Curriculum Vitae

Employment

Associate Professor of Music Cognition/Percussion, McMaster University (2015-)

  • Assistant Professor (pre-tenure) from 2009 to 2015
  • Director, MAPLE (Music, Acoustics, Perception, and LEarning) Lab.
  • Core member, McMaster Institute for Music and the Mind (MIMM)
  • Director/conductor, McMaster University Percussion Ensemble
  • Instructor/creator, 2MC3 (Psychology of Music)
  • Instructor, 2MP3 (Introduction to Music Cognition).
  • Supervise undergraduate projects (honours theses, special projects, etc.) in music cognition
  • Assist with steering/planning for McMaster Institute for Music and the Mind (MIMM)
  • Associate Member, Department of Psychology, Neuroscience, & Behaviour
    • Primary supervisor for MSc/PhD students in the MAPLE Lab enrolled in PNB
    • Co- supervisor for select graduate student theses
    • Supervise undergraduate projects (honours theses, special projects, etc.) in music cognition
  • Associate Member, Department of Linguistics & Languages

Visiting Professor of Psychology, Ryerson University (2015-2016)

  • Studied EEG and mu suppression with Dr. Frank Russo
  • Worked with various SMART Lab members on collaborative projects

Instructor, University of Toronto Faculty of Music (2016)

  • Instructor for Music 2122H – Music and the Brain
  • Participated in various MaHRC (Music and Health Research Colloquy) events

Director of Percussion Studies, Longwood University. Farmville, VA (2004-09)

  • Instructor and designer for a special topics course on the Science of Music
  • Taught applied undergraduate/graduate percussion for majors, minors, and elective students
  • Musical director/conductor of the Longwood University Percussion Ensemble
  • Instructor, Percussion Methods for Instrumentalists /Vocalists (offered once each year)
  • Instructor, Introduction to World Music (Fall 2006- Spring 2007)

Instructor of Percussion, Virginia Commonwealth University. Richmond, VA (2007-09)

  • Taught applied percussion for classical and jazz percussion majors, as well as elective students
  • Participated in annual Festival of Winds and Percussion recruiting event

Education:

Ph.D in Experimental Psychology (Cognitive Area)

  • University of Virginia (2009)
  • Thesis: Cross modal integration: The search for unity
  • Dissertation committee: Michael Kubovy (Chair), Dennis Proffit, Rachel Keen, Judith Shaten

Master of Arts in Psychology (Cognitive Area)

  • University of Virginia (2007)
  • Thesis: Visual influence on auditory judgments reflects causal relationships

Master of Music in Music Technology and Percussion Performance

  • Northwestern University (2004)
  • Thesis: The role of visual information in music performance
  • Thesis supervisor: Scott Lipscomb
  • Percussion teacher: Michael Burritt

Bachelor of Science in Computer Science; Bachelor of Musical Arts in Percussion Performance

  • Pennsylvania State University (2002)
  • Schreyer Scholar, graduating with honors in Computer Science and Music
  • Thesis: Computer-aided analysis of post-tonal music
  • Thesis supervisors: John Hannan (Computer Science) & Paul Barsom (Music)

Research Interests

Music Perception and Cognition (specifically the role of visual information in music, timbre, and rhythm), Sensory Integration, Communication of emotion in music, Causality, Auditory Perception, Autism and sensory integration disorder, Hearing impairments and audio-visual integration, Auditory alarms in medical devices, Learning & Memory, Perception, and Cognition, Human-Computer-Interface design (auditory)

Research Funding

TOTAL SECURED: $2,092,557 (since appointment in July, 2009). For details visit our funding page

Social Sciences and Humanities Research Council (SSHRC) Insight Grant (2018-2023). Principal Investigator. $185,248. Moved by Music: Exploring emotional communication across two centuries of musical history.

Natural Sciences and Engineering Research Council of Canada (NSERC) Research Tools and Instruments (2017-2018).  Co-applicant (Laurel Trainor, PI).  $146,722. Multi­participant response system: Collecting interactive behavioural ratings and reaction times in 100 people simultaneously

Natural Sciences and Engineering Research Council of Canada (NSERC) Discovery Grant (2016-2021). Principal Investigator, $155,000. Dynamic sounds and perceptual processes: Exploring the role of amplitude envelope in auditory perception.

Social Sciences and Humanities Research Council (SSHRC) Insight Grant (2016-2020). Co-applicant (Laurel Trainor, PI). $302,343. Understanding music as a complex social activity.

Social Sciences and Humanities Research Council (SSHRC) Insight Development Grant (2014-16). Principal Investigator, $75,000. Across the centuries: Exploring the communication of emotion in J.S. Bach’s “Well Tempered Clavier”

Young Innovator Award sponsored by Petro-Canada (2014). Principal Investigator. $25,000. From score to stage: Exploring the role of expertise on the communication of emotion in music.

Canadian Foundation for Innovation – Leaders Opportunity Fund (CFI-LOF). Principal Investigator. $424,993. Informing Musical Performance by Exploring the Production and Perception of Music for Percussion.

CFI Indirect Operating Funds (IOF) allocation (2012-2017). Principal Investigator. $23,445. Informing Musical Performance by Exploring the Production and Perception of Music for Percussion.

Ministry of Research and Innovation (MRI) Early Researcher Award (2011-2016). Principal Investigator. $140,000. Perceiving Percussive Sounds: Studying our perception of impact events.

Natural Sciences and Engineering Research Council of Canada (NSERC) Discovery Grant (2010-2015). Principal Investigator, $115,000. The role of amplitude envelope in audio-visual integration.

National Institutes of Health (NIH) R03 Grant 1R03 PAR-07-287 (2010-2013). Consultant. $300,000 (Laura Silverman, PI). Sensory Integration and Language Processing in Autism.

American Academy of Audiology (AAA). New investigator award (2011). Co-investigator. $10,000 (Dr. Kristi Buckley, PI). Sensory Integration and Sensory Interference in Individuals with Hearing Impairment and Individuals with Normal Hearing.

Gordon and Winnie Lebarre Memorial Donation (2012). $25,200. For the establishment of a recording room/office within the lab complex.

Internal

University Scholar Award. $60,000 ($15,000 annually for four years). McMaster University-Faculty of Humanities/Office of the Provost (2019)

International Initiatives Micro Fund (IIMF) Research Grant (2018). Principal Investigator, $5,000. International collaboration for auditory alarms project.

Arts Research Board (ARB) Research Grant (2017). Principal Investigator, $5,905. Exploring changes in the perceptual power of cues for emotion.

Arts Research Board (ARB) Research Grant (2015). Principal Investigator, $5,950. Developing software to facilitate novel study of multi-limb movement and rhythm perception.

Arts Research Board (ARB) Research Grant (2013). Principal Investigator, $4,891. Moved by music: How composers and performers convey emotion in music.

Arts Research Board (ARB) Research Grant (2012). Principal Investigator, $5,244. Surveying the sounds used in auditory perception research.

Arts Research Board (ARB) Research Grant (2011). Principal Investigator, $6,695. Exploring the communication of emotion in western music.

Arts Research Board (ARB) Research Grant (2009). Principal Investigator, $7,000. Are percussive sounds processed in a special manner?

Arts Research Board (ARB) Conference Travel Grant (2017). Principal Investigator, $1261. Presentation at the Rhythm Perception and Production Workshop (RPPW) in Birmingham, UK.

Arts Research Board (ARB) Conference Travel Grant (2015). Principal Investigator, $845. Presentation at thesmeeting in Nashville, TN.

