Society for Music Perception and Cognition Biennial Meeting showcases several new projects

Nashville, Tennesee

Aimee Battcock gave a talk about the communication of emotion in performances of JS Bach’s Well Tempered Clavier.

Lorraine Chuen previewed her M.Sc. thesis exploring the effects of audiovisual congruency on perceived synchrony of musical events.

Fiona Manning’s latest findings on the role of different effectors (finger vs. stick) in a sensorimotor integration task were presented as a talk.

Dr. Schutz debuted pilot results from a new study exploring dual-tapper synchronization Steve Reich’s Drumming, initiated by acclaimed percussionist Russell Hartenberger (NEXUS/University of Toronto)

SMPC-banner-large1 2015Aimee BattcockFiona Portraitlorrainechuen portrait


Dominique presents preliminary research at Acoustical Society of America meeting

Pittsburgh, Pennsylvannia

ASA-Logo-Name-283x300DominiqueDominique Beauregard Cazabon presented a poster at the Acoustical Society of America’s spring meeting.  The poster was entitled “The effect of amplitude envelope on spatial ventriloquism” and presented results from a pilot study aiming to determine whether amplitude envelope affects the way we integrate audiovisual information in the spatial dimension.  This is the first step in a series of experiments aimed at exploring the role of temporal structure in the spatial localization of sounds.

MAPLE Lab at the LOVE Conference 2015

Niagara Falls, Ontario

Several members of the MAPLE Lab attended the Lake Ontario Visionary Establishment (LOVE) Conference in Niagara Falls, ON.

  • LOVE conferenceMotor effector’s tapping rate influences movement’s effect on timing perception (Tardif, Manning & Schutz)
  • Exploring timing coordination between percussionists in Steve Reich’s iconic Drumming (Schutz & Hartenberger)
  • Cueing Emotion:  comparing perceived emotion to piano work interpretations (Battcock & Schutz)


“Research outreach” and rhythm perception testing at PASIC 2014

Indianapolis, Indiana

Screen Shot 2014-08-18 at 11.55.07 AMEight lab members travelled to Indianapolis, IN for five days to test expert percussionists on rhythm perception. Our goal was to better understand how the types of movements used in playing an instrument might lead to different listening experiences later in life.  We also staffed an “experiencing research” poster session discussing how research on music cognition can inform musical education and performance.  The lab is grateful to Petro-Canada for sponsoring Dr. Schutz’s 2014 Young Innovator Award providing support for this valuable endeavour.  For more information about this project click here.   Update: we presented preliminary results from this testing at PASIC 2015, and subsequently published our findings in the journal Psychology Research.  This papers is available for download from our publications page. Photo on 2014-11-20 at 9.28 AM #2


Three presentations at the International Conference on Music Perception and Cognition

Seoul, South Korea

Capture d’écran 2014-04-25 à 12.25.34Diana Martinezlorrainechuen_picJess 2013Fiona Manning

Lab presentations cover three main project areas, including:

  • From score to stage: Exploring the relationship between music structure and emotional response (Martinez, Chuen, & Schutz).  This presentation is part of a symposium exploring empirical musicological approaches to the study of emotional communication in music, which will include presentations by David Huron, Lisa Margulis, Dan Shanahan and Leigh VanHandel.
  • A quantitative analysis of auditory stimuli: New results and insights (Gillard, & Schutz).  This talk summarizes new insights from the lab’s ongoing Survey of Sounds project exploring the types of sounds used in auditory research.  The talk will cover findings from three journals: Music Perception; Attention, Perception, & Psychophysics; and Hearing Research.
  • Tapping through longer periods of silence improves perceived timing (Manning, & Schutz) discusses new findings regarding the role of metric structure in sensorimotor interactions.  This presentation extends Fiona’s research on the role of body movement in rhythm perception.

Dr. Schutz chairs programming for Society for Music Perception and Cognition (SMPC) meeting

Ryerson University. Toronto, ON.

SMPC 2013 After many months of planning, coordinating, and logistical work, Dr. Schutz and Dr. Frank Russo successfully host SMPC 2013 – the largest meeting of the society to date, attended by hundreds of researchers from around the world.  In addition to planning the programming, the lab was busy presenting our latest findings.  Fiona Manning, Jessica Gillard & Dr. Schutz gave talks on Sensorimotor Integration, Associative Memory of Sounds and Amplitude Envelope respectively. Additionally, Jennifer Harris and Raven Hebert-Lee and Miranda Nasato presented posters.
Fiona ManningJess 2013JenRavenMiranda

Dr. Schutz Keynote speaker and performer at the NeuroMusic Conference Concert featuring TorQ

Dr. Michael Schutz both lectured and performed several solos (as well as one ensemble piece with TorQ) at the McMaster Institute for Music and the Mind’s (MIMM) NeuroMusic Conference Concert titled The Multisensory Percussionist. Theresearch component of this lecture/concert reviewed lab projects using percussion instruments to explore both audio-visual and sensorimotor integration, including a new rhythm perception study in which the members of TorQ served as (highly trained) participants!

Dr. Schutz & the TorQ Percussion Ensemble at the MIMM NeuroMusic Conference Keynote Concert. (From left to right: Dan Morphy, Adam Campbell, Dr. Michael Schutz, Richard Burrows & Jamie Drake)


Rhythm and emotional piano projects featured at ICMPC and ESCOM!

Thessaloniki, Greece

Fiona Manning and Matthew Poon were invited to present posters at the 12th International Conference on Music Perception and Cognition (ICMPC) and 8th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM) 2012 in Thessaloniki, Greece, July 23-28, 2012.  Their posters were titled:
  • Using body movement as a surrogate for timing throughout silence (Manning) which highlights differences in timing abilites when tapping vs. not tapping during silent beats.
  • Exploring changes in the use of acoustic cues for emotion between the Classical and Romantic eras (Poon) which demonstrates differences in the way composers used pitch height and articulation rate to communicate emotion between eras.