| Eastman School of Music | 2005- | Associate Professor of Music Theory (teaching graduate and undergraduate courses in theory, analysis, counterpoint, music cognition, and other subjects) |
| 2000-2005 | Assistant Professor of Music Theory | |
| University of Pennsylvania | Spring 2007 | Visiting Professor of Music Theory |
| Ohio State University | 1998-9 | Lecturer (full-time one-year appointment; taught and supervised sophomore aural training) |
| 1997-8 | Post-Doctoral Fellow in Music Cognition | |
| Columbia University | 1996-7, 1999-2000 | Adjunct Assistant Professor (taught aural training, beginning and advanced; fundamentals of music) |
| New York University (College of Education) | Spring 1997 | Adjunct Assistant Professor (taught twentieth-century theory and aural training) |
| Columbia University | 1989-1996 | Instructor / Teaching Assistant for various courses: Undergraduate Composition, Diatonic Harmony, Music Humanities (a course in masterpieces of Western music), Opera. |
| Columbia University | Ph.D in Music Theory (May 1996) |
| Columbia University | M.A. in Composition (Studies with David Rakowski, Steve Mackey, George Edwards, and Fred Lerdahl) |
| Swarthmore College | B.A. in History (with Distinction) (1985) |
| Aspen Music School | Composition program, Summer 1992 (studies with George Tsontakis); 4-week composition master class, Summer 1993 (studies with Bernard Rands and Jacob Druckman) |
| June-in-Buffalo Festival | Master classes with Bernard Rands, David Felder, Charles Wuorinen, and Jacob Druckman, Summer 1993 |
| BMI Musical Theater Workshop | Beginning workshop, 1987-9; advance workshop, 1989-91 |
Society for Music Theory Emerging Scholar Award, for The Cognition of Basic Musical Structures, 2003.
University of Rochester Bridging Fellowship (Brain & Cognitive Sciences Department), Fall 2009.
University of Rochester Provost's Multidisciplinary Award,
2012.
Papers and Publications
Books
____________ . 2007. Music and Probability. MIT Press. [Book website]
____________ . 2001. The Cognition of Basic Musical Structures. MIT Press. [Book website]
____________ & Trevor de Clercq. In press. "Statistical Analysis of Harmony and Melody in Rock Music." Journal of New Music Research.
____________ & Daphne Tan. 2013. "Emotional Connotations of Diatonic Modes." Music Perception 30, 237-57. [PDF]
____________ . 2012. "Computational Models of Music Cognition." In Diana Deutsch (Ed.), The Psychology of Music, 3rd edition, pp. 327-368. Amsterdam: Elsevier.
____________ . 2012. "Scalar Shift in Popular Music." Music Theory Online 17.4. [View online]
Nicholas Temperley & ____________ . 2011. "Music-Language Correlations and the 'Scotch Snap.'" Music Perception 29, 51-63. [PDF]
___________ . 2011. "Composition, Perception, and Schenkerian Theory." Music Theory Spectrum 33, 146-68. [PDF]
___________ . 2011. "The Cadential IV in Rock." Music Theory Online 17.1. [View online]
Trevor de Clercq & ___________ . 2011. "A Corpus Analysis of Rock Harmony." Popular Music 30, 47-70. [PDF]
___________ . 2010. "Modeling Common-Practice Rhythm." Music Perception 27, 355-376. [PDF]
Daniel Gildea & ___________ . 2010. "Do Grammars Minimize Dependency Length?" Cognitive Science 34, 286-310. [PDF]
___________ . 2009. "In Defense of Introspectionism: A Response to Debellis." Music Perception 2009, 131-138. [PDF]
___________ . 2009. "A Unified Probabilistic Model of Polyphonic Music Analysis." Journal of New Music Research 38, 3-18. [PDF]
___________ . 2009. "Distributional Stress Regularity: A Corpus Study." Journal of Psycholinguistic Research 38, 75-92. [PDF]
___________ . 2008. "Hypermetrical Transitions." Music Theory Spectrum 30, 305-325. [PDF]
___________ . 2008. "A Probabilistic Model of Melody Perception." Cognitive Science 32 #2, 418-444. [PDF]
___________ . 2008. "The Tonal Properties of Pitch-Class Sets." Computing in Musicology 15, 24-38. [PDF]
___________ & Elizabeth West Marvin. 2008. "Pitch-class Distribution and the Identification of Key." Music Perception 25 #2, 193-212. [PDF]
___________ . 2008. "Dependency Length Minimization in Natural and Artificial Languages." Journal of Quantitative Linguistics 15, 256-282. [PDF]