Humanities Conference Travel Award (2014). ~$1,000. To attend the Digital Humanities Summer Research Institute at Brock University, as part of Congress 2014 in St. Catharines, ON.

Arts Research Board (ARB) Conference Travel Grant (2013). Principal Investigator, $1,000. Presentation at the International Conference of Music Perception and Cognition (ICMPC) in Seoul, South Korea.

Arts Research Board (ARB) Conference Travel Grant (2011). Principal Investigator, $825. Presentation at the Percussive Arts Society International Convention (PASIC).

Arts Research Board (ARB) Conference Travel Grant (2010). Principal Investigator, $1,665. Presentation at the International Conference of Music Perception and Cognition in Seattle, Washington.

Arts Research Board (ARB) Conference Travel Grant (2009). Principal Investigator, $1,142. Presentation at the Society for Music Perception and Cognition. 

Faculty of Humanities Research Incentive Program (2013). This award provides a 3-unit course release during the 2014-15 academic year to accelerate specific research projects, and was selected through a competitive review process.

Publications (student trainees are underlined)

Publications can be downloaded here.

Schutz, M., & Gillard, J. (2020). On the generalization of tones: A detailed exploration of non-speech auditory perception stimuli. Scientific Reports, 10, 1-14.

Manning, F.C., Siminoski, A., & Schutz, M. (2020). Exploring the Effects of Effectors: Finger Synchronization Aids Rhythm Perception Similarly in Both Pianists and Non-Pianists. Music Perception, 37(3), 196-207.

Battcock, A., & Schutz, M. (2019). Acoustically Expressing Affect. Music Perception, 37(1), 66-91.

Sreetharan, S., & Schutz, M. (2019). Improving Human-Computer Interface Design through Application of Basic Research on Audiovisual Integration and Amplitude Envelope. Multimodal Technologies and Interaction.

Schutz, M., & Stefanucci, J. (2019). Hearing value: Exploring the effects of amplitude envelope on consumer preference. Ergonomics in Design: The Quarterly of Human Factors Applications, 27(1), 16-19.

Schutz, M. (2018). Acoustic Structure and Musical Function: Musical Notes Informing Auditory Research. The Oxford Handbook of Music and Neuroscience. Michael Thaut and Donald Hodges, Eds.

Sreetharan S., Schlesinger, J., & Schutz, M. (2018). Designing Effective Auditory Interfaces: Exploring the Role of Amplitude Envelope. In Parncutt, R., & Sattmann, S. (Eds.), Proceedings of ICMPC15/ESCOM10. Graz, Austria: Centre for Systematic Musicology, University of Graz, 426-431.

Battcock, A., & Schutz, M. (2018). Expressivity and emotion: the importance of performer controlled cues.  In Parncutt, R., & Sattmann, S. (Eds.), Proceedings of ICMPC15/ESCOM10. Graz, Austria: Centre for Systematic Musicology, University of Graz, 71-76.

Schutz, M. (2017). Acoustic Constraints and Musical Consequences: Exploring Composers’ Use of Cues for Musical Emotion. Frontiers in Psychology, 8, 1–10.

Manning, F.C., Harris, J. & Schutz, M. (2017). Temporal prediction abilities are mediated by motor effector and rhythmic expertise. Experimental Brain Research. 235 (3), 861-871.

Schutz, M., Stefanucci, J., Carberry, A., & Roth, A. (2017). Name that percussive tune: Associative memory and amplitude envelope. Quarterly Journal of Experimental Psychology. 70 (7), 1323-1343.

Ng, M., & Schutz, M.  (2017). Seeing Sound: A new tool for teaching Music Perception Principles.  Canadian Acoustics. 45 (3). pp. 104-105.

Gillard, J. & Schutz, M.. (2016). Composing alarms: Considering the musical aspects of auditory alarm design. Neurocase. 22 (6), 566-576.  

Schutz, M. (2016). Clarifying amplitude envelope’s crucial role in auditory perception. Canadian Acoustics, 44 (2), 42-43.

Chuen, L. & Schutz, M. (2016). The Unity Assumption Facilitates Cross-Modal Binding of Musical, Non-Speech Stimuli: The Role of Spectral and Amplitude Cues. Attention, Perception, & Psychophysics, 78 (5), 1512-1528.

Manning, F., & Schutz, M. (2016). Trained to keep a beat: Movement-related enhancements to timing perception in percussionists and non-percussionists. Psychological Research, 80 (4), 532-542.

Schutz, M. (2016). Lessons from the laboratory: The musical translation of scientific research on movement. Cambridge Companion to Percussion. Russell Hartenberger, Ed.

Poon, M., & Schutz, M. (2015). Cueing musical emotions: An empirical analysis of 42-piece sets by Bach and Chopin documents parallels with emotional speech. Frontiers in Psychology (Cognition). 6:1419

Manning, F. C., & Schutz, M. (2015). Movement enhances perceived timing in the absence of auditory feedback. Timing & Time Perception, 3, (3-12).

Schutz, M. & Vaisberg, J. (2014). Surveying the temporal structure of sounds used in Music Perception. Music Perception, 31(3), 288-296.

Vallet, G., Shore, D., & Schutz, M. (2014). Exploring the role of amplitude envelope in duration estimation. Perception. 43, 616-630.

Schutz, M. (2014). Multimodality (sensory integration). In Music in the Social and Behavioral Sciences (Thompson, Bill and Golson, Geoffrey, ed). Thousand Oaks, California: SAGE Publications. [Encyclopedia entry]

Manning, F. & Schutz, M., (2013). “Feeling the beat” improves timing perception. Psychonomics, Bulleting & Review, 6, 1133-1139.

Gillard, J. & Schutz, M., (2013, July). The importance of amplitude envelope: Surveying the temporal structure of sounds used in perceptual research. Proceedings of the Sound and Music Computing Conference (pp.62-68). Stockholm, Sweden.

Gillard, J. & Schutz, M., (2013). Exploring melodic structure to increase heterogeneity of auditory alarm sets in medical devices. Journal of Medical Devices, 7(2), 12-13.

Schutz, M. &, Manning, F. (2013). Effectively using affective gestures: What percussionists need to know about movement and perception. Percussive Notes, 51(2), 26-31.

Gillard, J., & Schutz, M. (2012, June). Improving the efficacy of auditory alarms in medical devices by exploring the effect of amplitude envelope on learning and retention. Proceedings of the International Conference on Auditory Display (pp.240-241).

Schutz, M. & Manning, F. (2012). Looking beyond the score: the musical role of percussionists’ ancillary gestures. Music Theory Online, 18(1), 1-14.

Kubovy, M. & Schutz, M. (2010). Causality and Objects in Vision and Audition. Review of Philosophy and Psychology. 1, 41-61.

Schutz, M. & Kubovy, M. (2009). Causality and cross-modal integration. Journal of Experimental Psychology: Human Perception & Performance, 35, 1791–1810.

Armontrout, J, Schutz, M. & Kubovy, M. (2009). Visual determinants of a cross-modal illusion. Attention, Perception, & Psychophysics. 71, 1618 – 1627.

Schutz, M. & Kubovy, M. (2009). Deconstructing a Musical Illusion: Point-light representations capture salient properties of impact motions. Canadian Acoustics, 37, 23 –28 .

Schutz, M. (2009). The Mind of the Listener: Acoustics, Perception and the Musical Experience. Percussive Notes, 47 (5), 22-28.

