JUSTIN M. LONDON
CURRICULUM VITAE

EDUCATION

Ph.D. in the History and Theory of Music, University of Pennsylvania, 1990.

Dissertation: The Interaction Between Meter and Phrase Beginnings and Endings in the Mature Instrumental Music of Haydn and Mozart.
Advisor: Leonard B. Meyer.

Studies with Leonard Meyer, Eugene Narmour, Thomas Christensen, Lawrence F. Bernstein, Jeffrey Kallberg, Norman Smith, and Eugene Wolf. Study in linguistics with Ellen Prince.

M.M. in Music Theory, University of Cincinnati, College-Conservatory of Music, 1986.

Master's Thesis: A Phenomenological and Linguistic Analysis of Surface Harmonies in Three Mozart Piano Sonatas.
Advisor: Jonathan Kramer.

B.M. in Classical Guitar performance, summa cum laude, University of Cincinnati College-Conservatory of Music, 1982.

 

FELLOWSHIPS, GRANTS, APPOINTMENTS, AND AWARDS

Visiting Scholar, Max Planck Institute for Empirical Aesthetics, Frankfurt, September-December 2018.

Visiting Professor of Musicology, The University of Oslo, September-December 2016.

Core Fulbright Scholar Grant, Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä, January-May 2014.

Visiting Fellow, Wolfson College, Cambridge, Fall 2013.

Carleton 2011-2012 Research Seminar Faculty Fellowship, "The Psychology and Neuroscience of Musical Virtuosity" (Fellowship subsequently declined).

Curricular Research and Development Grant, Carleton College, Summer 2011, to develop a new Argument & Inquiry seminar on "How to Talk About Music."

Carleton Student Research Grant (Keck Foundation Statistics Fellowship), Summer 2010, to support experimental work on the perception of musical tempo.

Carleton Student Research Assistant Grant, Summer 2009, to support experimental work on the perception of musical tempo.

with Ronald Rodman, Curricular Research and Development Grant, Carleton College, Summer 2008, to support revisions to the music theory couse sequence.

Roth Faculty Development Fund "Targeted Opportunity Grant," Carleton College, Fall 2007 and Fall 2008, to support tenure as President of the Society for Music Theory.

Guest Professor, International Orpheus Academy for Music & Theory on Tempo, Meter, Rhythm: Time in Music after 1950, Ghent, Belgium, April 2007.

Visiting Scholar, Florida State University, Tallahassee, FL, March 2007.

Fulbright UK Distinguished Scholars Lecturing/Research Grant, Centre for Music and Science and Faculty of Music, University of Cambridge, Fall 2005-Spring 2006.

Visiting Fellow, Wolfson College, Cambridge, Fall 2005-Spring 2006.

Workshop Leader, Mannes Institute for Advanced Studies in Music Theory, institute on Rhythm and Temporality, June 2005.

Fellow, Mannes Institute for Advanced Studies in Music Theory, 2011, 2009, 2004 and 2001.

Publication Subventions for Hearing in Time (Oxford University Press) from the Society for Music Theory, the Lloyd Hibberd Publication Endowment Fund of the American Musicological Society, and the Faculty Research Fund of Carleton College, 2002.

Mellon Endowment Fellowship, Carleton College, for extended sabbatical leave, Fall 2000-Spring 2001.

Carleton Faculty Development Grant (large grant) for extended sabbatical leave, Spring 1997.

Carleton Curricular Computing Grant, for the development of an electronic harmony text and workbook, July-August 1996.

Carleton Faculty Development Grant (small grant) for summer travel, July 1994.

Honorary Fellow at the Institute for Research in the Humanities, University of Wisconsin, Madison, Fall 1993.

NEH Summer Seminar for College Teachers on The Temporal Art of Music, Columbia University, June-July 1993.

Carleton Faculty Development Grant Awards (small grants) for summer research, June 1991 and August 1993.

Paul Rochberg Memorial Fellowship and Michael Hurley Cross Scholarship, University of Pennsylvania, 1987-89.

Research Fellow to Professor Leonard B. Meyer, 1984-85.

University Graduate Assistantship Award, University of Cincinnati College-Conservatory of Music, 1982-84.

Award for outstanding musical achievement, University of Cincinnati College-Conservatory of Music, 1982.

Wilder Scholarship, Cincinnati College-Conservatory of Music, 1979.

 

FORTHCOMING PUBLICATIONS (*peer reviewed)

*J. London, M. Thompson, B. Burger, M. Hildreth, and P. Toiviainen. Tapping doesn’t help: Synchronized self-motion and judgments of musical tempo. Attention, Perception, and Psychophysics (2019): in press.

*J. London, K. Nymoen, M.T. Langerød, M. Thompson, D.L. Code, & A. Danielsen. A comparison of methods for investigating the perceptual center of musical sounds. Attention, Perception, and Psychophysics (2019): in press.

*J. London, N. Jacoby, & Rainer Polak. Theoretical and Practical Aspects of Cross-Cultural Corpus Studies: Three Case Studies from Mali. In The Oxford Handbook of Corpus Studies, D. Shanahan, A. Burgoyne, and I. Quinn, eds. Oxford: Oxford University Press (2019), in press.

*What Should An Undergraduate Music Theory Curriculum Teach? (And, Alas, What Most of the Time We Don't). In The Routledge Companion to Music Theory Pedagogy, Leigh VanHandel, Ed. Taylor & Francis (2019): in press.

*The Problems of Rhythm Perception. In The Aesthetics of Rhythm: Science, Philosophy, Music, Dance, Poetics, Max Paddison and Andy Hamilton, eds. Oxford: Oxford University Press (2020): in production.

*J. London & R. Polak. ’Dansa’ from Mali: Tempo-metrical types in a non-isochronous meter. In Interdisciplinary Approaches to the Analysis of World Music, Lawrence Shuster, Michael Berry, & Sam Mukherji. Routledge (2020): in preparation.

Entry on David Huron’s Sweet Anticipation and the Pscyhology of Music in Lexikon Schriften über Musik, Band 2: Musiktheorie von der 20. Jahrhundert, H. Grimm, M. Wald-Fuhrmann, U. Schneider, and F. Wörner, Eds. Kassel: Bärenreiter-Verlag (2020): in preparation.

 

BOOKS AND OTHER MAJOR PUBLICATIONS

Hearing in Time, Oxford University Press (August 2004; 2nd Edition April 2012). 2nd Edition includes a new chapter on the neuroscience of rhythm, updated bibliography, and major revision of the book's major theoretical arguments regarding metric well-formedness.

Rhythm. in The New Grove Dictionary of Music and Musicians, revised edition, John Tyrrell and Stanley Sadie, eds. Vol. 21, pp. 277-309. A main entry of 22,000 words (plus bibliography), along with shorter (500 word) entries on Metre, Pulse, Tempo, and Time. Oxford University Press (2001).

 

PEER-REVIEWED ARTICLES and BOOK CHAPTERS

A. Danielsen, Kristian Nymoen, E. Anderson, G. Schmidt Câmara, M. T. Langerød, M. Thompson, & J. London. Where is the beat in that note?: Effects of attack, duration and frequency on the perceived timing of musical and quasi-musical sounds. Journal of Experimenal Psychology: Human Perception and Performance 45.3 (2019): 402-418.

R. Polak, N, Jacoby, T. Fischinger, D. Goldbert, A. Holzapfel, & J. London. Rhythmic prototypes across cultures: A comparative study of tapping synchronization. Music Perception 36.1 (2018): 1-23.

D. J. Levitin, J. Grahn, & J. London. The Psychology of Music: Rhythm and Movement. Annual Review of Psychology 69.1 (2018): 13.1-13.25.

B. Burger, J. London, M. Thompson, and P. Toiviainen. Synchronization to metrical levels in music depends on low frequency spectral components and tempo. Psychological Research (2017). https://doi.org/10.1007/s00426-017-0894-2

J. J. Neiworth, J. London, M. J. Flynn, D. Rupert, O. Aldritt, & C. Hyde. Artificial Grammar Learning in Tamarins (Saguinus oedipus) In Varying Stimulus Contexts. Journal of Comparative Psychology (2017) Advance online publication. http://dx.doi.org/10.1037/com0000066.