___________ . 2007. "The Melodic-Harmonic 'Divorce' in Rock." Popular Music 26 #2, 323-342. [PDF]
___________ . 2007. "Minimization of Dependency Length in Written English." Cognition 105, 300-333. [PDF]
___________ . 2006. "Key Structure in 'Das alte Jahr vergangen ist'." Journal of Music Theory 50, 103-110.
___________ . 2005. "The Dependency Structure of Coordinate Phrases: A Corpus Approach." Journal of Psycholinguistic Research 34, 577-601. [PDF]
___________ . 2004. "Bayesian Models of Musical Structure and Cognition." Musicae Scientiae 8 #2, 175-205. [PDF of manuscript]
___________ . 2004. "An Evaluation System for Metrical Models." Computer Music Journal 28 #3, 28-44. [PDF]
___________ . 2004. "Communicative Pressure and the Evolution of Musical Styles." Music Perception 21 #3, 313-37. [PDF]
___________ . 2003. "End-Accented Phrases: An Analytical Exploration." Journal of Music Theory 47 #1, 125-54. [PDF]
___________ . 2003. "Ambiguity Avoidance in English Relative Clauses." Language 79, 464-84. [PDF]
___________ & Christopher Bartlette. 2002. "Parallelism as a Factor in Metrical Analysis." Music Perception 20 #2, 117-49. [PDF]
___________ . 2002. "A Bayesian Approach to Key-Finding." In C. Anagnostopoulou, M. Ferrand, & A. Smaill (Eds.), Music and Artificial Intelligence (pp. 195-206). Berlin: Springer-Verlag. [PDF]
___________ . 2000. "The Line of Fifths", Music Analysis, 19 #3, 289-319. [PDF]
___________ . 2000. "Meter and Grouping in African Music: A View from Music Theory", Ethnomusicology, 44 #1, 65-96.
___________ . 1999. "The Question of Purpose in Music Theory: Description, Suggestion, and Explanation." Current Musicology, 66, 66-85. [PDF]
___________ . 1999. "What's Key for Key? The Krumhansl-Schmuckler Key-Finding Algorithm Reconsidered." Music Perception 17 #1, 65-100. [PDF]
___________ & Daniel Sleator. 1999. "Modeling Meter and Harmony: A Preference Rule Approach." Computer Music Journal 15 #1, 10-27. [PDF]
___________ . 1999. "Syncopation in Rock: A Perceptual Perspective." Popular Music 18 #2, 19-40. [PDF]
___________ . 1997. "An Algorithm for Harmonic Analysis." Music Perception 15 #1, 31-68.
___________ . 1995. "Motivic Perception and Modularity." Music Perception 13 #2, 141-69.
Daniel Sleator and ___________ . 1993. "Parsing English with A Link Grammar." Proceedings of the Third Annual Workshop on Parsing Technologies. [PDF]
John Lafferty, Daniel Sleator and ___________ . 1992. "Grammatical Trigrams: A Probabilistic Model of Link Grammar." Proceedings of the AAAI Conference on Probabilistic Approaches to Natural Language. [PDF]
Daniel Sleator and ___________ . 1991. "Parsing English with a Link Grammar." Carnegie Mellon University Computer Science technical report CMU-CS-91-196. [PDF]
___________ . 2012. Review of Language and Music as Cognitive Systems, edited by Patrick Rebuschat, Martin Rohrmeier, John A. hawkins, & Ian Cross. Language 88, 666-669.