Schutz, M. (2008). Seeing Music? What musicians need to know about vision. Empirical Musicology Review, 3, 83 – 108.

Schutz, M., Huron, D., Keeton, K., & Loewer, G. (2008). The Happy Xylophone: Acoustic affordances restrict an emotional palette. Empirical Musicology Review, 3, 126 – 135.

Schutz, M. & Lipscomb, S. (2007). Hearing gestures, seeing music: Vision influences perceived tone duration. Perception, 36, 888 – 897.

Schutz, M. (2002). Computer Aided Analysis of Post-Tonal Music, Pittsburgh Undergraduate Review, 9, 9 – 40. *Winner of the Edythe Portz Prize for best overall submission of 2002 *

Educational/ Non-technical/Non-Peer Reviewed Publications

Schutz, M. (2019). What Really Happens in Steve Reich’s “Drumming”?. Percussive Notes: Technology, 86-89.

Schutz, M., & Manning, F. (2015). Movement and Timing: MAPLE Lab PASIC testing results are in! Percussive Notes, 50.

Schutz, M. (2014). Does your listening stack up? Test your skills in a new research study, Percussive Notes, 50.

Schutz, M. (2013). Are you a rhythm master? Test your abilities in a new research study, Percussive Notes, 51.

Schutz, M., & Manning, F. (2013). Effectively using affective gestures: What percussionists need to know about movement and perception. Percussive Notes, 51, 26-31.

Schutz, M. (2009). The Mind of the Listener: Acoustics, Perception, and the Musical Experience. Percussive Notes, 47(5).

Schutz, M., & Kubovy, M. (2007). Seeing Music: Do we hear silent gestures? Invited lay-language version of technical paper presented at the 153rd meeting of the Acoustical Society of America.

Schutz, M. (2005). CrossTalk: Technology in the College Percussion Curriculum, Percussive Notes, 43 (3).

Schutz, M. (2001). Princeton Marimba Festival, Percussive News (November, 2001).

Features in textbooks:

Demonstrations available here.

Tan, S-L, Pfordresher, P., & Harré, D. (2018). Psychology of music: From sound to significance (2nd ed.). Routledge. 3-page feature (including 8 panels of pictures) on Schutz & Lipscomb (2007).

Boltz, M. (2013). Visual influences on the perception of music performance. The Psychology of Music in Multimedia. Oxford University Press. Multi-panel time elapsed photos of Schutz & Lipscomb (2007).

Robinson-Riegler, B. & Robinson-Riegler, G. Cognitive Psychology: Applying the Science of the Mind (3rd edition). Pearson. Discussion of Schutz and Lipscomb (2007, Perception) as well as Schutz and Kubovy (2009, JEP:HPP).

Tan, S-L, Pfordresher, P., & Harré, D. (2018). Psychology of music: From sound to significance (2nd ed.) Routledge. 3-page feature (including an 8 panel diagram) on Schutz and Lipscomb (2007, Perception) as well as Schutz and Kubovy (2009, Canadian Acoustics).

Conference presentations

Note: Student authors working under my supervision are underlined. Proceedings documents and posters can be downloaded here

Talks (selected)

Schutz, M., (2019, November). Inside Steve Reich’s Drumming: Exploring the Gap between Theoretical Structure and Performance Practice. Talk presented at ‘Rhythm in Music since 1900’ conference. Boulder, CO.

Schutz, M., (2019, November). What really happens in Steve Reich’s Drumming? Hour long invited talk at the Percussive Arts Society International Convention (PASIC). Indianapolis, IN.

Schutz, M., (2019, September). Hearing Movement: A multi-modal perspective on contemporary percussion. Talk/performance presented at Transplanted Roots festival. Guanajuato, Mexico.

Kim, J., & Schutz, M., (2019, August). Synchronization and Desynchronization in the Performance of Steve Reich’s Drumming: A Dynamical Systems Perspective. Talk presented at the Society for Music Perception and Cognition meeting. New York, NY.

Battcock, A., & Schutz, M., (2019, August). The influence of interpretative choices on conveyed musical emotions. Talk presented at the Society for Music Perception and Cognition meeting. New York, NY.

Battcock, A., &amp Schutz, M. (2019, Aug). Musical Training and Emotion: Does Experience Affect Perception? Talk presented at the Society for Music Perception and Cognition meeting. New York, NY.

Sreetheran, S., Anderson, C., Schlesinger, J., & Schutz, M., (2019, August). Investigating the role of timbre on melodic alarm recognisability. Talk presented at the Society for Music Perception and Cognition meeting. New York, NY.

Schutz, M. (2018, August). Music cognition and perceptual organization. Talk presented at the 41st European Conference on Visual Perception. Trieste, Italy.

Ng, M. & Schutz, M. (2018, July). Temporal changes and musical timbre: New software for analysis and synthesis of musical sounds. Talk presented at International Conference on Music Perception and Cognition. Montreal, QC.

Russo, F., Copelli, F., Ammirante P., & Schutz, M. (2018, July). Event related desynchronization of the mu rhythm in experts and non-experts during audio, visual, and audio visual perception of percussion music. Talk presented at the Canadian Society for Brain, Behaviour and Cognitive Science. St. John’s, NLFD.

Schutz, M. & Gillard, J. (2018, June). Generalizing audio-visual integration: what kinds of stimuli have we been using? Talk presented at the 19th Annual International Multisensory Research Forum. Toronto, ON.

Schutz, M. (2018, April). Can professional musicians intentionally desynchronize? A natural case study of expert percussionists in a natural performance context.Talk presented at the New England Sequencing and Timing Meeting. Connecticut, US.

Ng, M. & Schutz, M. (2017, October). Seeing sound: A new tool for teaching music perception principles. Paper presented at Acoustics Week in Canada. Guelph, ON.

Schutz, M. (2017, October). Surveying the sounds used in auditory perception research: Journal of the Acoustical Society of America.  Paper presented at Acoustics Week in Canada.  Guelph, ON.

Schutz, M. & Gillard, J. (2017, Aug). A comprehensive survey of auditory perception stimuli.  Paper presented at the Society for Music Perception and Cognition conference. San Diego, CA.

Siminoski, A., & Schutz, M. (2017, Aug). Ancillary gestures as tools for inter-performer communication.  Paper presented at the Society for Music Perception and Cognition conference. San Diego, CA.

Battcock, A., & Schutz, M. (2017, Aug). The importance of musical structure in listener perception of emotion.  Paper presented at the Society for Music Perception and Cognition conference. San Diego, CA.

Schutz, M. (2017, July). Exploring unintentional coordination in Steve Reich’s Drumming: A case study of expert musicians attempting joint desynchronization.  Paper presented at the 16th Rhythm Perception and Production Workshop.  Birmingham, UK.

Schutz, M. (2016, September). Rethinking multimodal integration: The importance of event unity. Paper presented at Acoustics Week in Canada. Vancouver, BC.

Schutz, M. (2016, September). Emotional communication in music: Implications for understanding links between speech and music. Paper presented at Acoustics Week in Canada. Vancouver, BC.

Manning, F., Siminoski, A., & Schutz, M.  (2016, July). Movement effector training and musical expertise heighten temporal detection abilities. Paper presented at the International Conference on Music Perception and Cognition.  (San Francisco, CA).

Schutz, M., Hebert-Lee, R., & Siminoski, A. (2016, July). It’s open to interpretation: Exploring the relationship between rhythmic structure and tempo agreement in Bach’s “Well Tempered Clavier.” Paper presented at the International Conference on Music Perception and Cognition. San Francisco, CA.