Polak, R., Jacoby, N., & London, J. Kulturelle Diversität in der empirischen Rhythmusforschung: Drei Analysen eines Audio-Korpus von Percussion-Ensemblemusik aus Mali. Zeitschrift der Gesellschaft für Musiktheorie, (2016) 13(2). http://www.gmth.de/zeitschrift/ausgabe-13-2-2016/inhalt.aspx

E. Carlson, B. Burger, J. London, M. R. Thompson, & P. Toiviainen. Conscientiousness and Extraversion Relate to Responsiveness to Tempo in Dance. Human Movement Science 49 (2016): 315-325. http://dx.doi.org/10.1016/j.humov.2016.08.006

R. Polak, J. London, & N. Jacoby. Both Isochronous and Non-Isochronous Metrical Subdivision Afford Precise and Stable Ensemble Entrainment: A Corpus Study of Malian Jembe Drumming. Frontiers in Human Neurosicence: Special Issue on the Evolution of Rhythm: Timing in Music and Speech (2016): 10:285. DOI 10.3389/fnins.2016.00285

J. London, R. Polak, & N. Jacoby. Rhythm Histograms and Musical Meter: A Corpus Study of Malian Percussion Music. Psychonomic Bulletin & Review (2016): DOI 10.3758/s13423-016-1093-7

J. London, B. Burger, M. Thompson, & P. Toiviainen. Speed on the Dance Floor: Auditory and Visual Cues for Musical Tempo. Acta Psychologica 164 (2016): 70-80.

R. Polak and J. London. Timing and Meter in Mande Drumming from Mali. Music Theory Online 20.1 (2014): http://www.mtosmt.org/issues/mto.14.20.1/mto.14.20.1.polak-london.php.

Building a Representative Corpus of Classical Music, Music Perception 31.1 (2013): 68-90.

B. Repp, J. London, & P. Keller. Systematic Distortions in Musicians' Reproduction of Cyclic Three-Interval Rhythms. Music Perception 30.3 (2013): 291-305.

Ephemeral Media, Ephemeral Works, and Sonny Boy Williamson’s ‘Little Village.’ The Journal of Aesthetics and Art Criticism 71.1 (2013): 45-53.

B. Repp, J. London, & P. Keller. Distortions in Reproduction of Two-Interval Rhythms: When the “Attractor Ratio” Is Not Exactly 1:2. Music Perception 30.2 (2012): 205-223.

Three Things Linguists Need to Know About Rhythm and Time in Music, Empricial Musicology Review 7.1-2 (2012): http://emusicology.org/v7n1-2/contents1.html.

J. London and K. Jones. Rhythmic Refinements to the nPVI Measure: A Reanalysis of Patel & Daniele (2003a), Music Perception 29.1 (2011): 113-118.

Tactus does not equal Tempo: Some Dissociations Between Attentional Focus, Motor Behavior, and Tempo Judgment. Empirical Musicology Review 6.1 (2011): http://emusicology.org/v6n1/target.html.

B. Repp, J. London, & P. Keller. Perception-Production Relationships and Phase Correction in Synchronization with Two-Interval Rhythms. Psychological Research 75 (2011): 227-242.

The Philosophy of Music and Musicology. in The Routledge Companion to Philosophy and Music, Andrew Kania & Ted Gracyk, eds. Routledge (2010): 495-505.

J. London, T. Himberg, & I. Cross. Structural and Performance Factors in the Perception of Anacruses. Music Perception 27.2 (2009): 103-120.

B. Repp, J. London, & P. Keller, Phase Correction in Sensorimotor Synchronization with Non-Isochronous Rhythms. Music Perception 26.2 (2008): 171-175.

Third Party Uses of Music and Musical Pragmatics. Journal of Aesthetics and Art Criticism 66.3 (2008): 253-264.

B. Repp, J. London, & P. Keller, Production and Synchronization of Uneven Rhythms at Fast Tempi. Music Perception 23.2 (2005): 61-78.

Some Non-Isomorphisms between Pitch and Time. Journal of Music Theory 46.1&2 (2002): 127-151.

Cognitive Constraints on Metric Systems: Some Observations and Hypotheses. Music Perception 19.4 (2002): 529-550.

Rhythm in Twentieth-Century Theory. in The Cambridge History of Western Music Theory, ed. Thomas Christensen, Cambridge: Cambridge University Press (2002): 695-725.

A Cohenian Approach to Musical Expression. Journal of Aesthetics and Art Criticism 60.2 (2002): 182-85.

Musical Leitmotivs in Cinema and Proper Names in Language: Structural and Functional Parallels. in Music and Cinema, ed. James Buhler, Caryl Flinn, and David Neumeyer. Weslyan University Press (2000): 85-96.

Hasty's Dichotomy, a review-essay of Rhythm as Meter, by Christopher Hasty. Music Theory Spectrum 21.2 (1999): 260-74.

J. London and R. Rodman: Musical Genre and Schenkerian Analysis. Journal of Music Theory 42.1 (1998): 101-124.

Lerdahl and Jackendoff's 'Strong Reduction Hypothesis' and the Limits of Analytical Description. In Theory Only, 13.1-4 (1997): 3-29.

Hearing is Believing? A review-essay of Mark Debellis's Music and Conceptualization. Current Musicology 60-61 (1996): 111-31.

A Psychological Addendum to 'Takadimi: A Beat-Oriented System of Rhythm Pedagogy.' Journal of Music Theory Pedagogy 10 (1996): 25-30.

Musical and Linguistic Speech Acts. Journal of Aesthetics and Art Criticism 54.1 (1996): 49-64.

Some Examples of Complex Meters and Their Implications for Models of Metric Perception. Music Perception 13.1 (1995): 59-77.

Metric Ambiguity (?) in J.S. Bach's Third Brandenburg Concerto: A Reply to Botelho. In Theory Only 11.7-8 (1991): 21-53.

Riepel and Absatz: Poetic and Prosaic Aspects of Phrase Structure in Eighteenth-Century Theory. Journal of Musicology 7.4 (1990): 505-519.

 

REVIEWS, COMMENTARIES, and OTHER PUBLICATIONS

Review of Philosophy of Song and Singing: An Introduction, by J. Bicknell. The Journal of Aesthetics and Art Criticism 76.1 (2018): 137-140.

Analogy, Homology, and Rhythmic Phylogeny: Commentary on Adrian Poole's "Comparing Timeline Rhythms in Pygmy and Bushmen Music." Empirical Musicology Review 12.3-4 (2017): 194-198.

Entries on Leonard B. Meyer's Emotion and Meaning in Music and The Rhythmic Structure of Music (with Grosvenor Cooper), and Fred Lerdahl and Ray Jackendoff's A Generative Theory of Tonal Music, in Lexikon Schriften über Musik, Band 1: Musiktheorie von der Antike bis zur Gegenwart, H. Grimm, M. Wald-Fuhrmann, U. Schneider, and F. Wörner, Eds. Kassel: Bärenreiter-Verlag (2017), pp. 99-101, 288-90, & 336-338.

K. Nymoen, A. Danielsen, and J.M. London, “Attack Phase Descriptor Estimation in Matlab toolboxes,” in Proceedings of the 14th International Conference on Sound and Music Computing, Espoo, Finland (2017).

Review of Groove: A Phenomenology of Rhythmic Nuance, by Tiger Roholt. The Journal of Aesthetics and Art Criticism 74.1 (2016): 101-104.

Editors Note, Special Issue on "Rhythm Perception and Production across Styles and Cultures," Empirical Musicology 10.4 (2016): 1.

Musical Meter, Social Cognition, and Musical Expression: An Inquiry in Cognitive Aesthetics. In Musical Implications: Essays in Honor of Eugene Narmour, A. Rozin & L. Bernstein, eds. Hillsdale: Pendragon Press (2013): 275-294.

Review of Musical Cognition by Henkjan Honing. Psychomusicology: Music, Mind & Brain 22.1 (2012): 61-62.

Recent Neuroscientific Research in Musical Rhythm, The Journal of Rhythms (Japan) 13 (2012): 7-17.

Schemas, Not Syntax: A Reply to Patel. in Language and Music as Cognitive Systems, Rebuschat, P., Rohrmeier, M., Hawkins, J., & I. Cross, eds. Oxford University Press (2011): 242-247.