___________ . 2009. Review of Metric Manipulations in Mozart and Haydn, by Danuta Mirka. Journal of Music Theory 53, 305-328.
___________ . 2008. Review of Music in the Galant Style, by Robert Gjerdingen. Journal of Music Theory 50, 277-90.
___________ . 2006. Commentary on William Thomson's "Pitch Frames as Melodic Archetypes." Empirical Musicology Review 2, 103-105.
___________ . 2005. Review of Empirical Musicology: Aims, Methods, Prospects, ed. by Eric Clarke & Nicholas Cook. Music Perception 23, 91-96.
___________ . 2003. Review of Tonal Pitch Space, by Fred Lerdahl. Musicae Scientiae 7, 141-55.
___________ . 2000. Review of Music, Cognition, and Computerized Sound, ed. Perry Cook. Music Theory Spectrum 22, 264-6.
___________ . 1999. Review of Musical Languages, by Joseph Swain. Music Theory Online 5.3.
___________ . 1998. Review of African Drumming, by Kofi Agawu. Current Musicology 62, 69-83.
"Statistical Analysis of Harmony and Melody in Rock Music." Keynote Address, Music and Technologies, Kaunas, Lithuania, November 2012.
"Probabilistic Key-Finding and the 'Aha!' of Augmented Sixth Chords." Department of Music, Yale University, October 2012.
"Mode and Emotion: Experimental, Computational, and Corpus Perspectives." Keynote Address, International Conference for Music Perception and Cognition, Thessaloniki, Greece, July 2012.
"Scales in Popular Music: A Corpus Perspective." John Clough Conference, Yale University, June 2012.
"A Key-Finding Model and its Implications for Musical Expression and Enjoyment." Department of Brain & Cognitive Sciences, University of Rochester, November 2011.
"A Key-Finding Model and its Implications for Musical Expression and Enjoyment." Cognitive Science Lecture Series, University of Arizona, October 2011.
"Harmony and Key in Rock: A Corpus Study" (with Trevor de Clercq). Workshop at the Centre for Interdisciplinary Research in Music Media and Technology, McGill University, February 2011.
"Music, Language, and Computational Modeling: Lessons from the Key-Finding Problem." Keynote Address, Association for Computational Linguistics (North American Chapter), Los Angeles, June 2010. [Slides]
"Studying Music Performance: A Probabilistic Approach." Keynote Address, Empirical Musicology II (sponsored by SEMPRE [Society for Education, Music, and Psychology Research]), Leeds (UK), March 2010. [Slides]
"A Probabilistic Model of Melody Perception." Northwestern University, October 2008.
Guest-taught seminar "Towards a Theory of Rock." Bennington College, December 2007.
"Communicative Pressure and Music Cognition." Center for Cognitive Science, University of Buffalo, October 2007.
"A Probabilistic Model of Melody Perception." Dept. of Psychology, McGill University, July 2006.
"Tonal Implication, Tonal Ambiguity, and Tonalness: A Probabilistic View." Dept. of Music, University of California at Berkeley, March 2005.
"Tonal Implication, Tonal Ambiguity, and Tonalness: A Probabilistic View." Center for Computer Research in Music and Acoustics, Stanford University, March 2005.
"Tonal Implication, Tonal Ambiguity, and Tonalness: A Probabilistic View." Dept. of Electrical Engineering, University of Southern California, March 2005.
"Music Cognition and Composition." Royal Institute of Technology / Royal College of Music, Stockholm, Sweden. October 2004.
"Communicative Pressure and the Evolution of Musical Styles." Queen's University, Belfast, U.K., May 2004.
"Communicative Pressure and the Evolution of Musical Styles." Sheffield University, U.K., May 2004.
"Communicative Pressure and the Evolution of Musical Styles." City University, London, U.K., May 2004.
"Communicative Pressure and the Evolution of Musical Styles." Cambridge University, U. K., May 2004.
