanz: Eine Psychologische Auseinandersetzung Vornehmlich mit C. Stumpf und Th. Lipps' by Felix Kruger, 1906
'Die Theorie der Konsonanz, I: Eine Psychologische Auseinandersetzung Vornehmlich mit C. Stumpf und Th. Lipps' by Felix Kruger, 1906
'Die Verskunst und die Experimentelle Phonetik' by Professor E. W. Scripture, 1922
'Die Wirkung des Tonkomplexes bei Melodischer Gestaltung' by Sophie Belaiew-Exemplarsky and Boleslaus Jaworsky, 1926
'Ein Beitrag zur Kenntnis der Natürlichen Musik' by S. Baglioni, 19101027 - 19101103
There is much illustrative material in the article: photographs showing xylophones and other percussion instruments.
'Elements of Psychological Theory of Melody' by Max Meyer, 190005
English-language papers on music, 1885 - 1943
'Experimental Studies in the Psychology of Music' by Max Meyer, 1903
'Five Years of Progress in Comparative Musical Science' by W. V. Bingham, 19141115
Foreign-language papers on music, 1865 - 1935
'Industrial Psychology and the Modern World', 1937
Invitation to C. S. Myers to attend the opening of the New School of Physiology on 9 June 1914
Letter from Myers to Hartridge from Somerset about the date of a Board meeting, 19200613
Writing from Birchwood, Porlock, Somerset, Myers explains that he would rather not make the journey to Cambridge for a Board meeting before the start of the Michaelmas term. He requests that the meeting be deferred till October, by which time the University will have decided whether it is possible for him to come into residence.
Letter to Dr Myers from T. G. Jackson enclosing plans (not here extant) for the new building to show to the Syndicate, 19101202
Letter to Myers from A. C. Seward, 19130624
Seward has been to visit McEvoy's studio and is definitely in favour of offering the work (the commission to paint Ward's portrait) to McEvoy, whose work impresses him.
Letter to Myers from Ambrose McEvoy, the artist, 19130924
Letter to Myers from Ambrose McEvoy, the portraitist, 19131118
McEvoy comments that the photograph of the portrait that he has arranged to be taken is a good likeness: the photographer (highly recommended by McEvoy is called Paul Laib of Thistle Green, Fulham Road). McEvoy also asks permission for the portrait he has done of Ward to be displayed at the New English Art Club Exhibition.
Letter to Myers from G. E. Moore, 19130530
Moore discusses the question of whether a colleague called 'Adrian' can be added to the Lecture List or not. Special stipulations of the 'Special Board' might make this difficult.
Letter to Myers from H. A. Roberts, the Secretary of the Cambridge University Association, about benefactions to the fund for setting up the Experimental Psychology Laboratory, 1909
Letter to Myers from J. M. Keynes about the choice of artist to complete the portrait of James Ward, 19130530
Keynes recommends Duncan Grant, one of the 'Bloomsbury Group' artists and known for slightly experimental work, as someone to consider as portraitist of Ward. Keynes mentions that he has seen a picture by McEvoy (a favoured candidate) but that in his opinion McEvoy's style is 'old fashioned'. Keynes speaks of the need, nevertheless, to satisfy the 'subscribers' (those who are contributing to the cost of the portrait). Of course, McEvoy was eventually awarded the commission.
Letter to Myers from James Ward about the presentation of the portrait, 19140129
Ward says that, of all people, he would prefer Henry Jackson to present the portrait.
Letter to Myers from Mary Ward about how she and her husband feel about having the portrait hang in their own home for a period, 19140724
Mary Ward expresses the view that, although she and her husband would be proud to have the portrait hang in their home for a while, they would not want to prevent it being more widely seen. She leaves the decision of where it should hang to Myers.
Letter to Myers from Mary Ward about the portrait of her husband, Professor James Ward, 19140317
Mary Ward thanks Myers for the 'photogravure' of the portrait that has been sent to them, which they are very pleased with. She also proposes the idea of a gallery of portraits of Cambridge men in the Fitzwilliam Museum: this could include portraits like the one of her husband on permanent display, and temporary loans from other collections to add interest.
Letter to Myers from Mary Ward, wife of Professor James Ward, about the choice of artist for her husband's portrait, 19130601
Mary Ward apologises for having been late to reply, explaining that her husband knows little of modern artists and so has no particular opinion or preference on the choice of artist.
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