Richard Ashley is Associate Professor of Music, Cognitive Science, and Cognitive Neuroscience at Northwestern University. His research interests are in cognitive aspects of musical structure, musical memory, music and emotion, and expressive performance. A former president of the Society for Music Perception and Cognition, he remains active as a performer.
Mylène Barbaroux is a PhD student in Cognitive Neuroscience. She is working with Mireille Besson on the links between auditory perception and word learning in adults. Specifically, she is combining psychoacoustical training procedures with electoencephalographic measurements. To test for transfer effects on syllabic categorization and word learning.
Fernando Benadon is Associate Professor of Music at American University. His work explores rhythm and timing in jazz, popular music, speech, and global drumming traditions. An active composer, he has released two albums and was the recipient of a Guggenheim Fellowship.
Tonya R. Bergeson, PhD holds faculty positions at Butler University and Indiana University School of Medicine. Her research interests include the effects of early auditory experience on speech, language, and music development in infants and children with hearing loss who use hearing aids and cochlear implants.
Mireille Besson is Research Director at CNRS. Her research interests are centered on music, language, and the brain, mainly studying between domain transfer effects using electrophysiological methods. She is interested in the societal impact of music training, using music as an educational tool for childrens’ development, and as a remediation tool for patients.
Laura Bishop is a Postdoctoral Researcher at the Austrian Research Institute for Artificial Intelligence (OFAI) in Vienna, Austria. She received her PhD in music cognition from the MARCS Institute, University of Western Sydney, Australia. Her research investigates audiovisual integration, visual communication, and coordination among ensemble musicians during creative collaboration.
Ragnhild Brøvig-Hanssen is Associate Professor in Popular Music Studies at the University of Oslo. She has published widely on music production, digital media, remix culture, and sound studies and is co-author of the book Digital Signatures: The Impact of Digitization on Popular Music Sound (MIT Press, 2016).
Anne Caclin holds a full-time INSERM research position within the “Brain Dynamics and Cognition” team of the Lyon Neuroscience Research Center. She completed a PhD and postdoctoral research in cognitive neuroscience.
Elaine Chew is Professor of Digital Media at Queen Mary University of London. A pianist (LTCL 1985, FTCL 1987) and operations researcher (PhD MIT 2000, SM MIT 1998) by training, her research centers on the mathematical and computational modeling of music structures and expressivity, including automated analysis and scientific visualization. She is the author of Mathematical and Computational Modelling of Tonality: Theory and Applications (Springer, 2014).
Eric F. Clarke is Heather Professor of Music at the University of Oxford. His books include Ways of Listening, Music and Mind in Everyday Life, and Music and Consciousness. He was Associate Director of the AHRC Centre for Musical Performance as Creative Practice (2009–14), and is a Fellow of the British Academy.
Trevor de Clercq is Assistant Professor in the Department of Recording Industry at Middle Tennessee State University in Murfreesboro, Tennessee, where he coordinates the musicianship curriculum and teaches coursework in audio technology. He holds a PhD in music theory from the Eastman School of Music in Rochester, New York.
Annabel J. Cohen (Ph.D. Queen’s University; ARCT Voice Performance Royal Conservatory of Music) is Professor of Psychology at the University of Prince Edward Island, Fellow of the American and Canadian Psychological Associations, Editor of Psychomusicology: Music, Mind & Brain, and initiated and directs the AIRS (Advancing Interdisciplinary Research in Singing) SSHRC Major Collaborative Research Initiative.
Anne Danielsen is Professor of Musicology at the University of Oslo. Her field of research is rhythm, digital technology, and music production. Books include Presence and Pleasure (2006), the collection Musical Rhythm in the Age of Digital Reproduction (2010) and the co-authored Digital Signatures: The Impact of Digitization on Popular Music Sound (2016).
Roger T. Dean is a composer/improviser, and since 2007 a Research Professor in music cognition and computation at the MARCS Institute, Western Sydney University. He founded and directs the ensemble austraLYSIS, and performed as bassist, pianist, piano accompanist, and laptop computer artist in many other contexts. His current research is on affect in music, the role of acoustic intensity and timbre, and rhythm generation and perception. Previously he was foundation CEO of the Heart Research Institute, Sydney, researching in biochemistry, and then Vice-Chancellor and President of the University of Canberra.
Nicola Dibben is Professor in Music at the University of Sheffield, UK. She is former editor of the academic journals Empirical Musicology Review and Popular Music. Publications
include the co-authored Music and Mind in Everyday Life (2010) and monograph Björk (2009), which lead to work on the multi-media app album, Biophilia (2011).
