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NEW 6/16 Next year's page, for jobs that begin in 2018: Musicology/Ethnomusicology 2017-18

This page is for jobs that begin in 2017.

  • 4/13 Given recent events, I have temporarily protected this page and edits are now restricted to users with a Wikia account and username. Sign up here: https://www.wikia.com/register
  • Comments about the page and its moderation are always welcome at 5120janon@gmail.com
  • 4/20 I've let the page protection expire, so you no longer need a username to edit. Please continue to treat your fellow posters and job seekers with respect.

Previous pages:

See also:


Always attempt to start from the latest version of the wiki. If you see any notifications (located in the upper right hand corner), make sure that you are editing the correct page.

To edit a specific school, click the edit button next to the name of the school. When you add a new comment or question for a specific posting, please include the date of your update.

Guidelines are copied from the Humanities and Social Sciences Postdocs 2013-14. I think we can all agree that we should strive to keep this page as easy to read as possible to maximize its usefulness.

1. Please place new positions in alphabetical order. Note that "University of X" should be alphabetized by U as first sort, and X as second sort within the U listings.

2. Please mark the title of the position using the H3 header.

3. Please include the deadline and a web link to the ad/website; PLEASE follow the format of other entries.

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RECENT ACTIVITY on Musicology/Ethnomusicology 2016-17 WikiEdit

Recent Edits

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Schools with Accepted OffersEdit

Please add a row to the table and fill in the information under each heading if known or relevant.

Use the following template for entries:

  • Institution Name: -- First Name Last Name -- YYYY (or ABD) Doctoral Institution -- Current Position, if applicable
  • For ABDs, please only indicate a graduation year if you've already defended and submitted.
  • If an institution had multiple positions open this year, please indicate the position in parentheses.
  • For non-ABD faculty without PhDs, please indicate the terminal degree under the PhD column.
  • Please only list positions filled by musicologists/ethnomusicologists in this chart. Positions filled by non-musicologists should/can be noted on the main job listing below (with their degree in parentheses), but this chart is designed to demonstrate which ethnomusicology/musicology programs are placing their graduates.
  • The table is easier to edit if you select the Visual Editor from the blue drop-down Edit menu at the top left, under the page title.
  • If you're not comfortable editing the coding to get the table to work, please just add the hiring info (name, doctoral institution/date, current position) to the job ad below and a moderator will add it to the table.
Hiring Institution New Faculty PhD Date, Institution Current Position (if different)
Amherst College Amy Coddington ABD, University of Virginia
Anglia Ruskin University Christopher Tarrant 2015, Royal Holloway, University of London
Arizona State University Nicole Vilkner 2016, Rutgers Westminster Choir College
Australian National University Mike Cheng-Yu Lee 2016, Cornell University Indiana University-Bloomington, Postdoc/VAP
Baldwin Wallace University (Scholar-In-Residence) Danielle Kuntz 2014, University of Minnesota Baldwin Wallace University VAP
Baldwin Wallace University (Riemenschneider Bach Institute) Christina Fuhrmann 2001, Washington University in St. Louis Ashland University Professor
Berklee College of Music Scott Linford 2016, UCLA
Bowdoin College (Asst Professor) Marceline Saibou 2016, Columbia University
Bowdoin College (VAP) Christy Thomas 2016, Yale Bates College VAP
Brandeis University Paula Musegades 2014, Brandeis University Brandeis Lecturer
Butler University Clare Carrasco 2016, University of North Texas Butler University VAP
California State University, Fullerton Katherine Reed 2015, University of Florida Utah Valley University Lecturer
Central Connecticut State University Monica Hershberger 2017, Harvard University
Central Michigan University David McCarthy 2016, CUNY Graduate Center
Central Piedmont Community College Stephanie Lawrence-White 2005, Catholic University of America Queens University
Chinese University of Hong Kong Frederick Lau 1991, UIUC University of Hawaii at Manoa Professor
Colgate University Seth Coluzzi 2007, UNC-Chapel Hill Brandeis University, Asst Professor
College of DuPage Lucille Mok 2014, Harvard University
College of William & Mary Lauron J. Kehrer ABD, Eastman School of Music
Collin College Forrest Kinnett 2009, University of North Texas
Duke University Roseen Giles 2016, University of Toronto Colby College VAP
Duquesne University (Musicology only) Christopher Lynch 2013, University at Buffalo West Chester University of Pennsylvania
Durham University (Asst Prof Teaching) Ian Dickson ABD, University of Cambridge
East Carolina University Miguel J. Ramirez 2009, University of Chicago Austin Peay State University
Eastman School of Music Anaar Desai-Stephens 2017, Cornell University
Five Towns College Jonathan Waxman 2012, NYU
Hampden-Sydney College Victor Szabo 2015, University of Virginia University of Virginia (Teaching Resident)
Harvard University Braxton D. Shelley ABD, University of Chicago
Indiana University Aida Huseynova 1992, St. Petersburg Conservatory Indiana University Adjunct
King's College London (19th Century) Flora Willson 2013, King's College London
King's College London (Teaching Fellow) Joanna Bullivant 2009, University of Oxford University of Oxford (Lecturer)
King's College London (Twentieth Century) Arman Schwartz 2009, UC Berkeley University of Birmingham (Lecturer)
Kutztown University Katherine Kaiser 2015, Stony Brook University
Lehman College, CUNY David Font-Navarrete 2011, York University Duke University, Fellow
Millikin University Katherine Leo 2016, Ohio State University
Mt. Allison University Patrick Nickleson 2017, University of Toronto
New York University (Asst Prof) Kwami Coleman 2014, Stanford University NYU Postdoc
Northeastern University (Music Industry) Rebekah Moore 2015, Indiana University
Northwestern University Andrew Talle 2003, Harvard University Peabody Conservatory
Norwegian University of Science and Technology (NTNU) Thomas Hilder 2011, Royal Holloway University University of Bergen, Postdoc
Oberlin College & Conservatory Kathryn Metz 2010, UT Austin
Oklahoma City University Christa Bentley 2016, UNC-Chapel Hill Georgia State, Visiting Lecturer
Oklahoma City University Jake Johnson ABD, UCLA
Peabody Conservatory Anicia Timberlake 2015, UC Berkeley Williams College Postdoc
Peabody Conservatory David Gutkin 2015, Columbia University Columbia Univ Society of Fellows in the Humanities
Queens College Karen Henson 2000, University of Oxford University of Miami, Assoc Professor
Ramapo College Christopher Reali 2014, University of North Carolina Campbell University (RTP Campus); NC State
Royal College of Music (Postdoc) Jonathan Clinch 2015, Durham University University of Birmingham (Teaching Fellow)
Royal Holloway, University of London Daniel Elphick 2016, University of Manchester
Rutgers University Nicholas Chong 2016, Columbia University
Sam Houston State University Melissa Cummins ABD, University of Kansas