Review of Metric Manipulations in Haydn and Mozart by Danuta Mirka. Eighteenth-Century Music 8.2 (2011): 331-334.

Review of Songs in Motion: Rhythm and Meter in the German Lied by Yonatan Malin. Music Theory Online 17.2 (2011): http://www.mtosmt.org/issues/mto.11.17.2/mto.11.17.2.london.html.

Commentaries on "Variant Timekeeping Patterns and Their Effects in Jazz" by Matthew Butterfield and "Rhythmic Feel as Meter: Non-Isochronous Beat Subdivision in Jembe Music from Mali" by Rainer Polak. Music Theory Online, special issue on "Drumming from Africa and Beyond" 16.4.8 (2010): http://mto.societymusictheory.org/issues/mto.10.16.4.

Statistical versus Musical Significance: Commentary for VanHandel. Emprical Musicology Review 4.4 (2009): http://emusicology.org/v4n4.

Temporal Complexity in Modern and Post-Modern Music: A Critique from Cognitive Aesthetics. in Unfolding Time: Studies in Temporality in Twentieth Century Music, Darla Crispin, ed. Collected Writings of the Orpheus Institute, vol. 9, Leuven University Press (2009): 45-68.

Review of Conceptualizing Music: Cognitive Structure, Theory, and Analysis by Lawrence M. Zbikowski. Music Theory Spectrum 29.1 (2007): 115-125.

Musical Rhythm: Motion, Pace and Gesture. in Music and Gesture, ed. A. Gritten and E. King, Aldershot: Ashgate (2006): 126-141.

Recent Rhythmic Research in North American Music Theory. Zeitschrift der Gesellschaft für Musiktheorie, 2, (2005). http://www.gmth.de/www/artikel/2005-04-11_08-11-51_7/.

Review of Tonal Pitch Space by Fred Lerdahl. Music Perception 20.2 (2002): 201-216.

Some Theories of Emotion in Music and Their Implications for Research in Music Psychology. Musicae Scientiae Special Issue: Current Trends in the Study of Music and Emotion (2001/2002): 23-35.

Review of Musical Performance: A Philosophical Study by Stan Godlovitch. Journal of Aesthetics and Art Criticism 59.3 (2001): 339-41.

Review of Of Mind and Music by Laird Addis and The Philosophy and Aesthetics of Music by Edward W. Lippman. Music Theory Spectrum 23.1 (2001): 108-17.

Review of Music in the Moment by Jerrold Levinson. Journal of the American Musicological Society 52.1 (1999): 156-62.

Concatenationism and Musical Form, an introduction to Music in the Moment: A Discussion. Music Perception 16.4 (1999): 463-67.

A Different Species of Counterpoint. Journal of Music Theory Pedagogy 12 (1998): 105-10.

A Different Response to Killam. Music Theory Online 3.4 (1997).

Review of Shaping Time: Music, the Brain, and Performance by David Epstein. MLA Notes (June 1997): 1128-32.

Misquoting Meyer: A Response to Cochrane. Music Theory Online 1.3 (1995).

Review of The Fine Art of Repetition by Peter Kivy and Language, Music and Mind by Diana Raffman. Music Theory Spectrum 14.2 (1994): 267-75.

Loud Rests and Other Strange Metric Phenomena (or, Meter as Heard). Music Theory Online 0.2 (1993).

Report on the Second International Conference on Music Perception and Cognition. Journal of Musicology 10.4 (1992): 537-545.

Music Notation Programs in the Theory Classroom and in Research. Journal of Computers in Music Research 2 (1990): 145-170.

One Step Up--A Lesson from Popular Music. Journal of Music Theory Pedagogy 4.1 (1990): 111-14.

Phrase Structure in Eighteenth and Nineteenth Century Theory: An Overview. Music Research Forum 5 (1990): 13-50.

Two Kinds of Accent: Further Thoughts on Phrase Structure. Soundboard 15 (Spring 1988): 25-27.

 

INVITED LECTURES, COLLOQUIUM TALKS, AND RESIDENCIES

Faculty Lecturer, Workshops in Music Theory Pedagogy, University of Massachusetts Amherst, June 2019.

Introduction to the Psychology of Musical Rhythm, virtual seminar lecture (via Zoom) to the Eastman School of Music (Betsy Marvin), and the University of Arkansas (Elizabeth Margulis), March 2019.

The Movement Dynamics of Beating Time. Mini-presentation, History of Rhythm Workshop, Max Planck Institute for Empirical Aesthetics, Frankfurt, November 2018.

The Tempo Anchoring Effect: A window into the relationship between beats, groove, and perceived tempo. Colloquium talks at the University of Hamburg (October 2018), and the Max Planck Institute for Empirical Aesthetics, Frankfurt (November 2018).

Invited Participant, Cross-Cultural Research in Music Cognition: Methodologies, Pitfalls, and Practices, Max Planck Institute for Empirical Aesthetics, Frankfurt, October 2018.

Programming the 808: A Project-based Unit for Rhythm Pedagogy. Presentation to to Music Theory Pedagogy Interest Group, annual meeting of the Society for Music Theory, Arlington VA, November 2017.

Should You Have a Music Psychology Lab(?). Presentation to to Music Cognition Interest Group, annual meeting of the Society for Music Theory, Arlington VA, November 2017.

Faculty Lecturer, Cooperative Music Making and Musical Virtuosity, Interdisciplinary College (IK) 2017, focus theme "Creativity and Intelligence in Brains and Machines," Gunne at Lake Mohne, Germany, 10-17 March 2017.

Cross-Modal Perception of Musical Rhythm. Colloquium talks, Centre for Music and Science, the University of Cambridge (December 2016), and Yale University (February 2017).

Hearing Musical Rhythm: You Need More than Your Ears. Invited Lectures, University of Hertfordshire and Goldsmiths University London, UK, (December 2016).

The Effect of Bodily Motion (and Other Factors) on Judgments of Musical Tempo. Special Workshop on Rhythm and Motion, University of Oslo, September 2016.

Just What is Musical Tempo? Keynote Address, SysMus16 (International Conference of Students of Systematic Musicology), Jyväskylä Finland, June 2016; Invited Lecture, Max Planck Institute for Empirical Aesthetics, Frankfurt, October 2016; Indiana University Jacobs School of Music, February 2017; Center for Mind, Brain, and Culture, Emory University, October 2017, Andrew W. Mellon Professorship Lecture, Carleton College, March 2019.

Really Bad Music: Musical and Moral Mistakes, colloquium talks given at RWTH Aachen (November 2019), the Max Planck Institute for Empirical Aesthetics, Frankfurt (November 2018), Louisiana State Univesrity (December 2017), The University of Oslo (March 2017), The University of Connecticut (March 2016), Bates College (January 2016), The Eastman School of Music (October 2014), University of Jyväskylä (March 2014), Queen Mary University of London (December 2013), The University of Sheffield (December 2013), Goldsmiths University of London (November 2013), The University of Manchester (October 2013).

Speed on the Dance Floor: Auditory and Visual Cues for Musical Tempo. Colloquium lectures given at Princeton University (March 2016), the Peabody School of Music (February 2015), the Univeristy of Cambridge (December 2014), Queen Mary University of London (December 2014), and the Eastman School of Music (October 2014).

A Quick and Dirty Introduction to the Psychology of Musical Rhythm. Rutgers University, February 2015; Emory University, October 2017; Louisiana State University, December 2017.

Perceptual and Cognitive Constraints on Rhythm and Meter. The Eastman School of Music, October 2014.

Categories of Melody, Categories of Rhythm: Some Lessons from Euguene Narmour. Milestones in Music Cognition BKN 25, Montreal, July 2014.

The Psychology and Neuroscience of Virtuosity. The University of Jyväskylä, June 2014.

with Rainer Polak: Timing, Meter, and Rhythm in Mande drumming from Mali. Entrainment Symposium, University of Durham, June 2014.

What a Neuroscientist Needs to Know About Musical Rhythm. Aalto University, Helsinki, May 2014.

What Makes Something Rhythmical? The History, Theory, and Psychology of Musical Meter, Rhythm in Cultural Comparison Lecture Series, Hochschule für Musik und Tanz, Cologne, May 2014.