Eva Dittinger is a PhD student at the Brain and Language Research Institute (BLRI) under the supervision of Mireille Besson and Mariapaola D’Imperio. Her research is focused on transfer effects from music training to novel word learning in school-aged children, as well as in young and older adults.
Zohar Eitan is a Professor of Music Theory and Music Cognition at Tel Aviv University. Much of Eitan’s research involves empirical investigation of crossmodal and cross-domain experience in musical contexts. His current research project examines the crossmodal correspondences implied by Western tonality. Eitan’s recent work was published in Cognition, JEP-HPP, Experimental Psychology, and Music Perception.
Dorottya Fabian is Professor of Music at University of New South Wales, Sydney, Australia. Her research investigates the history and aesthetics of Western classical music performance as evidenced in sound recordings and written documents. Recently she published a new monograph, A Musicology of Performance, and an edited volume on style and expression in music performance.
Jörg Fachner is Professor of Music, Health, and the Brain at Anglia Ruskin University, Cambridge, UK. A specialist in translational issues of interdisciplinary research topics between medical, humanities, and music sciences, his research interests include music therapy and its applications in healing cultures, modern medicine and special education, biomarkers, and Kairological principles of music therapy processes and improvisation.
Bruno Gingras first completed an MSc in molecular biology before turning to music theory, graduating with a PhD from McGill University in 2008. He is currently a University Assistant at the Institute of Psychology of the University of Innsbruck. His research interests include biomusicology, music-induced emotions, and individuality in music performance.
Robert O. Gjerdingen teaches in the program of Music Theory and Cognition at Northwestern University. He is a former editor of Music Perception and a winner of the Wallace Berry Award given by the Society of Music Theory. His research concerns how music was taught to children in European conservatories in past centuries.
Werner Goebl is Associate Professor in the Department of Music Acoustics at the University of Music and Performing Arts in Vienna, Austria. His research focuses on motion analysis of musical behaviors, quantitative performance research, ensemble synchronization, and the acoustics of keyboard instruments. He co-chaired the 2013 International Symposium on Performance Science (ISPS) at his alma mater.
Meghan Goodchild received a PhD in music theory and a Master of Information Studies from McGill University. Her interdisciplinary research interests include orchestration, timbre perception, and music perception and cognition. She is currently the project manager for the Schulich School of Music’s Orchestration and Perception project.
Reyna L. Gordon, PhD, is Assistant Professor of Otolaryngology at Vanderbilt University Medical Center, where she directs the Music Cognition Lab. She is also Associate Director
of the program for Music, Mind, and Society at Vanderbilt. Dr. Gordon’s research is focused on the role of rhythm in language development and disorders.
Jessica A. Grahn is an Associate Professor at the Brain and Mind Institute and Department of Psychology at the University of Western Ontario. She has degrees in neuroscience and piano performance from Northwestern University and a PhD from Cambridge University, England, in the neuroscience of music. She specializes in rhythm, movement, and cognition.
Roni Granot is a Senior Lecturer in the Musicology Department at the Hebrew University of Jerusalem. At the center of her research are questions related to our response to music, including how music is processed in the human brain, which cognitive processes are involved in these processes, and the relationship between these processes and music theory.
Lucy Green is Professor of Music Education at the UCL Institute of Education, London UK. Her research is in the sociology of music education, specializing in meaning, ideology, gender, informal learning and new pedagogies. She has written five books, and edited two, on music education. Her next one, co-authored with David Baker, is Insights in Sound: The Lives and Learning of Visually Impaired Musicians.
Molly J. Henry is a Postdoctoral Fellow in the Music and Neuroscience Lab at the University of Western Ontario. She completed her PhD in experimental psychology at Bowling Green State University. She studies how synchronization between brain rhythms and auditory rhythms affects human perception.
Catherine Hirel is full-time Neurologist at the Neurological Hospital in Lyon, France. She graduated with a master’s degree in neuroscience at the Lyon Neuroscience Research Center.
Rachael Frush Holt, PhD, is Associate Professor of Speech and Hearing Science at Ohio State University. Her research interests include speech perception, language, and neurocognitive development in children with and without hearing loss, and the role of family environment in outcomes of children who use hearing aids and cochlear implants.
Peter E. Keller, B.Mus., B.A. (Psychology), PhD, is Professor of Cognitive Science and leader of the “Music Cognition and Action” research program in the MARCS Institute for Brain, Behaviour and Development at Western Sydney University, Australia. His research examines the behavioural and brain bases of human interaction in musical contexts.
Morten L. Kringelbach studies the functional neuroanatomy of pleasure using a range of behavioural, neuropsychological, neuroimaging, neurosurgical, and computational methods in his “Hedonia: Transnational Research Group,” based at the Universities of Oxford and Aarhus. Professor Kringelbach is Principal Investigator in the centre for Music in Brain, Aarhus University.