Battcock, A. & Schutz, M. (2016, July). Signifying Emotion: Determining the relative contributions of cues to emotional communication. Paper presented at the International Conference on Music Perception and Cognition. San Francisco, CA.

Schutz, M., & Manning, F. (2015, November). Feeling the beat: MAPLE Lab research on movement and timing. Percussive Arts Society International Convention. San Antonio, TX.

Schutz, M., (2015, October). Empirical research for music theorists. Workshop co-organized with Leigh VanHandel, Dan Shanahan, and Josh Albrect. Society for Music Theory Meeting. St. Louis, MO.

Schutz, M., & Bamikole, P. (2015, October). Finding unity in impact events: Amplitude envelope and multi-modal integration. Paper presented at Acoustics Week in Canada. Halifax, Nova Scotia

Schutz, M., Hartenberger, R., & Ogborn, D. (2015, August). Drifting apart: Exploring joint (de)synchronization by expert musicians performing phase music. Paper presented at the Society for Music Perception and Cognition conference. Nashville, TN.

Battcock, A. & Schutz, M. (2015, August). The art of interpretation: Exploring the relationship between performers’ decisions and audiences’ reactions. Paper presented at the Society for Music Perception and Cognition conference. Nashville, TN.

Chuen, L. & Schutz, M. (2015, August). Exploring the unity assumption in temporal audiovisual binding of musical stimuli. Paper presented at the Society for Music Perception and Cognition conference. Nashville, TN.

Manning, F. & Schutz, M. (2015, August). Effector rate limits and stimulus tempo: Exploring interactions with perceived timing. Paper presented at the Society for Music Perception and Cognition conference. Nashville, TN.

Schutz, M., & Battcock, A. (2015, June). Digitizing Bach: Diverse tools facilitate new explorations of music’s communicative power. International Association of Music Libraries, Archives, and Documentation Centres. New York, NY.

Martinez, D., Chuen, L., & Schutz, M. (2014, August). From score to stage: Exploring the relationship between music structure and emotional response. Paper presented at the International Conference on Music Perception and Cognition as part of a symposium What Empirical Musicology Offers Emotion Studies (with David Huron, Lisa Margulis, Leigh VanHandel, and Dan Shanahan). Seoul, South Korea.

Gillard, J. & Schutz, M. (2014, August). A quantitative analysis of auditory stimuli: New results and insights. Paper presented at the International conference on Music Perception and Cognition. Seoul, South Korea.

Manning, F. & Schutz, M. (2014, August). Tapping through longer periods of silence improves perceived timing. Paper presented at the International conference on Music Perception and Cognition. Seoul, South Korea.

Gillard, J. & Schutz, M. (2014, May). The unknown effects of amplitude envelope: A survey of Hearing Research. Paper presented at the 167th meeting of the Acoustical Society of America. Providence, Rhode Island.

Manning, F. & Schutz, M. (2013, September). Temporal Context Alters the Effects of Movement on Perceived Timing. Paper presented at the Rhythm Production and Perception Workshop. Birmingham, UK.

Schutz, M., Gillard, J., & Vaisberg, J. (2013, August). Amplitude envelope: An important (but under appreciated) property affecting auditory perception. Paper presented at the Society for Music Perception and Cognition conference. Toronto, ON.

Gillard, J. & Schutz, M. (2013, August). Bridging the gap between sound and meaning. Paper presented at the Society for Music Perception and Cognition conference. Toronto, ON.

Manning, F. & Schutz, M. (2013, August). The role of expertise in the perception of timing: A reliance on motion. Paper presented at the Society for Music Perception and Cognition conference. Toronto, ON.

Silverman, L., Schutz, M., Canfield, A., Foley, J., & Gebhard, N. (2013, August). Using music to explore sensory processing in autism. Paper presented at the Society for Music Perception and Cognition conference. Toronto, ON.

Schutz, M. (2013, August). Computer aided analysis of musical corpora. Paper presented at the Cognitive Based Music Informatics Research seminar. Toronto, ON.

Schutz, M. (2013, May). Exploring the evolution of cues for emotion in 24 piece set piano preludes. Paper presented at the Midwest Music Cognition Symposium. Columbus, OH.

Manning, F. & Schutz, M. (2013, May). Timing perception and production in expert musicians and nonmusicians. Paper presented at the Midwest Music Cognition Symposium. Columbus, OH.

Manning, F., & Schutz, M. (2013, February). Does auditory feedback contribute to the effect of movement on timing perception? Paper presented at the New England Sequencing and Timing (NEST) meeting. Amherst, MA.

Schutz, M.,Vallet, G., & Shore, D. (2012, November). Exploring the role of amplitude envelope in duration estimation: Evidence for two strategies. Paper presented at the Auditory Perception, Cognition and Action meeting. Minneapolis, MN.

Manning, F. & Schutz, M. (2012, July). Tapping variability predicts rhythmic acuity. Paper presented at the Perspectives on Rhythm and Timing workshop. Glasgow, Scotland.

Gillard, J., & Schutz, M. (2012, June). Improving the efficacy of auditory alarms in medical devices by exploring the effect of amplitude envelope on learning and retention. Paper presented at the International Conference on Auditory Display. Atlanta, Georgia.

Schutz, M., & Silverman, L. (2011, October). The role of attention in audio-visual integration. Paper presented at Acoustics Week in Canada. Québec City, Québec.

Poon, M. & Schutz, M. (2011, August). The Emotional Piano: Exploring the use of pitch height and articulation rate in major and minor keys. Paper presented at the Society for Music Perception and Cognition conference. Rochester, NY.

Manning, F. & Schutz, M. (2011, August). Tapping to hear: How “moving to the beat” improves rhythmic sensitivity. Paper presented at the Society for Music Perception and Cognition conference. Rochester, NY.

Paul, G. & Schutz, M. (2011, August). Using percussive sounds to improve the efficacy of auditory alarms in medical devices. Poster session presented at the Society for Music Perception and Cognition conference. Rochester, NY.

Schutz, M. & Kubovy, M. (2009, October). Tone envelope: A cue for audio-visual unity [abstract]. Acoustics Week in Canada. Niagara-on-the-Lake, Ontario.

Schutz, M., Stefanucci, J., & Baum, S. (2009, August). Remembering impact sounds: Tone envelope, timbre, and associative memory [Abstract]. Paper presented at the Society for Music Perception and Cognition conference. Indianapolis, IN.

Schutz, M. & Kubovy, M. (2008, July) The effect of tone envelope on sensory integration: support for the ‘unity assumption’ [Abstract]. Journal of the Acoustical Society of America, Paris, 123, 3412.

Schutz, M. & Kubovy, M. (2007, June) Vision Influences Judgments of Acoustic Duration [Abstract]. Journal of the Acoustical Society of America, Salt Lake City, UT, 121, 3133.

Schutz, M. & Kubovy, M. (2007, July) Seeing Music: Visual influence on music performance is dependent upon inter-modal relationship [Abstract]. In M. Schutz (Chair), Music: A Multi-Modal Experience. Symposium conducted at meeting of the Society for Music Perception and Cognition. Montreal, Québec.

Schutz, M., & Kubovy, M. (2005, May). Seeing music, hearing gestures [Abstract]. Journal of Vision, 5 (8), http://journalofvision.org/5/8/649/, doi:10.1167/5.8.649.