How Fast is That Music? Understanding Musical Tempo and Musical Movement, Fulbright Research Forum, Jyväskylä, April 2014.

How to Study Musical Rhythm: Disciplinary Approaches and Research Notes, University of Oslo, April 2014.

Faculty Lecturer, Rhythmic Coordination in Music: Playing and Listening to Music as Joint Action and Social Cognition, Interdisciplinary College (IK) 2014, focus theme "Cognition 3.0 - The Social Mind in the Connected World," Gunne at Lake Mohne, Germany, 14-21 March 2014.

Two Lessons in Cognitive Aesthetics, Max Planck Institute for Empirical Aesthetics, Frankfurt, March 2014.

Microtiming in Ngòn: Categorical Production and Perception of a Non-Isochronous Meter, Centre for Music and Science colloquium series, the University of Cambridge, November 2013, and the University of Edinburgh, October 2013.

What is Metric Well-Formedness? Graduate Student Workshop leader, annual meeting of the Society for Music Theory, Charlotte, NC, November 2013.

The Psychology and Neuroscience of Virtuosity, the University of Newcastle, October 2013.

with Rainer Polak: Timing and Dynamics in Mande Ensemble Drumming: Metric Well-Formedness and Perception-Action Coupling, Colloquium given at the International Symposium on Performance Science, Vienna, August 2013.

Toward a Global Understanding of Musical Meter, Keynote Address, 1st International Conference on Basic Concepts in Rhythm, Cologne, April 2013.

Invited Lecturer, International Workshop on Cross-disciplinary and Multi-cultural Perspectives on Musical Rhythm, New York University Abu Dhabi, March 2013.

Building a Representative Corpus of Classical Music, colloquium lectures given at the Centre for Music and Science, University of Cambridge, and Queen Marys University London, December 2012.

The Psychology and Neurobiology of Musical Virtuosity, summer colloquium talk, Faculty of Mathematics and Natural Sciences, University of Cologne,12 July 2012.

Really Bad Music, Keynote Address, Interdisciplinary College (IK) 2012, focus theme "Emotion and Aesthetics," Gunne at Lake Mohne, Germany, 16-23 March 2012.

Faculty Lecturer, Issues in Musical Aesthetics at the Interdisciplinary College (IK) 2012, focus theme "Emotion and Aesthetics," Gunne at Lake Mohne, Germany, 16-23 March 2012.

An Introduction to Empirical Studies of Musical Rhythm, colloquium lecture given at Queen Mary's University, London, UK, 9 December 2011.

Probing the Influence of Motor Behavior on Tempo Judgments, colloquium lecture given at the Centre for Music and Science, University of Cambridge, UK, 7 December 2011.

Current Theoretical and Analytical Approaches to Rhythm,given at the "Music Theory between East and West" conference, Beijing, China 15-18 November 2011.

The Great Theory Debate: Be it Resolved...Common Practice Period Repertoire No Longer Speaks to our Students; it's Time to Fire a Cannon at the Canon, at the annual meeting of the Society for Music Theory, Minneapolis, MN, October 2011.

Music and the Brain, "Beaker and Brush" Lecture Series, sponsored by the Science Museum of Minnesota, 12 April 2011.

The Psychology and Neurobiology of Musical Virtuosity, colloquium Lecture given at Florida Atlantic University, 28 January 2011.

The Psychology and Neurobiology of Musical Virtuosity, Whitehead Lecture in "Cognition, Computation, and Culture," given at Goldsmiths University, London, 15 December 2010.

The Three Things a Psycholinguist Needs to Know About Musical Rhythm and Meter, orientation Lecture given at the British Psychological Society Language & Music Seminar on "Entrainment & Meaning," Cambridge, UK, 13-14 December 2010.

Metrical Analysis and Musical nPVI: A Re-analysis of Patel and Daniele, colloquium talk given at Sheffield University, 8 December 2010.

Tapping Doesn't Help: A Dissociation Between Motor Behavior and Tempo Judgment, colloquium/class lecture given at the University of Durham, 7 December 2010.

The Psychology and Neurobiology of Musical Virtuosity, colloquium talk given at The University of Edinburgh, 6 December 2010.

Tapping Doesn't Help: Musical Motion and Self-Motion, colloquium talk given at the Donders Institute for Brain, Cognition and Behaviour, Cognitive Artificial Intelligence Group, Radboud University Nijmegen, the Netherlands, March 19th 2010.

Faculty Lecturer on "The Rules of the Game: Cognitive Constraints on Musical Virtuosity and Musical Humor" at the Interdisciplinary College (IK) 2010, "Play, Act, and Learn," Gunne at Lake Mohne, Germany, March 12-18 2010.

Stravinsky's Hiccups: Cognitive and Aesthetic Aspects of Metrical Ambiguity, colloquium talk given at Michigan State University, February 2010.

Stravinsky's Hiccups: Cognitive and Aesthetic Aspects of Metrical Ambiguity, colloquium talk given at The University of Arkansas, November 2009.

Faculty Lecturer on "Music, Aesthetics, Rhythm, and Meter" at the Interdisciplinary College (IK) 2009, "Rhythm and Timing," Gunne at Lake Mohne, Germany, March 6-13 2009.

Cognitive and Aesthetic Aspects of Metrical Ambiguity, colloquium talks given at The University of Alberta and The University of Pennsylvania, Fall 2008.

The Aesthetic Import of Metrical Ambiguity. Keynote Address, 15th Biennial Symposium for Research in Music Theory, Indiana University, February 2008.

Metrical Snipe Hunting in the Psychology Lab, biannual meeting of The Society for Music Perception and Cognition, Montreal, Canada, August 2007.

What is Metric Well Formedness?', How to Talk about Musical Meter: Psychological and Cross-Cultural Perspectives, and A Skeptical View of Music Theory Pedagogy, Florida State University, Tallahassee, FL, March 2007.

‘The Perception and Cognition of Rhythm and Time’ and ‘Temporality in Modern and Post-Modern Music: A Critique from Cognitive Aesthetics,’ International Orpheus Academy for Music & Theory on Tempo, Meter, Rhythm: Time in Music after 1950, Ghent, Belgium, April 2007.

High Water Everywhere: Finding Dylan in the Delta. American Studies Lecture, Carleton College, January 2007.

How to Talk about Musical Meter: Psychological and Cross-Cultural Perspectives, colloquium talk, University of Minnesota, Minneapolis, MN November 2006.

How to Talk About Music Meter: Psychological and Cross-Cultural Perspectives, colloquium talks given at The University of Nottingham, The University of Hull, Oxford University, Goldsmiths College, Sheffield University, The Open University, Queen Mary’s University of London, Keele University, Cambridge University, and City University of London, January-May 2006.

Entrainment or Entrainments? Questions for Theories of Musical Meter, Entrainment in Music Research Meeting III, Cambridge UK, December 2005.

What's my repertoire? It's ALL my repertoire: A different kind of analytical empiricism, invited presentation and panelist, West Coast Conference of Music Theory and Analysis, UCSB, Santa Barbara, CA, April 2004.

Hearing Rhythmic Gestures: Moving Bodies and Embodied Minds, Keynote Address, Music and Gesture Conference, University of East Anglia, Norwich, August 2003.

How to Talk about Meter: Cognitive and Cross-Cultural Perspectives, colloquium presentation, Northwestern University, February 2003.

Cognitive Constraints on Metric Systems: Some Observations and Hypotheses, colloquium presentation, Monash University, Melbourne, Australia, July 2002.

Fernhören is Bunk: Jerrold Levinson's Music in the Moment, colloquium presentations, U.C. Berkeley and Stanford Universities, October 1998.

Who is Robert Johnson and Why Are We Looking for Him in the Delta?, The Rock and Roll Hall of Fame and Museum, to the Cleveland area Carleton Alumni Club, Cleveland OH, July 1997.

Meter Casts No Shadows, colloquium presentation, the University of Cincinnati College-Conservatory of Music, 21 February 1997.

Hypermeter in the Delta Blues, colloquium presentations, University of Iowa, 18 September 1996, and at the University of Cincinnati's College-Conservatory of Music, 21 February 1997.