"Communicative Pressure and the Evolution of Musical Styles." Edinburgh University, U.K., May 2004.
"Bayesian models in music and language: preference rule systems and probabilistic language models." Nijmegen Institute for Cognition and Information, Nijmegen, The Netherlands, March 2002.
"A Preference Rule Model of Contrapuntal Perception." Department of Electrical Engineering and Computer Science, University of Michigan, January 2001.
Nicholas Temperley & __________, "The 'Scotch Snap' in English Songs." Biennial meeting of the North American British Music Studies Association, Urbana, IL, July 2012.
Stefanie Acevedo, __________, & Peter Q. Pfordresher, "Does the Change of a Melody's Meter Affect Tonal Pattern Perception?" (Poster) Society for Music Perception and Cognition (SMPC), Rochester, August 2011.
__________, "A Bayesian Theory of Musical Pleasure." Annual meeting of the SMPC, Rochester, August 2011.
__________ & Trevor de Clercq, "Key-finding Algorithms for Popular Music." Annual meeting of the SMPC, Rochester, August 2011.
__________ & Daphne Tan, "The Emotional Connotations of Diatonic Modes." Annual meeting of the SMPC, Rochester, August 2011.
Nicholas Temperley & __________, "Music-Language Correlations and the 'Scotch Snap.'" Annual meeting of the SMPC, Rochester, August 2011.
__________ & Trevor de Clercq, "A Corpus Analysis of Rock Harmony." International Conference for Music Perception and Cognition (ICMPC) , Seattle, August 2010.
__________ & Daphne Tan, "Is There a Musical Ganong Effect?" (Poster) ICMPC, Seattle, August 2010.
__________, "A Unified Probabilistic Model of Polyphonic Music Analysis." Annual meeting of the SMPC, Indianapolis, August 2009.
__________, "Using Cross-Entropy to Test Models of Common-Practice Rhythm." Annual meeting of the SMPC, Indianapolis, August 2009.
__________, "Distributional Stress Regularity: A Corpus Approach." Poster at the Conference on Prosody and Language Processing, Ithaca, April 2008.
__________, "Hypermetrical Transitions." Annual meeting of the Society for Music Theory, Baltimore, November 2007.
__________ and Elizabeth West Marvin, "Pitch-class Distribution and the Identification of Key." Annual meeting of the SMPC, Montreal, August 2007.
__________, "Uniform Information Density in Music." Annual meeting of the SMPC, Montreal, August 2007.
Daniel Gildea and __________, "Optimizing Grammars for Minimum Dependency Length." Annual meeting of the Association for Computational Linguistics, Prague, 2007.
__________ and Elizabeth West Marvin, "Pitch-class Distributions as Indicators of Key." Poster at the Society for Music Theory Annual Meeting, Los Angeles, November 2006.
__________, "A Probabilistic Model of Melody Perception." International Society for Music and Information Retrieval, Victoria, Canada, October 2006.
__________, "Continuity and Closure in Rock: The Repeating Unit Boundary." Annual meeting of the New York State Music Theory Society, Saratoga Springs, NY, March 2006.
__________, "Communicative Pressure." ICMPC, Evanston, August 2004.
__________, "Bayesian Models of Metrical Analysis." Annual meeting of the SMPC, Las Vegas, May 2003.
__________, "The Plagal Stop Cadence in Rock." Society of Music Theory annual meeting, Columbus, November 2002.
__________, "A Bayesian Model of Key-Finding." International Conference on Music and Artificial Intelligence, Edinburgh, September 2002.
__________, "Musical Meaning and the Line of Fifths." ICMPC, Keele, UK, August 2000.
__________, "A Preference Rule Model for Contrapuntal Perception." New England Conference of Music Theorists, Boston, March 2000.
__________, "Improving the Krumhansl-Schmuckler Key-Finding Algorithm." Society of Music Theory annual meeting, Atlanta, November 1999.
