The Society for Music Perception and Cognition is a not-for-profit organization for researchers and others interested in music perception and cognition.
The Society hosts biennial conferences, providing opportunities for members of the research community to present new research in the area of music cognition. Information about SMPC 2015 (which was held Aug. 1-5th, 2015, in Nashville, TN) is available online.
Past meetings have been held in a variety of cities, hosted by different institutions. In addition, SMPC cooperates with other organizations in music cognition to host international conferences.
The International Conference on Music Perception & Cognition (ICMPC), an associated international conference involving seven national societies is held on alternate years. The 14th ICMPC will be held in San Francisco from July 5-9th, 2016, organized by members of the University of California, San Francisco (UCSF), Stanford University, UC Davis and UC Berkeley. Visit the conference website for more information.
Edward W. Large directs the Music Dynamics Laboratory at University of Connecticut, where he is a Professor of Psychology and Professor of Physics. Ed received his Ph.D. from The Ohio State University in 1994, and he did his postdoctoral work at University of Pennsylvania. Ed’s research areas include music psychology, auditory neuroscience and nonlinear dynamical systems. He uses theoretical modeling in conjunction with behavioral, neurophysiological and neuroimaging techniques to understand how people respond to complex, temporally structured sequences of sound such as music and speech. He and his colleagues have pioneered the idea that attention is a dynamic, and inherently rhythmic process. He has applied these ideas to explain the rhythmic structure of music, and its interaction with brain dynamics. His current research projects include auditory pattern recognition and learning, perception of tonality in music, auditory brainstem neurodynamics, cortical dynamics of attention, perception of rhythm in music and speech, rhythmic interactions in nonhuman primates and emotional communication in music. He serves as Associate Editor of Frontiers in Auditory Cognitive Neuroscience and Music Perception, and on the Scientific Advisory Board of the Institute for Music and Neurologic Function. He has previously served on the boards of the Society for Music Perception and Cognition and the Fulbright Association of South Florida. He is a National Science Foundation CAREER Award winner and a Fulbright Scholar.
Justin London is Professor of Music at Carleton College in Northfield, MN, where he teaches courses in Music Theory, Music Psychology, Cognitive Science, and American Popular Music. He received his B.M. degree in Classical Guitar and his M.M. degree in Music Theory from the Cincinnati College-Conservatory of Music, and he holds a Ph.D. in Music History and Theory from the University of Pennsylvania, where he worked with Leonard Meyer. He has published widely in music theory, music perception and cognition, and musical aesthetics. His current research is on micro-timing in the complex rhythms found in Malian drumming (with Rainer Polak of the Max Planck Institute for Empircal Aesthetics, Frankfurt, and Nori Jacoby of MIT) and on the cross-modal perception of musical tempo (with Petri Toiviainen of the University of Jyväskylä). Professor London was co-director of the 2005 Mannes Institute for Advanced Studies in Music Theory on Rhythm and Temporality and in 2012 he served as co-chair of the Interdisciplinary College (IK) for cognitive science in Günne, Germany. He has held two Fulbright Fellowships, in 2005-2006 at University of Cambridge in 2014 at the University of Jyväskylä. He served as the Secretary/Treasurer of SMPC in 2002-2005 and as President of the Society for Music Theory in 2007-2009.
Jessica Grahn is an Associate Professor at the Brain and Mind Institute and the Department of Psychology at the University of Western Ontario, Canada. She received her BA in Neuroscience and BMus in Piano Performance from Northwestern University, and her PhD from the University of Cambridge. Her main interests are in musical rhythm and its relationship to the motor system, mechanisms of human timing, and brain plasticity, using fMRI and neurological patient testing. She was program chair for the 2015 SMPC conference in Nashville. She has received the national Charles Darwin Award from the British Science Association for public engagement with science, and has appeared on the BBC and Discovery Channel. She has received Investigator Awards from the Ministry for Economic Development and Innovation, the Canadian Institute for Health Research, and the James S. McDonnell Foundation.