Music and Language: Untangling a Gordian Knot, Phi Beta Kappa lecture, Carleton College, 16 February 1994.

Music, Language, and Meaning: Unpacking a Messy Metaphor, colloquium presentation, Institute for Research in the Humanities, University of Wisconsin-Madison, 13 December 1993.

Musical Humor and Speech-Act Theory, University of Wisconsin- Madison Music History and Music Theory Colloquium Series, 12 November 1993.

Getting the Joke in the 'Joke' Quartet: Haydn and the Relationship between Music and Language, Music Department Lecture Series of Pomona College, 21 Feb. 1992, Claremont, CA.

 

CONFERENCE PRESENTATIONS (peer reviewed)

J. London, B. Burger, M. Thompson, & P. Toiviainen. Motown, Disco, and Drumming: The Effects of Beat Salience and Song Memory on Tempo Perception. Rhythm Perception and Production Workshop, Traverse City MI, June 2019.

J. London, A. Danielsen, and K. Nymoen. Where is the beat in that note? Effects of attack, frequency, and duration on the p-centers of musical and quasi-musical sounds. 15th International Conference on Music Perception and Cognition, Montreal, July 2018.

R. Polak, N. Jacoby, T. Fischinger, D. Goldberg, A. Holzapfel, and J. London. Cultural background and expertise affect the reproduction of simple rhythms: a cross-cultural tapping study, the Biennial meeting of the Society for Music Perception and Cognition, San Diego, August 2017.

J. London, K. Nymoen, M. Thompson, D. L.Code, and A. Danielsen. Where is the beat in that note? Comparing methods for identifying the p-center of musical sounds, Rhythm Perception and Production Workshop, Birmingham UK, July 2017, and the Biennial meeting of the Society for Music Perception and Cognition, San Diego, August 2017.

K. Nymoen, A. Danielsen, and J. London. Attack Phase Descriptor Estimation in Matlab toolboxes, 14th International Conference on Sound and Music Computing, Espoo, Finland, July 2017.

R. Polak, N. Jacoby, T. Fischinger, D. Goldberg, A. Holzapfel, and J. London. Cross-cultural variation in sensorimotor synchronization with simple rhythms: A comparative tapping study, Rhythm Perception and Production Workshop, Birmingham UK, July 2017.

Danielsen, A., Nymoen, K., & London, J. Mapping the beat bin: Effects of rise time, duration and frequency range on the perceived timing (P-center) of musical sounds, Rhythm Perception and Production Workshop, Birmingham UK, July 2017.

with Rainer Polak, Nori Jacoby, & Kofi Agawu. Music theory, African rhythm, and the politics of data: Three analyses of a corpus of jembe drum music from Mali (special session): Statistical Learning and Rhythm-Meter relationships in Jembe Drum Ensemble Music from Mali. Annual meeting of the Society for Music Theory, Vancouver, November 2016.

with Birgitta Burger, Marc R. Thompson, & Petri Toiviainen. Absolute versus Relative Judgments of Musical Tempo: The Roles of Auditory and Sensorimotor Cues. 14th International Conference on Music Perception and Cognition, San Francisco, July 2016.

with Rainer Polak & Nori Jacoby. Statistical learning for musical meter revisited: A corpus study of Malian percussion music (poster presentation). 14th International Conference on Music Perception and Cognition, San Francisco, July 2016.

Nori Jacoby, Justin London, & Rainer Polak. Ensemble synchronization and leadership in Jembe drumming music from Mali. 14th International Conference on Music Perception and Cognition, San Francisco, July 2016.

Birgitta Burger, Justin London, Marc R. Thompson, & Petri Toiviainen. Impact of event density and tempo on synchronization ability in music-induced movement. 14th International Conference on Music Perception and Cognition, San Francisco, July 2016.

Rainer Polak, Nori Jacoby, & Justin London. How West African drummers keep in time together: Musical roles and individual behavior in ensemble entrainment in jembe music from Mali. Fourth International Conference on Analytical Approaches to World Music, New York, June 2016.

with Birgitta Burger, Marc R. Thompson, & Petri Toiviainen. Stimulus and familiary factors in judgments of musical tempo (poster). 14th Annual Auditory Perception, Cognition, and Action Meeting, in conjunction with the annual meeting of the Psychonomic Society, Chicago, November 2015.

with Birgitta Burger, Marc R. Thompson, & Petri Toiviainen. Musical familiarity can confound tempo judgments. Biennial meeting of the Society for Music Perception and Cognition, Nashville, August 2015.

with Petri Toiviainen, Birgitta Burger, & Marc R. Thompson. Interactions between auditory and visual cues for musical tempo. Biennial meeting of the Society for Music Perception and Cognition, Nashville, August 2015.

with Birgitta Burger, Marc R. Thompson, & Petri Toiviainen. Speed on the dance floor: Visual and auditory cues for musical tempo. Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, Manchester, UK, August 2015.

Birgitta Burger, Justin London, Marc R. Thompson, & Petri Toiviainen. Event density predicts synchronization ability in music-induced movement. 15th Rhythm Perception and Production Workshop, Amsterdam, July 2015.

Timo Fischinger, Rainer Polak, Justin London, & Hans Neuhoff. Perception of metric timing patterns in Malian jembe music. 15th Rhythm Perception and Production Workshop, Amsterdam, July 2015.

with Birgitta Burger, Marc R. Thompson, & Petri Toiviainen. Speed on the dance floor: Visual and auditory cues for musical tempo. 15th Rhythm Perception and Production Workshop, Amsterdam, July 2015.

Rainer Polak, Nori Jacoby, & Justin London. How West African drummers keep in time together: Ensemble entrainment in jembe music from Mali. 15th Rhythm Perception and Production Workshop, Amsterdam, July 2015.

with Birgitta Burger, March Thompson, and Petri Toiviainen, Speed on the dance floor: Interactions between visual and auditory cues for tempo, International Conference on Multimodal Experience of Music, March 2015, Sheffield, UK.

with Birgitta Burger, March Thompson, and Petri Toiviainen, Changing speeds: Dancing faster changes the character of one's movement (poster), International Conference on Multimodal Experience of Music, March 2015, Sheffield, UK.

with Rainer Polak, “Dansa” from Mali: Tempo-Metrical Types in a Non-Isochronous Meter, annual meeting of the Society for Music Theory, Milwaukee, November 2014.

Marc Thompson, Tommi Himberg, J. London, and Petri Toiviainen, The Effect of Tempo and Vision on Interpersonal Coordination of Timing,13th International Conference on Music Perception and Cognition, Seoul, August 2014.

with Nori Jacoby and Rainer Polak, The Effect of Ensemble, Musical Role, and Performer on Entrainment in Khasonka Drumming (poster), 13th International Conference on Music Perception and Cognition, Seoul, August 2014.

with Rainer Polak, The Influence of Task and Context on Complex Rhythm Production: Evidence From Malian Drumming (poster), 13th International Conference on Music Perception and Cognition, Seoul, August 2014.

Hans Neuhoff, Rainer Polak, Justin London, and Timo Fischinger, Aesthetic Evaluation of Metric Timing Patterns in Malian Jembe-Music, Congress of the International Association of Empirical Aesthetics, New York, August 2014.

with Rainer Polak, Hans, Neuhoff, and Timo Fischinger, Non-Isochronous Meters in Theory and in Cross-Cultural Practice, special session on "Meter in Malian Music: Theoretical, Analytical, and Perceptual Perspectives," 3d international meeting on Analytical Approaches to World Music,London, July 2014.

with Rainer Polak, special symposium on "Timing and Dynamics in Mande Ensemble Drumming: Metric Well-Formedness and Perception-Action Coupling," Biennial meeting of the International Symposium on Performance Science, Vienna, August 2013.

Building a Representative Corpus of Classical Music, Biennial meeting of the Society for Music Perception and Cognition, Toronto, August 2013.

with Rainer Polak, Microtiming in Ngòn: Categorical Production and Perception of Non-Isochronous Rhythms, Biennial meeting of the Society for Music Perception and Cognition, Toronto, August 2013.