Alexandra Lamont is Senior Lecturer at Keele University, and has just completed a five-year term as Editor of Psychology of Music. She is trained in the fields of music, education, and psychology, and her interests are diverse; among her research areas are musical development, music education, and the sociology and psychology of music consumption.
Edward W. Large directs the Music Dynamics Laboratory at University of Connecticut, where he is Professor of Psychological Sciences and Professor of Physics. His research interests include neural dynamics and embodied cognition, focusing on rhythm, tonality, pattern perception, learning and emotion.
Kyung Myun Lee is Assistant Professor in the School of Humanities and Social Sciences, Korea Advanced Institute of Science and Technology. Trained in music, psychology, and neuroscience, her research interests include neural processing of pitch and rhythm and meter perception. She has served as President of the Asia-Pacific Society for the Cognitive Sciences of Music.
Yohana Lévêque is a Lecturer in Cognitive Psychology at Lyon 1 University. She graduated from a speech therapy program and received a PhD in neurolinguistics. She is also affiliated with the Lyon Neuroscience Research Center.
Psyche Loui is Assistant Professor in the Department of Psychology and the program in neuroscience and behavior at Wesleyan University. She is director of the MIND Lab (Music, Imaging, and Neural Dynamics Laboratory) and enjoys asking questions about how the mind enables music, and what we can learn from musical functions of the brain. When not teaching and conducting research, she enjoys playing the violin.
Cyrille L. Magne is Associate Professor of Psychology at Middle Tennessee State University, where he is also a member of the interdisciplinary PhD program in Literacy Studies. His research interests include the neural basis of prosody sensitivity and the link between music aptitude and language comprehension skills.
Elizabeth H. Margulis is Professor and Director of the Music Cognition Lab at the University of Arkansas. Her 2014 book On Repeat: How Music Plays the Mind (Oxford University Press) won the Wallace Berry Award from the Society for Music Theory and the Deems Taylor/Virgil Thomson Award from ASCAP.
Peter Martens is Associate Professor at Texas Tech University, where he teaches specialized courses in music cognition, the history of music theory, and interdisciplinary arts. His research interests include the communication of musical time and emotional states between and among composers, performers, and listeners. He is also active as a translator and editor.
Elizabeth West Marvin is Professor of Music Theory at the Eastman School of Music, with a dual appointment in Brain and Cognitive Sciences at the University of Rochester. She is a past president of the Society for Music Theory and has published widely on music cognition and music theory pedagogy.
Stephen McAdams studied composition and theory before entering experimental psychology. He worked at IRCAM in Paris and was then a Research Scientist in the French CNRS before moving to the Schulich School of Music of McGill University to direct CIRMMT. He is Professor and Canada Research Chair in Music Perception and Cognition.
Andrew McPherson is a Reader (Associate Professor) in the Centre for Digital Music at Queen Mary University of London. Trained as a composer (PhD UPenn 2009) and an electrical engineer (MEng MIT 2005), his research focuses on augmented instruments, performer-instrument interaction and embedded hardware systems for musical applications.
Nikki Moran is Senior Lecturer in Music and programme director of Music—MA (Hons) at the Reid School of Music, University of Edinburgh. She specializes in the study of music as communication, through research and teaching projects that explore the relationship between musical performance and social interaction.
Miriam A. Mosing is Assistant Professor at the Neuroscience Department and the Department of Medical Epidemiology and Biostatistics at the Karolinska Institute Sweden. She completed her graduate and postgraduate research in the Netherlands and Australia. Her research investigates (1) expertise development and (2) quality of life throughout the lifetime and in the aged, using interdisciplinary approaches to quantify the interplay between genes and the environment.
Susan A. O’Neill is Professor in the Faculty of Education at Simon Fraser University in Canada. She is Director of MODAL (Multimodal Music Opportunities, Diversity and Learning) Research Group. In 2016, she became President-Elect of the International Society for Music Education. She has published widely in music psychology and music education.
Emily Przysinda is Research Assistant and Lab Coordinator for the MIND Lab at Wesleyan. A recent graduate from Skidmore College with a degree in neuroscience and music, she is excited to combine both of these passions through studying the perception and production of music along with its effects on cognition, personality, and creativity. Emily is also interested in the clinical applications of music cognition, as she plans to eventually pursue medical research. In her free time, Emily enjoys playing the flute, listening to classical music, and swimming.
Dr. Suvi Saarikallio, Docent of Music Psychology, works as a senior researcher at the University of Jyväskylä, Finland. Her research interests include music and emotion, especially mood regulation and emotional development, personality psychology, and well-being. Saarikallio actively publishes in the field of music psychology and has recently been running research projects involving music as part of everyday emotionality, youth emotional competence, and mental health.