Schutz, M., & Lipscomb, S. (2004, August). Perception of marimba stroke type: Investigation of the McGurk effect in marimba performance. In S. Lipscomb (Chair), Music and cross-modal interaction. Symposium conducted at the 8th International Conference on Music Perception and Cognition.

Schutz, M. (2003, March) Cumulative Benefits of Computer Assisted Musical Analysis. Paper presented at the 7th Annual Midwest Graduate Music Consortium Evanston, IL.

Schutz, M. (2002, September) Computer Aided Analysis of Post-Tonal Music: Benefits of automating music analysis. Paper presented at the 2002 Association for Technology in Music Instruction, Kansas City, MO.

Posters (selected)

Sreetheran, S., Benjamin, R., Schlesinger, J., & Schutz, M. (2019, Aug). Investigating the Role of Amplitude Envelope Manipulation on Melodic Alarm Recognition in a Divided Attention Task. Poster session presented at the Society for Music Perception and Cognition meeting. New York, NY.

Schutz, M., Hebert-Lee, R., & Battcock, A. (2019, June). Determining tempi: what compositional approaches to rhythm constrain performer interpretation? Poster session presented at the Rhythm Perception & Production Workshop. Traverse City, MI.

Schutz, M. & Gillard, J. (2019, May). Surveying the sounds used in the Journal of the Acoustical Society of America (1950-2017). Poster session presented at the Acoustical Society of America meeting. Louisville, KY.

Silverman, L., Canfield, A.R., Gebhard, N., & Schutz, M. (2018, May). Audiovisual integration abilities in ASD using music-based stimuli. Poster presented at International Society for Autism Research (Rotterdam, Netherlands).

Little, N.,  & Schutz, M.  (2017, August). Exploring the positive benefits of festival attendance for adolescent development. Poster presented at the Society for Music Perception and Cognition Meeting.  (San Diego, CA).

Little, N.,  & Schutz, M.  (2017, August). Shared musical experiences and altruistic behaviour: An exploratory study. Poster presented at the Society for Music Perception and Cognition Meeting.  (San Diego, CA).

Schutz, M., Copelli, F., Ammirante P., & Russo, F. (2017, June). Hearing (and seeing) the beat of a different drummer: Audio-visual facilitation of the action observation network. Poster presented at Neurosciences and Music VI.  (Boston, MA).

Schutz, M.  (2017, May). The crucial (yet easily overlooked) role of amplitude envelope in audio-visual integration. Poster presented at the International Multisensory Research Forum.  (Nashville, TN).

Siminoski, A., Manning, F., & Schutz, M. (2016, July). Exploring rhythmic synchronization abilities in musicians using training-specific movements. Poster presented at the International Conference on Music Perception and Cognition. (San Francisco, CA).

Schultz, B., Demos, A., & Schutz, M. (2016, July). The Wave Transformation: A method for analyzing spontaneous coordination from discretely generated data. Poster presented at the International Conference on Music Perception and Cognition. (San Francisco, CA).

Manning, F., Siminoski, A., & Schutz, M. (2016, July). Movement effector training and musical expertise heighten temporal detection abilities. Paper presented at the International Conference on Music Perception and Cognition. (San Francisco, CA).

Schutz, M. (2015, Nov). Classifying auditory stimuli: Sounds encountered in a survey of leading perception journals. Poster presented at the Auditory, Perception, Cognition, and Action Meeting Satellite to Psychonomics. (Chicago, IL).

Manning, F., Cirelli, L., & Schutz, M. (2015, July). Joint tapping to a slow beat encourages mutually adaptive movements. Poster presented at the Rhythm Production and Perception Workshop. Amsterdam, Netherlands.

Chuen, L. & Schutz, M. (2014, May). The effects of amplitude envelope and context on auditory duration perception. Poster session presented at the 167th meeting of the Acoustical Society of America. Providence, Rhode Island.

Manning, F., Harris, J., & Schutz, M. (2014, April). Comparing motor effectors that determine perceived timing: A sensorimotor integration task. Poster session presented at the 24th annual meeting of the Society for the Neural Control of Movement. Amsterdam, the Netherlands.

Nasato, M. & Schutz, M. (2013, August). Child’s play: Pitch height as a cue for happiness and sadness in music for children [Abstract]. Poster session presented at the Society for Music Perception and Cognition conference. Toronto, ON.

Hébert-Lee, R. & Schutz, M. (2013, August). Consistent emotions? The relationship between written and performed tempos in J. S. Bach’s Well-Tempered Clavier, Book I [Abstract]. Poster session presented at the Society for Music Perception and Cognition conference. Toronto, ON.

Harris, J., Manning, F. & Schutz, M. (2013, August). Musicians’ movements for timekeeping: A link between tapping and musical experience [Abstract]. Poster session presented at the Society for Music Perception and Cognition conference. Toronto, ON.

Manning, F., & Schutz, M. (2013, July). Movement timing determines perceived auditory timing in a sensorimotor integration task. Poster session presented at the Progress in Motor Control IX meeting. Montreal, QC.

Gillard, J., & Schutz, M. (2013, July). The importance of amplitude envelope: Surveying the temporal structure of sounds in perception research. Poster session presented at the Sound and Music Computing conference. Stockholm, Sweden.

Schutz, M. & Vaisberg, J. (2013, May). The Role of Biological Motion in Audiovisual Integration [Abstract]. Poster session presented at the Vision Sciences Society meeting. Naples, FL. http://www.journalofvision.org/content/13/9/881.short

Poon, M. & Schutz, M. (2012, July). Romantic Changes: Exploring historical differences in the use of articulation rate in major and minor keys Poster session presented at the Society for Music Perception and Cognition conference. Thessaloniki, Greece.

Manning, F. & Schutz, M. (2012, July). Using body movement to enhance timekeeping. Poster session presented at the Society for Music Perception and Cognition conference. Thessaloniki, Greece.

Schutz, M. & Vaisberg, J. (2012, May). Surveying the Temporal Structure of Sounds Used in Music Perception. Poster session presented at the American Psychological Society conference. Chicago, IL.

Vaisberg, J. & Schutz, M. (2011, August). The role of continuous motion in audio-visual integration. Poster session presented at the Society for Music Perception and Cognition conference. Rochester, NY.

Schutz, M., Stefanucci, J. (2010, August). Amplitude envelope and auditory alarms [Abstract]. Poster session presented at the International Conference on Music Perception and Cognition. Seattle, WA.

Schutz, M. Huron, D., & Keeton, K (2008, July). The Happy Xylophone: Parallels between the communication of Emotion in Speech and Music [Abstract]. Poster session presented at the Conference on Music, Language, and the Mind, Boston, MA.

Armontrout, J. Schutz, M. & Kubovy, M. (2007, November) How visible motion paths influence perceived duration of percussive sounds [Abstract]. Poster session presented at the Auditory Perception, Cognition, and Action Meeting. Long Beach, CA.

Schutz, M., & Kubovy, M. (2007, May). Musical use of Visual Gesture: The importance of contextual information in sensory integration [Abstract]. Journal of Vision. http://journalofvision.org/7/9/306.

Schutz, M. & Kubovy, M (2006, August). Visual Gestures: Perceptual costs and benefits in the performance of live music [Abstract]. Proceedings of the 9th International Conference on Music Perception & Cognition (ICMPC9), Bologna, Italy, 1551.

Invited keynote talks

2020 Multimodality and Percussion. Talk presented at the University of Toronto Faculty of Music. Toronto, ON.

2019 The communication of musical emotion. Talk presented at Penn State University School of Music. State College, PA.

2019 Multisensory integration of naturalistic sights and sounds. Talk presented at Colorado State University School of Music. Fort Collins, CO.