Rhythm and Meter in 21st Century Music Theory, special session on The Acoustics of Rhythm, sponsored by the Musical Acoustics Technical Committee, Annual Meeting of the Acoustical Society of America, Kansas City,  24-25 October 2012.

with Emily Cogsdill (Carleton 2011), Tapping Rate Affects Tempo Judgments for Some Listeners, Poster Presentation, Perspectives on Rhythm and Timing workshop, University of Glasgow, July 2012.

with Emily Cogsdill (Carleton 2011), Movement Rate Affects Tempo Judgments for Some Listeners, biannual meeting of The Society for Music Perception and Cognition, Rochester, NY, August 2011.

with Emily Cogsdill (Carleton 2011), Event Density and Melodic Motion Contribute to Perceived Tempo, biannual meeting of The Society for Music Perception and Cognition, Rochester, NY, August 2011.

with Katherine Jones (Carleton 2010), Metrical Analysis and Musical nPVI: A Re-analysis of Patel and Daniele. 11th International Conference on Music Perception and Cognition, Seattle, WA, August 2010.

Bruno Repp, J. London, and Peter Keller, A Detuned Simple-Ration Attractor in Production of Cyclic Two-Interval Rhythms. 11th International Conference on Music Perception and Cognition, Seattle, WA, August 2010.

Tapping Doesn't Help: A Dissociation Between Motor Behavior and Tempo Judgment. 11th International Conference on Music Perception and Cognition, Seattle, WA, August 2010.

Inauthentic Authenticity: Sonny Boy Williamson's "Little Village" as Musical Bullshit, annual meeting of the American Society for Aesthetics, Denver, October 2009.

Differences in Metrical Structure Confound Tempo Judgments, biannual meeting of The Society for Music Perception and Cognition, Indianapolis, August 2009.

with Ian Cross and Tommi Himberg: The Effect of Interval Size and Direction on the Perception of Anacruses, biannual meeting of the Society for Music Perception and Cognition, Montreal, Canada, August 2007.

with Ian Cross and Tommi Himberg: Structural and Performance Factors in the Perception of Anacruses, 11th Rhythm Perception and Production Workshop, Dublin, Ireland, July 2007.

with Ian Cross and Tommi Himberg: The Effect of Tempo on the Perception of Anacruses, 9th International Conference on Music Perception and Cognition, Bologna, Italy, August 2006.

Authenticity in Outsider Music: No Commercial Potential, No Lessons Required, annual meeting of the American Society for Aesthetics, Houston, TX, October 2004.

with Peter Keller and Bruno Repp: Production and Synchronization of Uneven Rhythms at Fast Tempi, 8th International Conference on Music Perception and Cognition, Evanston, IL, August 2004.

Temporal Asymmetries as Period Markers in Isochronous and Non-Isochronous Meters, 7th International Conference on Music Perception and Cognition, Sydney, Australia, July 2002.

with Ed W. Large, Non-Isochronous Accent Structures and Meter Perception,7th International Conference on Music Perception and Cognition, Sydney, Australia, July 2002.

Some Non-Isomorphisms Between Pitch and Time, annual meeting of Music Theory Midwest, Cincinnati, OH, April 2001.

Hierarchic Representations of Complex Meters, 6th International Conference on Music Perception and Cognition, Keele, UK, August 2000.

Musical Expression and Musical Meaning in Context, 6th International Conference on Music Perception and Cognition, Keele, UK, August 2000.

Maria is Hopeful, annual meeting of the Pacific division of the American Society for Aesthetics, Pacific Grove, CA, March, 2000.

Mapping Metrical Particularity: Some Hierarchical and Psychological Considerations, annual meeting of the Society for Music Theory, Atlanta, GA, November 1999.

Quantitas Intrinseca: 17th- and 18th-century Studies in Timing and Dynamics, biannual meeting of the Society for Music Perception and Cognition, Evanston, IL, August 1999.

How Many Meters? Cognitive Constraints on Metric Hierarchies, biannual meeting of the Society for Music Perception and Cognition, Evanston, IL, August 1999.

Structural Hearing and Jerrold Levinson's Music in the Moment, annual meeting of the American Society for Aesthetics, Bloomington, IN, November 1998.

Can You Hear Two Meters at Once? Metric Ambiguity, Metric Vagueness, and Music Theory, biannual meeting of the Society for Music Perception and Cognition, Cambridge, MA, August 1997.

The Binary Bias of metric subdivision and the relative complexity of various meters, or, why is 9/8 so rare? (poster session presentation), annual meeting of the Society for Music Theory, Baton Rouge, LA, November 1996.

The Binary Bias of Metric Subdivision and the Relative Complexity of Various Meters, or, Why is 9/8 so Rare?, the 4th International Conference on Music Perception and Cognition, Montreal, Quebec, August 1996.

The Irregular Hypermetric Structure of the Early Delta Blues, annual meeting of Music Theory Midwest, Kalamazoo, MI, May 1996.

The Temporal Limits to Meter: Some Perceptual Considerations for the Music Theorist (poster session presentation), annual meeting of the Society for Music Theory, Tallahassee, FL, November 1994.

The 'Strong Reduction Hypothesis' of Lerdahl and Jackendoff's A Generative Theory of Tonal Music, 3d International Conference on Music Perception and Cognition, Liège, Belgium, 23-27 July 1994.

The Temporal Limits to Meter, 3d International Conference on Music Perception and Cognition, Liège, Belgium, 23-27 July 1994.

Lerdahl and Jackendoff's 'Strong Reduction Hypothesis' and the Limits of Analytic Description, part of a special session dedicated to the tenth anniversary of Lerdahl and Jackendoff's A Generative Theory of Tonal Music, joint meeting of the American Musicological Society and the Society for Music Theory, 5 November 1993, Montreal, Quebec.

The Cognitive Implications of a Dynamic Theory of Meter, biannual meeting of the Society for Music Perception and Cognition, 17 June 1993, Philadelphia, PA.

Getting the Joke in Haydn's Quartet Opus 33, no. 2: Linguistic Competence and Musical Cognition, 2nd International Conference on Music Perception and Cognition, The University of California, 25 Feb. 1992, Los Angeles, CA.

The Extended Anacrusis and the Permeability of Hierarchic Levels, annual meeting of the Society for Music Theory, October 1991, Cincinnati, OH.

The Extended Anacrusis and the Permeability of Hierarchic Levels: the opening measures of Mozart's G-minor Symphony, K.550, annual meeting of Music Theory Midwest, 19 May 1991, Kansas City, MO.

Hierarchic Theories versus Hierarchic Facts: an argument against recursive theories of musical structure, annual meeting of the Society for Music Theory, 27 October 1989, Austin, TX.

The Historical Background of Hierarchic Models of Music, mid-Atlantic chapter meeting of the American Musicological Society, February 25th, 1989, Philadelphia, PA.

 

PANELS AND SESSION CHAIRS

Session Chair, "Music Analysis in Comparative Perspective," annual meeting of The Society for Music Theory, Arlington, VA, November 2017.

Session Chair, "Perception," 16th Rhythm Perception and Production Workshop, Birmingham, UK, July 2017.

Panelist, Empirical Musicology, 10 Years On: New Ways to publish and the empirical paradigm in music research. 14th International Conference on Music Perception and Cognition, San Francisco, July 2016.

Session Chair, "Malleable Meters," annual meeting of Music Theory Midwest, Fayetteville, May 2016.

Invited Respondent, panel on "Rhythm and Timing in Non-Isochronous Meter" at the 15th Jahreskongress der Gesellschaft für Musiktheorie (GMTH), Berlin, October 2015.

Session Chair: Expectations: Meter/Rhythm, Biennial meeting of the Society for Music Perception and Cognition, Nashville, August 2015.

Session Chair: Special Session on Metre in Malian Music: Theoretical, Analytical, & Perceptual Perspectives, 3d international meeting on Analytical Approaches to World Music,London, July 2014.

with Andrea Halpern (Bucknell University) and Siu-Lan Tan (Kalamazoo College), The Challenges and Opportunities of Teaching and Research at a Primarily Undergraduate Institution (PUI), biennial meeting of the Society for Music Perception and Cognition, Toronto, August 2013.

Panelist, "Authors Meet Critics: The Routledge Companion to Philosophy and Music," at the annual meeting of the American Society for Aesthetics, St. Louis, MO, October 2012.