Elizabeth Hellmuth Margulis is Professor of Music and Director of the Music Cognition Lab at the University of Arkansas. Before coming to the University of Arkansas, she was on the Music Theory and Cognition faculty at Northwestern University. She completed her PhD at Columbia University after an undergraduate degree in Piano Performance from the Peabody Conservatory of Music. In 2011-2012 she was a Visiting Fellow at the University of Cambridge, spending the year at the Centre for Music and Science. Her research focuses on the dynamic responses to musical structure that take place in listeners without formal training. It has been published in journals ranging from Music Perception and Psychology of Music to Music Theory Spectrum and Journal of Music Theory to Journal of Cognitive Neuroscience and Human Brain Mapping. Her book On Repeat: How Music Plays the Mind was released by Oxford University Press in 2013. She previously served as a member of the Board of Directors for SMPC and a member of the Executive Board for the Society for Music Theory. She has also chaired the Development Committee for SMT, launching a major fundraising initiative for the society. She currently serves on the Editorial Board of Music Perception. She has won a university-wide award for mentoring undergraduate research.
Mary Farbood is an Assistant Professor in the Music Technology program in the Dept. of Music and Performing Arts Professions at New York University. Her research focuses primarily on understanding the real-time aspects of music listening, in particular how emergent phenomena such as tonality and musical tension are perceived, in addition to computer applications for facilitating musical creativity that are based on cognitive models. She co-founded the Northeast Music Cognition Group (NEMCOG), an organization that brings together music cognition researchers in the Northeast Corridor region of the U.S. She has published articles in various journals and conference proceedings including Music Perception, Journal of Experimental Psychology: Human Perception and Performance, Communications in Computer and Information Science, IEEE Computer Graphics and Applications, Proceedings of the International Computer Music Conference, and Proceedings of the Sound and Music Computing Conference. She has served on the program and review committees of a diverse range of national and international conferences including the Society for Music Theory Annual Meeting, International Conference on Music Perception and Cognition, International Conference on Mathematics and Computation in Music, International Computer Music Conference, the Audio Engineering Society Convention, the International Society for Music Information Retrieval, and the ACM Multimedia. She received her A.B. from Harvard and S.M. and Ph.D. from the Massachusetts Institute of Technology. In addition to her research activities, she directs early music ensembles at NYU and occasionally performs professionally as a harpsichordist.
Reyna Gordon is a Research Assistant Professor in the Department of Otolaryngology at Vanderbilt University Medical Center, where she directs the newly-founded Music Cognition Lab. She holds a Bachelor of Music from the University of Southern California, a Master in Neuroscience from the University of Aix-Marseille, and a PhD in Complex Systems and Brain Sciences from Florida Atlantic University. Her research is currently focused on exploring the role of rhythm skills in language development and disorders, for which she has been awarded an NIH NIDCD grant. Her work has appeared in journals including Developmental Science; Social, Cognitive and Affective Neuroscience; PLoS ONE; and NeuroImage. She has served as an ad-hoc reviewer for PLoS ONE, Psychology of Music, Developmental Neuropsychology, Archives of Medical Research, Psychomusicology: Music, Mind, & Brain, Music Perception, Journal of Neurolinguistics, and Speech Language and Hearing. Dr. Gordon is passionate about the mission of the Society for Music Perception and Cognition, and she is enthusiastic about fostering interdisciplinary research on the science of music and moving the field of music cognition into new and exciting directions. She spearheaded the bid to host SMPC 2015 conference at Vanderbilt and served as Co-Chair of the conference, which included an outreach event (Vanderbilt Music & Mind Kickoff to SMPC). She also participated in the drafting of an internal proposal for a new Program in Music, Mind & Society at Vanderbilt, which was recently funded by the Chancellor’s Initiative; and she is now one of the key individuals responsible for implementing this new cross-campus program.
Siu-Lan Tan is Professor of Psychology at Kalamazoo College. Born in Indonesia and raised in Hong Kong, she came to the US as an international student and completed degrees in Music, graduate studies at Oxford University, and a PhD in Psychology at Georgetown University. She is co-author of Psychology of Music: From Sound to Significance (by S.-L Tan, P. Pfordresher and R. Harré) published by Psychology Press in 2010, and co-editor of The Psychology of Music in Multimedia (edited by S.-L Tan, A. Cohen, S. Lipscomb, and R. Kendall) published by Oxford University Press in 2013. Her research focuses on listeners’ perceptions of musical unity, graphic representations of music (most recently expanding a 1994 paper with data gathered in UK, Japan, and Papua New Guinea, forthcoming in Psychology of Music) and the role of music in film and other multimedia (most recently publishing a 2015 Keynote Address on film music at NYU, forthcoming in Music and the Moving Image). Her work appears in Music Perception, Psychology of Music, Psychomusicology, Empirical Musicology Review, Journal of Applied Developmental Psychology, and other journals. She received her institution’s awards for sabbatical research, teaching, advising, and in 2006, an award from the Michigan chapter of the national Campus Compact for civic responsibility and leadership in community initiatives.