__________, "A Preference Rule Model for Contrapuntal Analysis." Annual meeting of the SMPC, Evanston, August 1999.
__________, "An Algorithm for Metrical Analysis." Annual Meeting of the West Coast Conference of Music Theory and Analysis, Stanford University, April 1999.
__________, "Computer Modeling of Meter and Harmony: A Preference Rule Approach." MusicCog 98 Workshop, Ohio State University, May 1998.
__________, "An Algorithm for Harmonic Analysis." Annual meeting of the SMPC, Boston, 1997.
__________, "Music Cognition and Music Theory: The Question of Purpose." Annual meeting of the SMPC, Boston, 1997.
__________, "Hypermetrical Ambiguity in Sonata Form Closing Themes." Society of Music Theory annual meeting, Fall 1996. [PDF file of expanded written version]
__________, "The Perception of Harmony and Tonality: An Algorithmic Perspective." Annual meeting of the SMPC, Berkeley, 1995.
__________, "Syncopation in Rock: A Perceptual Perspective." Annual meeting of the SMPC, Berkeley, 1995.
String Quartet No. 3. Christian Howes (violin), David Edge (violin), Chris Saetti (viola), Luis Biava (cello); Spagio New Music Series, February 1999.
Twelve Rhythmic Studies for Piano (selections). Ian Hobson; Smith Music Hall, University of Illinois, February 1998
___________ (selections), David Temperley; Columbia School of the Arts Showcase, Columbia University, February 1995
___________ (complete). David Temperley; choreographed by members of Barnard College Dance Faculty; Barnard College, May 1994
___________ (selections). Luk'; June in Buffalo Festival, 1993
___________ (selections). Margaret Kampmeier; Miller Theater, December 1992
Three Ballades for Piano, David Temperley; Ohio State New Music Festival, February 1998
Viola Sonata. Rudolf Haken; Krannert Center, University of Illinois,September 1997
___________ . Rudolf Haken; C-U Symphony Benefit Concert, Urbana, Illinois, May 1997
Guitar Quintet. Marka Gustavsson (violin), Ralph Farris (viola), Jennifer Morsches (cello), Scott Totten (guitar), Greg August (bass); Roulette, April 1997
Woodwind Quintet. Quintet of the Americas; Americas House, December 1996
String Quartet #6. Curtis Macomber, Carol Zealin, Maureen Gallagher, and Chris Finckel; Miller Theater, Columbia University, March 1995
Cello Sonata #2. Scott Kluksdahl (cello) and David Temperley; WeillRecital Hall, May 1994
___________ . Scott Kluksdahl (cello) and David Temperley; Miller Theater, Columbia University, March 1991
Sonata #3 For Violin and Piano. Margaret Kampmeier (piano) and Anna Lim (violin); Miller Theater, March 1994
Trio for Violin, 'Cello, and Marimba. Aspen Contemporary Ensemble; July 1993
Elephant, for piano and narrator. David Temperley and Charles Major; Golden Fleece "Square One Series", the New School, March 1992
Worked full-time as an accompanist for dance and theater in New York City, 1986-9 (and part-time, 1989-97).
Dance. Employers include the Martha Graham School (1987-9), the 92nd St. "Y" (1986-9), New York University (1988-9), and Barnard College (1989-97). Played for modern, ballet, jazz, improvisation, and dance composition classes.
Theater. Employers include the Bronx Opera (1986-9), Opera Northeast (1989-91), Light Opera of Manhattan (1990), and Golden Fleece Chamber Theater (a contemporary chamber opera company), (1987-90).
Worked as free-lance musical director in New York City and elsewhere, 1987-1992. Duties included coaching singers, rehearsing orchestra, and conducting performances. Credits include Millicent Montrose (an Off-off Broadway Premiere), Pinoc The Barbarian (an Equity Showcase). Also worked for Mill Mountain Playhouse (Roanoke, Virginia), Summer 1987, Millbrook Playhouse (Lockhaven, Pennsylvania), Summer 1988, and Periwinkle Productions (a children's theater company in New York City), 1988-9.