Publications

Siminoski, A., Huynh, E. & Schutz, M. (2020). Communicating Through Ancillary Gestures: Exploring Effects on Coperformers and Audiences. Human Technology, 16(3), 257–282.

Foley, L., Anderson, C. & Schutz, M. (2020). Re-Sounding Alarms: Designing Ergonomic Auditory Interfaces by Embracing Musical Insights. Healthcare, 8(4), 389.

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. https://doi.org/10.3389/fpsyg.2017.01402

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., Baum, S., & 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), 104-105.

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

Chuen, L., & Schutz, M. (2016). The unity assumption facilitates cross-modal binding of musical, non-speech stimuli: The role of spectral and amplitude envelope cues. Attention, Perception, & Psychophysics, 78(5), 1512-1528.

Manning, F. C., & 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). Clarifying amplitude envelope’s crucial role in auditory perception. Canadian Acoustics, 44(2), 42-43.

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 24-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). “Moving to the beat” improves timing perception. Psychonomic Bulletin & Review, 20,1133-1139.

Gillard, J., & Schutz, M. (2013, July). The importance of amplitude envelope: Surveying the temporal stricture of sounds used in perceptual research. Proceedings of the Sound and Music Computing Conference, 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. (2012). Looking beyond the score: The musical role of percussionists’ ancillary gestures. Music Theory Online, 18(1), 1-14.

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, 240-241. Atlanta, GA.

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 crossmodal integration. Journal of Experimental Psychology: Human Perception and 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 Canadian Acoustics, 37, 23-28. [Invited submission].

Schutz, M. (2008). Seeing music? What musicians need to know about vision. Empirical Musicology Review, 3(3), 83–108. [Invited submission].

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

Schutz, M., & Lipscomb, S. (2007). Hearing gestures, seeing music – vision influences perceived tone duration. Perception, 36(6), 888–897.

Schutz, M. (2002). Computer Aided Analysis of Post Tonal Music. Pittsburgh Undergraduate Review, 9(1), 9–40. ***Winner of the Edythe Portz Prize for best overall submission of 2002***

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

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 (September, 2015).

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

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

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