2019 Temporal structure of sound: New research findings and implications. York University Dept of Psychology.  Toronto, ON (2019)

2017 The communication of emotion in music and language. University of Maryland Language and Music Cognition Lab  (Department of Psychology). College Park, MD.

2017 Translating research on amplitude envelope to improving auditory alarms in medical devices. Georgetown University Medical Centre (Laboratory of Integrated Neuroscience and Cognition). Washington, DC.

2017 Seeing Music: Translating research on music perception to clinical contexts. University of Toronto Faculty of Music. Toronto, ON

2016 Music’s Emotional Power: Exploring the Use of Cues for Emotion through the Music of J.S. Bach. University of British Columbia. Vancouver, BC.

2016 Exploring the communication of emotion in music. Vanderbilt Science of Music Seminar Series. Nashville, TN Part of the Music, Mind & Society initiative.

2016 The multi-modal experience: A percusionists’ perspective. University of California-Davis. Davis, California. Part of the MERCI (Music Experience Research Community Initiative), UC consortium.

2016 Dynamic sounds and perceptual processes. Stanford University, CCRMA (Center for Computer Research in Music and Acoustics) Colloquium Series. Palo Alto, CA.

2016 Amplitude envelope and auditory perception: MAPLE Lab research potentially informative in the design of hearing aids. Starkey Hearing Research Institute. Berkeley, California

2016 Which acoustic cues convey emotion in music? Ryerson University Brain, Perception, Action and Cognition Group. Toronto, ON.

2016 Dynamic sounds and perceptual processes. University of Toronto (Ebbinghaus Empire Series). Toronto, ON.

2015 Dynamic sounds and perceptual processes. Dalhousie University (Psychology Colloquium Talk). Halifax, NS.

2015 The surprising role of amplitude envelope in auditory perception. Western University Brain and Mind Institute. London, ON

2015 Moving to Hear: Musical training and movement affect our perception of rhythm. Western University Faculty of Music. London, ON

2014 Tapping to hear: How “moving to the beat” improves music perception. Western University Brain and Mind Institute. London, ON

2013 Sensorimotor interactions and music perception. University of Toronto doctoral seminar discussion. Toronto, ON

2012 Multi-modal music. Augsburg College. Minneapolis, MN.

2012 Seeing Music? Exploring a musical illusion. University of Minnesota Department of Music. Minneapolis, MN.

2012 Survey of research on causality and cross-modal integration. Lake Ontario Visionary Establishment (LOVE) Conference. Niagara Falls, ON.

2012 The Multisensory percussionist: A Keynote concert with TorQ Percussion Ensemble. McMaster University. Hamilton, ON (speaker and soloist/performer).

2011 A musical Illusion. Indiana University Medical Center. Indianapolis, IN.

2011 Causality and cross-modal integration. Indiana University-Purdue University Indianapolis Department of Music and Arts Technology. Indianapolis, IN.

2011 Multimodality and the communication of emotion in music. The Colloquy on Music Psychology and Neuroscience. University of Toronto Faculty of Music. Toronto, ON.

2011 Causality and cross-modal integration. BRAMS Research Institute, University of Montreal. Montreal, QC.

2011 A musical Illusion. Michigan State University Department of Music. East Lansing, MI.

2011 Causality and cross-modal integration. Michigan State University Department of Cognitive Science. East Lansing, MI.

2010 A musical illusion. Butler University. Indianapolis, IN.

2010 Causality and cross-modal integration. Indiana University. Bloomington, IN.

2010 Causality, envelope, and audio-visual integration. Ryerson University. Toronto, ON.

2010 Causality and cross-modal integration. University of Rochester. Rochester, NY.

2010 Impact Gestures and Percussive Sounds. Northwestern University. Evanston, IL.

2010 Audio-visual integration: The search for unity. University of Buffalo. Buffalo, NY.

2010 A Musical Illusion. University of Arizona, Tucson, AZ [web-based lecture].

2010 A Musical Illusion. Lake Braddock Secondary School, Burke, VA.

2009 Perception and Sensory Integration. Clarkson University, Potsdam, NY.

2009 Perception and Sensory Integration. Roanoke College, Salem, Virginia.

2009 Seeing Music: Exploring a Musical Illusion. Maryland Day of Percussion. Baltimore, MD

2009 Seeing Music: Exploring a Musical Illusion. Virginia/DC Day of Percussion. Winchester, VA.

2009 Acoustics, Perception and the Musical Experience. Lynchburg College. Lynchburg, VA

2009 Acoustics, Perception and the Musical Experience. Radford University. Radford, VA.

2008 Acoustics, Perception and the Musical Experience. Percussive Arts Society International Convention. Austin, TX.

2008 Acoustics, Perception and the Musical Experience. Goucher College, co-sponsored by Psychology and Music departments, Baltimore, MD.

2008 The Mind of the Listener: Music Perception and Performance. Virginia/DC Day of Percussion. Oakton, VA.

2007 The Mind of the Listener. Penn State University Department of Music. State College, PA.

Musical Performances

Major Solo Performances

  • Multisensory Percussion lecture recitals at Penn State University, Colorado State University, and Universidad de Guanajuato (2019)
  • Soloist, Concerto for Marimba and Wind Ensemble (David Long) with the McMaster University Concert Band (Joe Resendes, director). Hamilton, ON (2019)
  • Invited performance with Hobart and William Smith Colleges Percussion Ensemble (2017)
  • Clinic and solo performances at the Ontario Day of Percussion, University of Windsor (2016)
  • Lecture/recital at the University of California, Davis (2016)
  • Lunchtime concert series recital with David Gerry. Solo percussion and duo works with flute (2015)
  • Recital at conclusion of Neuromusic Conference. (2014)
  • Invited recital at the Ontario Day of Percussion, University of Guelph (2014)
  • Lunchtime concert series recital with David Gerry (2012)
  • Marimba soloist at the New Wave Composers Festival, Drake Hotel, Toronto (2011)
  • Soloist, Music & Memories Concert, Rachel M. Schlessinger Concert Hall (2010)
  • Soloist, PASIC (Percussive Arts Society International Convention) Focus Day (2009)
  • Soloist/clinician, Project:Percussion – Richmond Percussion Festival (2008)
  • Soloist, Concerto for Marimba (David Long), Longwood University Wind Symphony (2007)
  • Guest Conductor/Soloist, Pennsylvania State University (2007)
  • Invited soloist, Alvin Lucier Festival (2006)
  • Guest Artist, University of Virginia (2006)
  • Longwood University Faculty Recitals (2005, 2006)
  • Digitalis – New Electronic Music in Charlottesville (2005)
  • Virginia/DC Day of Percussion (2005)
  • Soloist with Penn State Mallet Ensemble, MENC National Convention (2001)
  • Solo recital, Pennsylvania Music Teachers Association State Convention (2000)
  • Symphonic Wind Ensemble soloist as winner of Phi Mu Alpha Sinfonia Concerto Competition (1999)