Michael Schutz is Assistant Professor of Music Cognition/Percussion and a core member of the McMaster Institute for Music and the Mind. He is the founding director of the MAPLE Lab, researching Music, Perception, Acoustics and LEarning, whose research is currently funded by the Canadian Foundation for Innovation (CFI), National Sciences and Engineering Research Council (NSERC), National Institutes of Health (NIH) and the Ontario Early Researcher Award. Michael enjoys assisting SMPC, having served on the Programming Committee for the 2011 meeting and subsequently as Programming Chair for the 2013 meeting in Toronto. Prior to his appointment at McMaster, Michael served as Director of Percussion Studies at Longwood University in Virginia, where he performed regularly with many ensembles including the Roanoke Symphony, Opera on the James, and the Oratorio Society of Virginia. In demand as both a performer and lecturer, he has been invited to give world premiers in venues ranging from PASIC (Percussive Arts Society International Convention) to the Digitalis Festival, and given invited lectures at the Maryland and Virginia Day of Percussion festivals, PASIC, and Project:Percussion. His unique academic background includes bachelor's degrees in both Computer Science (BS) and Music Performance (BMA) from Penn State University, in addition to a MM in Music Performance from Northwestern University and a PhD in Experimental Psychology from the University of Virginia.
Psyche Loui is an Assistant Professor in Psychology and in Neuroscience and Behavior at Wesleyan University. She directs the MIND (Music, Imaging, and Neural Dynamics) Lab at Wesleyan. Psyche received her B.S. in Psychology and Music from Duke University in 2003 and her Ph.D. in Psychology from the University of California at Berkeley in 2007. She then was Instructor in Neurology at the Harvard Medical School, with a hospital appointment in the Department of Neurology at Beth Israel Deaconess Medical Center (BIDMC). Her research aims to understand and apply the network of brain functions that enable subjective experiences such as the perception, cognition, and production of music. Ongoing projects tackle problems in auditory perception, auditory-motor interaction, and emotion and cognition, using tools from psychophysics and cognitive neuroscience as appropriate. Psyche is a recipient of Young Investigator Awards from the Templeton Foundation for Positive Neuroscience and the European Society for Cognition of Music and has held grants to date from the Grammy Foundation, Templeton Foundation, and NIH. Her research has been published in journals such as the Journal of Neuroscience, Current Biology, and Music Perception, and her work has been featured in the BBC, WGBH, Boston Globe, New York Times, MSNBC, Science Daily, and other news sources.
Essential to our experience of music is the building up of expectations, and the fulfillment or violation of those expectations. I am interested in the cognitive determinants and neurobiological correlates of musical expectancy. I received my M.A. (2007) and Ph.D. (2012) in psychology from the University of Toronto. My graduate work, supervised by Dr. Mark Schmuckler, focused on the mental representations of musical structure underlying expectancy and the statistical processes by which expectancies are learned. I am currently a postdoctoral fellow at the International Laboratory for Brain, Music, and Sound Research (BRAMS), in the laboratory of Dr. Isabelle Peretz. I use behavioural and neurophysiological, and neuroimaging techniques to study musical perception and production in congenital amusia, with the goal of contributing to our knowledge of the neurobiological mechanisms underlying amusia specifically and musical expectancy more generally.
2015 award: Lola Cuddy
Andrea Halpern: 2012-2013
Aniruddh Patel: 2009-2011
William F. Thompson: 2007-2008
Mari Riess Jones: 2005-2006
Ric Ashley: 2002-2004
Lola Cuddy: 2000-2002
Carol Krumhansl: 1999-2000
Eugene Narmour: 1995-1998
David Wessel: 1992-1995
Diana Deutsch: 1990-1992