Session Chair: "Theorizing about Theorizing," at the annual meeting of Music Theory MidWest, Ann Arbor, MI, May 2012.

Session Chair: "Playing Against Meter," at the annual meeting of the Society for Music Theory, Minneapolis, MN, October 2011.

Featured Speaker, Popular Music Interest Group session on "Metric Fake-Outs and Surprises in Popular Music," at the annual meeting of the Society for Music Theory, Minneapolis, MN, October 2011.

Respondent, "Perfect Compliance in Musical History and Ontology" by John Dyke, at the American Society for Aesthetics Pacific Division Meeting, Asilomar, CA, March 2011.

Respondent, Panel on "Current Issues in Entrainment and Music," at the Workshop on Joint Action and Entrainment, Open University, Milton Keynes, UK, December 2009.

Featured Speaker, Music Cognition Interest Group Panel on Hearing in Time, annual meeting of The Society for Music Theory, Baltimore, MD, November 2008.

Session Chair: Meter I, at the biannual meeting of The Society for Music Perception and Cognition, Montreal, Canada, August 2007.

Invited Panelist, "What is the Beat and Why Study Metrical Processing", at the biannual meeting of The Society for Music Perception and Cognition, Montreal, Canada, August 2007.

Session Chair: Syncopation, Rhythm, Hypermeter, at the annual meeting of The Society for Music Theory, Los Angeles CA, November 2006.

Session Chair: Rhythm and Meter, at the annual meeting of Music Theory Midwest, Oberlin OH, May 2005.

Session Chair: Rhythm III: Meter, at the 8th International Conference on Music Perception and Cognition, Evanston, IL, August 2004.

Invited Panel Participant: Music Theory and Analysis Outside the Canon at the West Coast Conference on Music Theory and Analysis, San Diego, CA, April 2004.

Session Chair: Cognition and Temporality, at the annual meeting of the Society for Music Theory, Madison, WI, November 2003.

Session Chair: Author Meets Critics, at the American Society for Aesthetics Pacific Division Meeting, Asilomar, CA, April 2003.

Invited Panel Participant: Music, Popular Culture, and the Academy, at the conference on Popular Music and American Culture held at the Center for American Music, Austin, TX, November 2002.

Session Chair: Music and the Western, conference on Popular Music and American Culture held at the Center for American Music, Austin, TX, November 2002.

Invited Panel Participant: Temporal Aspects of Human Behavior: Theory & Methods, symposium held at the MARCS lab, University of Western Sydney, Australia, July 2002.

Session Chair: Sensorimotor Synchronization, 7th International Conference on Music Perception and Cognition, Sydney, Australia, July 2002.

Session Chair: Selected Issues in Tonality, biannual meeting of the Society for Music Perception and Cognition, Kingston, Ontario, August 2001.

Session Chair: Rhythm and Romanticism, annual meeting of Music Theory Midwest, Appleton, WI, May 2000.

Invited Panel participant: Preparing an effective tenure case: SMT Committee on Professional Development., annual meeting of the Society for Music Theory, Atlanta, GA, November 1999

Session Chair: Rhythm, annual meeting of the Society for Music Perception and Cognition, Evanston, IL, August 1999.

Session moderator: Jerrold Levinson's Music in the Moment, annual meeting of the Society for Music Theory, Chapel Hill, NC, December 1998

Session chair: Hermeneutic Connections annual meeting of Music Theory Midwest, Northfield, MN, May 1998.

Session respondent: Peter Kivy on Genius in Music, Pacific Division Meeting of the American Society for Aesthetics, Monterey, CA, April 1998.

Invited Panel participant: Publishing in Popular Music Journals, (as Associate Editor of Music Theory Online) at the annual meeting of the International Association for the Study of Popular Music, Denver, CO, October 1996.

Organized special session on Lerdahl and Jackendoff's A Generative Theory of Tonal Music: Ten Years After for the annual meeting of the Society for Music Theory, Montreal, Quebec, November 1993.

Session chair, Tonality at the bi-annual meeting of the Society for Music Perception and Cognition, Philadelphia, PA, June 1993.

Session chair, Pop Music and Music Theory Pedagogy at the 1992 annual meeting of Music Theory Midwest.

 

WORK IN PROGRESS

Microtiming, Meter, and Ensemble Coordination in West African Percussion Music: ongoing collaborative research with Rainer Polak and Timo Fischinger (Max Planck Institute for Empirical Aesthetics, Frankfurt), and Nori Jacoby (Columbia University). Rainer Polak was the PI on a research project funded by the German Research Council (Deutschen Forschungsgemeinschaft), 2011–2014 to investigate microtimngs in percussion music. Our research has developed a cross-culturally comparative perspective on structures of microrhythmic asymmetry—colloquially referred to as rhythmic “feel” or “swing”—in Malian percussion ensemble music. Research to date has been published in Music Theory Online, Frontiers in Human Neurosicence, and Psychonomic Bulletin & Review. Current research uses cross-correlation analyses of microtiming shifts to determine who is leading and who is following within the drum ensemble.

Auditory and Visual Factors in Musical Tempo Judgments: collaborative research with Petri Toiviainen, Birgitta Burger, Marc Thompson, and Emily Carlson (University of Jyväskylä, Finland). This project, supported by a Finnish Fulbright Core Scholars Grant is a sustained investigation into cross-modal cues for tempo and motion. Work in Finland in 2014 used motion capture to assess the effect of tempo on participants movements, and used movement data to construct stimuli for perceptual experiments. Findings to date are that visual information, a listener's dance background, and self-motion can affect tempo judgments. Our first publication, "Speed on the Dance Floor: Auditory and Visual Cues for Musical Tempo" appeared in Acta Psychologica (2016). Current Reserarch in this area has also involved Carleton College undergraduate research assistants Katherine Jones ('10), Emily Cogsdill ('11), Eleanor Dollear ('16), and Molly Hildreth ('17).

Time: Timing and Sound in Musical Microrhythm: collaborative research project with Anne Danielsen (PI), Kristian Nymoen, and Alexander Refsum Jensenius at the University of Oslo.This project explores the microsctructure of musical sounds, such as temporal shape, intensity, and timbre, and the ways they influence our sense of when a sound occurs in time. This in turn will affect how we are able to hear the ebb and flow of a series of sounds, and how we can coordinate our attention and action with them. This project combines sonic and musical analysis, perceptual studies, and cultural comparisons to show how both the microstructure of a sound as well as a listener's musical background will affect how the sounds are heard and responded to. Initial experimental work to began in the fall of 2016; project will continue through 2020.

Slow Motion: Transformations of Musical Time in Perception and Performance: collaborative research with Clemens Wöllner (PI) and David Hammerschmidt on the perception of rhythm and tempo at very slow rates, supported by the European Research Council.  Current collaboration involves testing the Tempo Anchoring Effect (London et al. 2016) at very slow rates, as well as the time estimation of long intervals (> 10 seconds) using musical examples with high beat salience as temporal “yardsticks.”

Understanding Music: The Psychology of Musical Sounds. A short (150-200 page) introduction to music psychology for the general reader.  It explores the different facets of our musical experience, how our ears and brain make sense of that experience, and how to share your musical experience(s) with others. It will enable readers to describe what they hear in plain English, to tell their friends why they like (or dislike) the latest hit record, suggest ways to think about and understand their favorite pieces of music, and help them find and appreciate new music, too.  Illustrated with examples from a wide range of musical styles, and a minimum of technical jargon.