Major Orchestral/Opera Performances

  • Hamilton Philharmonic Orchestra, vibraphone (2011)
  • Wintergreen Summer Music Festival Orchestra, percussion (2008)
  • Opera on the James, principal percussion/timpani, (2006-2008)
  • Roanoke Symphony Orchestra, section percussion (2006 – 2009)
  • Ash Lawn Summer Opera (2007)
  • Oratorio Society of Charlottesville-Albemarle, section percussion (2005- 2009)
  • Lynchburg Symphony Orchestra, section percussion (2005 – 2009)
  • Charlottesville Symphony Orchestra, section percussion (2004 – 2009)
  • Virginia Consort Choir, section percussion (2005 – 2009)
  • Waynesboro Symphony, section percussion (2006)
  • Bernstein Beat children’s concert narrated by Jamie Bernstein, section percussion (2005)
  • Marvin Hamlish Orchestra, timpani (2002)
  • Altoona Symphony Orchestra, section percussion (2001-2002)
  • Pennsylvania Centre Orchestra, section percussion (2001-2002)
  • Nittany Valley Symphony Orchestra, section percussion (1998-2000)

Select Chamber Music/Percussion Ensemble Performances

  • Hamilton Philharmonic Orchestra (2011). Jamie Sommerville, director. Hamilton, ON.
  • What Next? Festival of New Music with the McMaster Cybernetic Orchestra (2011). Hamilton, ON.
  • McMaster University Choir Winter Concert (2011). Hamilton, ON.
  • MegaHz Electronic Music Festival (2008). Richmond, VA
  • PASIC 2006 Focus Day – Time to Burn, (Judith Shatin). Co-commissioned w/ I-Jen Fang. Austin, TX
  • Project:Percussion – Richmond Percussion Festival (2007)
  • Musser Marimba Orchestra Tribute w/ Gordon Stout, She-e Wu, and Bob Becker (2006) Evanston, IL
  • Flute/Marimba Duo, Sally Irwin faculty recital (2005). Farmville, VA
  • Guest appearance, Sally Irwin recital at St. Catherine’s School. Richmond, VA.
  • Elliot Carter 95th Birthday Celebration, conducted by Jan Williams (2004). Evanston, IL
  • New Music Marathon: from A to Z! (2003). Evanston, IL
  • New Music Northwestern – A Boulez Celebration (2002). Evanston, IL
  • Lakeside Brass, Lake Forest, Illinois (2002). Lake Forest, IL
  • Music Educators National Convention, Penn State University Mallet Ensemble (2001). Pittsburgh, PA
  • Pennsylvania Day of Percussion with Penn State University Percussion Ensemble (1999). Media, PA

Select Premiers/Commissions

  • Time to Burn (Judith Shatin), co-commissioned with I-Jen Fang and premiered at PASIC 2006
  • Magnificat (Gordon Ring), premier conducted by the composer (2006)
  • Made In America (Joan Tower), co-premiered by the Charlottesville Symphony (2006)
  • Ground Loops – For Percussion and Internet (Peter Traub), premiered at Digitalis 2005
  • Overture for Orchestra (James Gammon), premiered by the Charlottesville Symphony (2004)
  • Experimental Pavement (Brett Dietz), premiered by NU Contemporary Music Ensemble (2003)
  • Dancing Hanumann (Mekara Chaipruk), premiered by NU Contemporary Music Ensemble (2002)
  • Lucifer, Angel of Light (Rob Reinhart), premiered by NU Contemporary Music Ensemble (2002)
  • Matrix, Peter Dawson Buck, premiered by the Penn State Mallet Ensemble (2001)

Recordings

  • Time to Burn – Music of Judith Shatin (Innova Recordings, 2014)
  • Northwestern University Percussion Ensemble (under production, Resonator Records)
  • Charlottesville Symphony Orchestra 30th Anniversary Season Album (2004)

Popular Media appearances

Available on our media page

  • 2016 Music and Language documentary for “On the Nature of Things” I Got Rhythm: The Science of Song.  here
  • 2015 Appearance on the Quirks Questions Roadshow with Bob McDonald. The well known CBC series hosts an annual show where researchers answer questions from listeners. I was selected to explain why some scales “sound right” and why major scales typically “sound happy.” This segment is available at http://maplelab.net/news-events/#quirksandquarks
  • 2014 How music affects the brain: Canadian researchers lead the way in understanding the neurological, psychological and cognitive basis of music. Feature story in University Affairs highlighting top music cognition research and the MAPLE Lab’s recent discoveries. here
  • McMaster University researchers tap into our innate musicality. Hamilton Spectator. (Dec 21). here
  • 2012 What the Beep? Why digital sounds are so annoying. Story on April 12 featuring MAPLE Lab research and quotes discussing research on artificial sounds. here
  • 2012 Do you see what I’m saying? Study opens doors for new hearing and autism research. Featured story for the Feb issue of The Hearing Lab by Nedra Floyd-Pautler. here
  • 2011 KX 94.7 news story with Kathy Hyde. Feature segment on “moving to the beat” researching with a discussion of findings and brief phone interview
  • 2011 Numerous stories stemming from “Moving to the beat improves music listening” press release in outlets such as US News & World Report, ScienceBlog, MedicalXpress, e! Science News, Newswise, UPI.com, Newkerala.com, Health Nutrition and Fitness, etc. See media for complete listing
  • 2010 Ontario Today with Rita Celli. Live broadcast (approximately 40 min) featuring research discussion, marimba performance, and question/answer period with.
  • 2010 Research served as the focus of Edward Willlett’s weekly science column in story entitled The Scientific Case for Live Music
  • 2010 CHCH Morning News Live. Live interview with Annette Hamm discussing my research.
  • 2010 Featured in a segment titled Music Illusion broadcast repeatedly on Hamilton Life during January of 2010. The segment featured a discussion of my research as well as samples of my playing a variety of percussion instruments.

Teaching experience

At McMaster

  • Instructor, Music Cognition (MUSICCOG/PSYCH 2MP3). “Gateway” course for students in the music cognition specialization. 2014 ->
  • Instructor/creator, Psychology for Musicians (MUSIC 2MC3). New course on music’s psychological basis specifically for music students. 2011 ->
  • Instructor/creator, Cognitive Development & Music Education (MUSIC/PSYCH 3MB3). Annual 3rd year course for students in our new music cognition specialization. 2010-2013.
  • Research Techniques in Music Cognition (MUSICCOG 2QQ3). 2011-20112
  • Experimental lab in Music Cognition I/II (MUSICCOG 3QQ3/4QQ3). 2011->
  • Director, McMaster University Percussion Ensemble. 2009 ->
  • Instructor, Percussion Methods (3P03/4P03). Overview of percussion for music education students. 2009-2011

Additional Teaching Experience (Psychology)

  • Instructor/creator, Psychology of Music (400 level seminar), University of Virginia (Summer, 2008)
  • Teaching Assistant, Psychology of Aging (Spring, 2009)
  • Teaching Assistant, Research Methods and Data Analysis I, University of Virginia (Fall, 2008)
  • Teaching Assistant, Introduction to Perception, University of Virginia (Fall, 2007)
  • Teaching Assistant, Research Methods and Data Analysis II, University of Virginia (Spring, 2007)
  • Teaching Assistant, Computer Programming for Musicians, Northwestern University (2004)

Additional Teaching Experience (Music)

  • Instructor (sessional), Music & the Brain, University of Toronto Faculty of Music (2016)
  • Percussion Faculty, Penn State University Honors Music Institute (2008, 2010-16)
  • Instructor/creator, Science of Music Seminar, Longwood University (Fall, 2007)
  • Instructor, Introduction to World Music, Longwood University (Spring 2006 – Spring 2007)
  • Instructor, Percussion Methods for Non-percussionists, Longwood University (2005 – present)
  • Director, Longwood University Percussion Ensemble (2004 – present)
  • Instructor, Applied percussion, undergraduate/graduate level for majors & minors, (2004 – present) Faculty, Blue Lake Fine Arts Camp (2003, 2004)
  • Music Instructor, McHenry County Youth Orchestra (2002-2003)
  • Music Instructor, Lake Braddock Secondary School (1997-2002)