Rebecca S. Schaefer has a background in clinical psychology, music cognition, and cognitive neuroscience. As an Assistant Professor in Health, Medical & Neuropsychology at Leiden University, The Netherlands, she focuses on health applications of musical interactions, specifically involving music imagery, perception, and moving to musical rhythm, using neuroimaging, behavioral and cognitive measures.
Daniel Shanahan is an Assistant Professor of Music Theory at Louisiana State University, where he is the founder and director of the Music Cognition and Computation Lab. He has a PhD from the University of Dublin, Trinity College, and is currently co-editor of Empirical Musicology Review.
Tim Smart is a PhD student at the UCL Institute of Education, London, UK. In addition, he is a professional trombone player. His current playing positions include the hit West End show, “The Book of Mormon,” the iconic UK ska/punk band, The Specials, and a range of freelance and session work including the eclectic Heritage Orchestra.
Siu-Lan Tan is Professor of Psychology at Kalamazoo College, and holds a BA in Music and MA and PhD in Psychology. She is co-author of Psychology of Music: From Sound to Significance (Tan & Pfordresher, 2nd edition) published by Routledge, and co-editor of The Psychology of Music in Multimedia (Tan, Cohen, Lipscomb, Kendall) published by Oxford University Press. Another book, The Oxford Handbook of Music and Advertising, is currently in progress.
David Temperley is Professor of Music Theory at the Eastman School of Music in Rochester, NY. His books, The Cognition of Basic Musical Structures (2001) and Music and Probability (2007), explore the computational modeling of music cognition; his third book, The Musical Language of Rock, is forthcoming.
William Forde Thompson is Professor of Psychology and Director of the Music, Sound and Performance Lab at Macquarie University. His research concerns music and emotion, music and language, musical disorders, and music-based treatments for neurological disorders. He is the author of Music, Thought, and Feeling: Understanding the Psychology of Music, published by Oxford University Press.
Barbara Tillmann is holding a full-time CNRS research position in Lyon where she is directing the team “Auditory Cognition and Psychoacoustics” at the Lyon Neuroscience Research Center, following a PhD in cognitive psychology and postdoctoral research in cognitive neuroscience.
Renee Timmers is Reader in Psychology of Music at the Department of Music, The University of Sheffield where she directs the research center “Music, Mind, Machine in Sheffield”. She obtained degrees in Musicology (MA) and Psychology (PhD) and continues to do interdisciplinary research. Her research interests concern meaning and emotion in music, musical expression, and timing and communication in solo and ensemble performance.
Sandra E. Trehub obtained her doctoral degree in psychology at McGill University in 1973. Since then, she has taught and conducted research at the University of Toronto, currently as Professor Emeritus. Her research is typically conducted in laboratory contexts, but she has travelled extensively to observe cross-cultural differences in musical interactions with infants.
Fredrik Ullén is Professor of Cognitive Neuroscience at Karolinska Institutet since 2010. His research focuses on the neuropsychology of expertise and creativity, primarily using music as a model domain. Professor Ullén is internationally active as a pianist, and a lifetime fellow of the Swedish Royal Academy of Music since 2007.
Jonna K. Vuoskoski (PhD) currently holds postdoctoral fellowships at the Universities of Oxford (UK) and Jyväskylä (Finland). Her research has been published in the leading journals of the field, including Music Perception, Psychology of Music, Psychomusicology: Music Mind, and Brain, Psychology of Aesthetics, Creativity, the Arts, and Cortex.
Peter Vuust is a brain scientist, jazz bassist, and composer. In addition to having performed on more than 85 records, he is Professor at both The Royal Academy of Music and Aarhus University, an internationally acknowledged brain scientist and the leader of the Danish National Research Foundation’s Center of Excellence for Music in the Brain.
Michael W. Weiss (Ph.D., University of Toronto) is a Postdoctoral Fellow at the International Laboratory for Brain, Music, and Sound Research in Montréal. He studies adults’ and children’s memory for melodies, including differential processing of vocal and instrumental timbres. In his spare time, Michael builds synthesizers and records music.
Clemens Wöllner is Professor of Systematic Musicology at Universität Hamburg, Germany. His research focuses on performance, expert skills, multimodal perception and attention, employing a range of interdisciplinary methods including motion capture and physiological measures. He is currently editing a book entitled Body, Sound and Space in Music and Beyond (Routledge).
Lawrence M. Zbikowski is Professor of Music at the University of Chicago. His research focuses on the application of recent work in cognitive science to various problems confronted by music scholars. He is the author of Conceptualizing Music: Cognitive Structure, Theory, and Analysis and Foundations of Musical Grammar.