 

TEACHING EXPERIENCE/COURSES TAUGHT

Carleton College, Andrew W. Mellon Professor of Music, Cognitive Science, and the Humanities (2016-); Professor (2002-2016); Associate Professor (1996-2002); Assistant Professor (1990-1996); Visiting Instructor (1989-199)0. Music 204, "Musical Structures" is the core course in music theory for the Carleton music major; project based, it requires students to explore all of the parameters of music--rhythm, melody, harmony, timbre, texture, and form--using a wide range of approaches and musical styles. Cog Sci 130, "Introduction to Cognitive Science: The Musical Mind" is the gateway course to the Cognitive Science major or minor, and it covers topics including the embodied cognition of rhythm; linguistic syntax and musical structure; mental representations of musical sound and action; and perfect pitch and neural plasticity. Music 131, "The Blues From the Delta to Chicago" is an introduction to the historical, analytical, critical, and sociological study of music through the examination of the evolution from the Delta Blues to early Rock and Roll styles. Emphasis is on fundamental analytic skills and their application to the assessment of changing musical styles, as well as on understanding the differences between music in an oral versus a written tradition. Music 227, "The Perception and Cognition of Music," is an introduction to historical and current research in the perception and cognition of pitch and rhythm. It includes a companion lab (Music 228) in which student teams re-create and extend classic experiments in music perception. Music 239, "The Philosophy of Music," is an introduction to musical aesthetics. Topics discussed include: musical expression, musical representation and reference, authenticity in interpretation and performance, and assessments of musical value. Music 100, "The Science of Musical Time" (a first-year Argument and Inquiry seminar) introduces students to empirical musicology via studies of rhythmic perception, production, synchronization and performance nuance.

University of Pennsylvania, Teaching fellow 1985-87. Taught Music 20 and 21, Introductory survey of Western music for non-majors.

 

TEACHING AREAS

Music Theory: Core curriculum in theory and analysis; 16th- and 18th-century counterpoint; Tonal harmony; Topics in rhythm and meter; Linguistic approaches to music; Musical time and temporality.

Cognitive Science and Psychology: Introductory courses in music psychology and music cognition; Rhythm, perception, and action; Introduction to cognitive science; The science of musical rhythm and time.

Philosophy and Aesthetics: Speech-act theory and pragmatics; Introductory aesthetics; The philosophy of music.

Music History: General survey of Western music; Topics in eighteenth-century music, including Haydn and Mozart, history of the symphony and the evolution of the Classical style; History and criticism of the blues and popular music.

 

PH.D. CO-SUPERVISIONS

Ives Chor, "Cognitive Frameworks for the Production of Musical Rhythm, Northwestern University, 2010.

Mark Gotham, "The Metre Metrics: Characterising (dis)similarity among metrical structures," The University of Cambridge, 2015.

CURRENT AND RECENT COURSES

Winter 2018: Music 104, "Musicianship Lab II"; Music 204, "Theory II: Musical Structures"

Spring 2018: Music 131, "The Blues from the Delta to Chicago"; CGSC 130, "Introduction to Cognitive Science: The Musical Mind"

Fall 2018: Sabbatical Leave

Winter 2019: Music 104, "Musicianship Lab II"; Music 308, "Seminar in Music Analysis"

Spring 2019: Music 227 & 228, "Introduction to the Perception and Cognition of Music," with lab (satisfies college lab science requirement).

Fall 2019: Music 100, "I Got Rhythm: The Science of Musical Time" (First-year Argument & Inquiry Seminar)

 

MUSICAL INTERESTS

While still an active classical guitarist, playing occasional duo recitals with Ian Cross, I also manage to practice and perform in jazz, bluegrass, and (especially) blues guitar idioms. I am also currently the guitarist and lead singer of the "New Moon Trio," Northfield, MN.

 

CARLETON COLLEGE SERVICE ACTIVITIES

Institutional Review Board for Research on Human Subjects (IRB), 2018/19-2020/21 (Chair 2019-2021).

Library and Information Technology Committee (LIBIT), IT Co-chair, 2016/17-2017/18.

Sustainability Committee, 2014/15-2016/17.

Strategic Planning Physical Plant Working Group, 2011/12.

Chair, Admissions and Financial Aid Committee, 2006/07-2008/09, 1995/96-1997/98.

Curricular Design Team, 2007/08.

Benefits Committee, 2006/07.

Chair, Department of Music, 2000/01-2003/04.

 

PROFESSIONAL SERVICE ACTIVITIES

President (elected), Society for Music Perception and Cognition (President-Elect 2016, President 2017-18, Past President 2019)

Society for Music Theory professional development committee pro tem; authored a position paper on the assessment of multi-author publications for tenure and promotion.

Guest Editor, Psychomusicology: Music, Mind, and Brain, special issue of papers from the 2016 SysMus conference held in Jyväskylä, Finland, 2017.

Chair, Komar Award Committee, Music Theory Midwest, 2017.

Program Committe, 14th International Conference of Music Perception and Cognition, 2016.

Program Committee, 4th International Conference on Analytical Approaches to World Music, 2016.

Guest Editor, Empirical Musicology Review, special issue on "Rhythm Perception and Production across Styles and Cultures," 2015.

Program Committe, Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, 2015

Program Committee, Biannual Meeting of the Society for Music Perception and Cognition, 2013.

Interdisciplinary College (IK) Advisory Board, 2012-present

Co-Chair, 2012 Interdisciplinary College (IK), focus theme "Emotion and Aesthetics," Gunne at Lake Mohne, Germany, 16-23 March 2012.

Consulting Editor, Music Perception, 2009-present.

Program Committee, Biannual Meeting of the Society for Music Perception and Cognition, 2011.

Program Committee, 11th International Conference of Music Perception and Cognition, 2010.

Program Committee, CIM10 Conference on Interdisciplinary Musicology, 2010.

President (elected), Society for Music Theory, (President-Elect 2006-2007; President 2007-2009; Past-President 2009-2010).

Bylaws Review Committee Chair (Presidential Appointee), Society for Music Theory, 2003-2007.

Candidate: Board of Trustees of the American Society for Aesthetics, 2005.

Program Committee for the 2004 Annual Meeting, American Society for Aesthetics.

Member, Editorial Board, Music Theory Spectrum, 2003-2005.

SMT 25 Committee (Presidential Appointee), Society for Music Theory, 2002-2005.

Secretary/Treasurer (elected), Society for Music Perception and Cognition, 2002-2005.

Member (elected), Executive Board, Society for Music Theory, 2000-2003.

Nominating Committee, Music Theory Midwest, Fall 2003.

Member (elected), Board of Directors, Society for Music Perception and Cognition, 1999-2001.

Treasurer (elected), Music Theory Midwest 1997-99 and 1999-2001.

Member, Editorial Board, Journal of Music Theory Pedagogy 1992-1999.

Member, Editorial Board, Music Theory Online 1992-1998.

Local Arrangements Committee member for the 1997 meeting of Music Theory Midwest, May 16-17, 1997, at Carleton College.

Executive Board Member (elected), Music Theory Midwest 1995-97.

Bylaws Review Committee Chair (Presidential Appointee), Society for Music Theory 1993-95.

Member of the Program Committee for the 1993 meeting of Music Theory Midwest.

Incorporator and Corporate Agent for Music Theory Midwest, 1992-present (incorporated in the state of Minnesota in June of 1992. Successfully filed for 501 (c) (3) status with the IRS in the summer of 1993.

Manuscript reviews for The Journal of Experimental Psychology: Human Perception and Performance, Music & Science, Brain Research, Psychological Review, Frontiers in Human Neuroscience, Timing and Time Perception, Pyschomusicology: Music, Mind and Brain, Music Perception, The Journal of Cognitive Psychology, Music Theory Spectrum, The Journal of Music Theory, The Journal of Aesthetics and Art Criticism, The Journal of Musicological Research, The Journal of Cognitive Psychology, Psychological Research, The Quarterly Journal of Experimental Psychology, Journal of Music Theory Pedagogy, Current Musicology, Music Theory Online, Eighteenth-Century Music, Empirical Musicology Review, The Journal of the Acoustical Society of America, Cambridge University Press, Oxford University Press, Routledge, Ashgate, C.R.C. Press, and W.W. Norton, Inc.

External Ph.D. reviews for the University of Jyvaskyla, the University of Cambridge, Northwestern University, and Goldsmiths, University of London.

Grant recommendations and/or reviews for the Social Sciences and Humanities Research Council of Canada, MacArthur Foundation, Grammy Foundation, National Science Foundation, National Institutes of Health, The U.S. Fulbright Foundation, The National Endowment for the Humanities, The Black Music Research Council, American Council of Learned Societies, Radcliff Institute Fellowship (Harvard University), Leverhulme Foundation, The American Psychological Association, and Ford Foundation Fellowship Programs.

Media appearances in/for The Atlantic, Salon, Scientific American, Norddeutscher Rundfunk, BBC Radio 4, The Science Museum of Minnesota, KRLX radio, and Locally Grown Northfield.