Additional Teaching Experience (Other)

  • Preparing Future Faculty Program, Northwestern University (2002-2003)
  • Teaching Intern, Department of Computer Science, Pennsylvania State University (2001-2002)
  • English Instructor, Cross-Cultural Solutions program in Shanghai, China (2002)

Graduate student supervision

  • Liam Foley (2019- ). Investigating how psychoacoustic and music cognition research can help design more ergonomic and informative auditory alarms. Primary MSc supervisor. McMaster University.
  • Cameron Anderson (2019- ). The communication of emotion in music through musical notation and perception. Primary MSc supervisor. McMaster University.
  • Aimee Battcock (2014-2020 ). The communication of emotion in music. Primary PhD supervisor. McMaster University.
  • Sharmila Sreetharan (2017- 2019). Exploring the effects of amplitude envelope on improvements in auditory alarms in medical devices. Primary MSc supervisor. McMaster University.
  • Noah Little (2016-2017). Social dynamics in music listening. Primary PhD supervisor. McMaster University.
  • Anna Siminoski (2015-2017 ).The role of ancillary gestures in inter-performer communication. Primary MSc supervisor. McMaster University.
  • Dominique Beauregard-Cazabon (2014-2016). Amplitude envelope and spatial localization. Primary MSc supervisor. McMaster University.
  • Fiona Manning (2011-2016). Feeling the beat: the role of sensorimotor interactions in the perception or rhythm. Primary PhD supervisor, McMaster University.
  • Lorraine Chuen (2013-2015). An exploration of the processing of amplitude envelope. Primary MSc supervisor. McMaster University.
  • Jessica Gillard (2012-2014 ). Composing alarms: improving the efficacy of auditory alarms in medical devices. Primary MSc supervisor. McMaster University.
  • Rajwant Sandhu (2011-2012). Using ERP to explore the perception of percussive tones. MA student, Ryerson university. External supervisor for practicum (Dr. Ben Dyson, primary supervisor).
  • Guillaume Vallet (2011-2012). Exploring the role of temporal structure in perceived tone duration. PhD student, Université Laval (Québec)/Universidad del León (France). Co-supervisor (with Dr. David Shore) during McMaster residency.

Workshops

  • Invited participant for Measuring coordination in performer and audience response. CIRMMT, McGill University. Montreal, QC.
  • Invited participant (one of 10 musicians world-wide) for Exploring the Mind through Music. Rice
  • University. Houston, TX (June 13-17, 2011).
  • National Science Foundation workshop on Art, Creativity, and Learning. Arlington, VA (June, 2008).
  • Sound and Music Computing Summer School. Stockholm, Sweden (July, 2007)
  • Motion Capture and Data Exchange. Montreal, Canada (July, 2007)

Awards/ Honors:

  • Penn State School of Music Alumni Award (one annual award selected from all alumni) (2019)
  • Named University Scholar (2019-2023) in recognition of work connecting music perception and music performance $60,000
  • Elected Fellow, Psychonomic Society (2017)
  • Young Innovator award, sponsored by Petro-Canada, (2014), $25,000
  • Nominated for the 2011 Glushko Dissertation Prize
  • Edythe Portz Prize for outstanding publication in Fall 2002 issue of Pittsburgh Undergraduate Review
  • Computer Aided Analysis of Post-Tonal Music, Penn State Honors Thesis, 2001-2002
  • Research Grants from Penn State University totaling $1200, Penn State University, 2001 – 2002
  • Northwestern Eckstein Grant for graduate study, (2002 – 2004), $26,000
  • 2001 Brewster Scholarship Recipient (first ever recipient in the category of Music Technology), $9000

Service

Secretary, Society for Music Perception and Cognition (SMPC) (2019-21)

  • Elected position on the executive board

Associate Editor, Auditory Perception and Cognition (2018-present)

  • AP&C is a new journal growing out of an auditory-focused group affiliated with Psychonomics, and aims to be the destination for future auditory perception research.

Member-at-large, Ontario chapter of the Percussive Arts Society (2014-present)

  • Appointed board position

Member (Music), School of the Arts Executive Council (2016-2017, 2019-2020)

  • Advise School of the Arts (SOTA) director on areas pertaining to Music
  • Making recommendations to SOTA on hiring, teaching evaluations
  • Coordinate and communicate budgetary priorities of Music to SOTA director

Member, Faculty of Humanities Tenure & Promotion Committee (2016-2017)

  • Review and vote on Faculty level T&P decisions
  • Summarize recommendations for select cases

Member-at-large, Society for Music Perception and Cognition (2014-2016)

  • Advise on various matters relating to the well-being of the Society for Music Perception and Cognition
  • Assist with specific projects as needed

Scientific Advisory Council (SAC) for LIVE Lab (2013- 2015)

  • Provide input and guidance on establishment of usage policies
  • Discuss and assist with organization of day-to-day operations
  • Serve as member of Researcher Engagement Subcommittee

Programming Committee Chair, SMPC 2013 Meeting (Toronto, ON)

  • Striking programming committee
  • Coordinate selection of keynote speaker
  • Coordinate review of submissions and make final selections regarding presentations
  • Organize schedule of talks and posters
  • Assist Conference Chair (Frank Russo) with feedback on logistical matters

Programming Committee, SMPC 2011 Meeting (Rochester, NY)

  • Evaluated abstracts and make recommendations for acceptance
  • Assisted with identification and invitation of keynote speakers

Chair, Percussive Arts Society (PAS) Music Technology Committee (2007 – 2013)

  • Organize and supervise Music Technology subcommittees
  • Work with PAS to plan future directions of Music Technology Committee
  • Organize and lead committee annual meeting at PASIC (PAS International Convention)
  • Organize and moderate panel discussion at PASIC 2008

Chair, PAS Percussive Notes Music Technology Subcommittee (2003 – 2007)

  • Solicited, recruited, and edited articles for Music Technology Column of Percussive Notes
  • Planned future articles for Percussive Notes Music Technology column

Author, Simkins Series lecture grant (2007)

  • Wrote grant securing funding for visit from senior scholar
  • Coordinated for subsequent campus visit by David Huron

Additional service

  • Coordinator, Symposium Music: a Multi-modal Experience at the 2007 meeting of the Society for Music Perception and Cognition.
  • Speakers included Dan Levitin, David Huron, Scott Lipscomb, Frank Pollick, and Zohar Eitan.
  • Ad-hoc reviewer for Cambridge University Press, Cognition, Music Perception, PLoS ONE, Psychology of Music, Canadian Acoustics, i-Perception,  Journal of Experimental Psychology: General, Journal of Experimental Psychology: Human Perception & Performance, Quarterly Journal of Experimental Psychology
  • Library representative (music area), School of the Arts (2009 – present).

Other invited appearances

  • Panelist for discussion of dissonance at the 2011 What Next? Festival of New Music. Hamilton, ON.
  • Panelist for discussion of Music and the Mind at the 2010 What Next? Festival of New Music. Hamilton, ON.

Computer Programming

  • Fluency with: R, Java, C++, Javascript, HTML, MIDI, Pascal, Motorola 68xxx assembly language
  • Exposure to: MAX/ MSP, SuperCollider, Lingo, Ruby, Prolog, Standard ML, SQL, XML