San Francisco Conservatory of Music Rachel Vandagriff 2014, UC Berkeley Washington University Postdoc
Santa Clara University (Quarterly Lecturer) Kavin Paulraj 2013, University of Pittsburgh
Schola Cantorum Basiliensis Christelle Cazaux-Kowalski 2006, Ecole pratique des Hautes Etudes Université de Poitiers
Scripps College (Music Appreciation) Alexandra Grabarchuk 2015, UCLA
Scripps College (Gender in Music) Lara Rann 2015, UCLA Claremont Graduate University Postdoc
Scripps College (Music in Western Civ) Beth Snyder 2016, NYU
Skidmore College Charles Lwanga 2012 (Comp/Theory); ABD (Ethno), University of Pittsburgh Lecturer, University of Pittsburgh
Smith College Andrea Moore 2016, UCLA UC Riverside Chancellor's Postdoc
SOAS, University of London Richard Williams 2015, King’s College London University of Oxford Leverhulme Early Career Fellowship
Southern Methodist University Laureen Whitelaw 2013, Northwestern University
St. John's College Tyreek Jackson ABD, Columbia University
St. Lawrence University Fritz Schenker 2016, University of Wisconsin Washington University Postdoc
St. Olaf College Rehanna Kheshgi 2016, University of Chicago
Stanford University (Fellowship) Sean Hallowell 2013, Columbia UC Berkeley Lecturer
Swarthmore College Lei Ouyang Bryant 2004, University of Pittsburgh Skidmore College Assoc Prof
Syracuse University (Music in Politics) Erica Levenson 2017, Cornell
Texas A&M-San Antonio Michele Aichele ABD, University of Iowa
Texas Christian University Gina Bombola 2017, University of North Carolina
Texas Tech (Musicology VAP) Virginia Whealton ABD, Indiana University
Texas Woman's University Cory Gavito 2006, UT Austin Oklahoma City University, Assoc Prof
Towson University David Cosper 2011, University of Virginia New Zealand School of Music
Trinity Laban Conservatoire Unknown
Tufts University (Intro to World Music) Stéphanie Khoury 2014, University of Paris West Nanterre
Tufts University (Music, Tech, & Digital Culture) Byrd McDaniel ABD, Brown University
Tufts University (Music of the Middle East) Ian Goldstein ABD, UC Berkeley
Universidad de los Andes Ons Barnat 2013, University of Montreal Laval University Postdoc
University College Cork Tríona Ní Shíocháin 2008, University College Cork University of Limerick
University of Arkansas Micaela Baranello 2014, Princeton Smith College Postdoc
University of Birmingham Nicholas Attfield 2006, University of Oxford Brunel University London Lecturer
University of Birmingham Alexander Cannon 2011, University of Michigan Western Michigan University Asst Prof
University of Birmingham Ben Curry 2011, Cardiff University University of Kent Lecturer
University of Bristol Sarah Hibbard 1998, University of Southampton University of Nottingham
University of California, Berkeley Maria Sonevytsky 2012, Columbia Bard College
University of California, Davis Juan Diego Diaz 2014, University of British Columbia University of Essex Postdoc
UCLA (Musicology Postdoc) Jessica Holmes ABD, McGill University
UCLA (Ethnomusicology Postdoc) Shannon Garland 2014, Columbia University Adjunct, Columbia University
University of California, Merced Patricia Vergara 2017, University of Maryland
University of Cambridge Katharine Ellis 1991, University of Oxford University of Bristol
University of Cambridge (Early Modern) Bettina Varwig 2006, Harvard University King's College, London
University of Cambridge (Ethnomusicology) Peter McMurray 2014, Harvard University Harvard Society of Fellows
University of Cambridge (Research Asst, Music & Phil) Ariana Phillips-Hutton 2017, University of Cambridge
University of Cambridge (Sidney Sussex College) Ceri Owen 2014, University of Oxford
University of Cape Town Richard Deja 2016, University of Illinois UIUC Postdoc
University of Connecticut Jesús Ramos-Kittrell 2006, UT Austin Oklahoma City University VAP
University of Dayton Julia Randel 2004, Harvard University Hope College Assoc Prof
University of Denver Elizabeth Macy 2010, UCLA Skidmore College VAP
University of Edinburgh (Lecturer) James Cook 2014, University of Nottingham University of Sheffield
University of Edinburgh (Teaching Fellow, Music) Morag Grant 1999, King's College London University of Göttingen
University of Edinburgh (Teaching Fellow, Pop Music) Tom Western 2017, University of Edinburgh
University of Evansville Kristen Strandberg 2014, Indiana University Wabash College VAP
University of Hawai'i, Mānoa Abigail Fine ABD, University of Chicago
University of Hong Kong (Society of Fellows) John Gabriel 2016, Harvard University Peabody Conservatory VAP
University of Illinois, Urbana-Champaign Priscilla Tse 2017, UIUC
University of Iowa Sarah Suhadolnik 2016, University of Michigan
University of Kentucky James Revell Carr 2006, UC Santa Barbara UNC-Greensboro Assoc Prof
University of Mary Washington J. Brooks Kuykendall 2005, Cornell Erskine College, Chair
University of Maryland Siv Brun Lie ABD, New York University
University of Melbourne (Ethnomusicology) Nicholas Tochka 2012, Stony Brook University University of Maryland Lecturer
University of Miami Marysol Quevedo 2016, Indiana University SEM, Program Specialist
University of Nevada-Reno Ruthie Meadows 2017, University of Pennsylvania
University of Notre Dame Eleanor Cloutier 2016, UC Berkeley
University of North Carolina-Pembroke Joshua Busman 2015, University of North Carolina UNC-Pembroke
University of Nottingham (Teaching Associate/Ethno & Pop Music) Sheryl Lynch 2016, University College Dublin
University of Oslo (Postdoc, Musical Rhythm) Mari Romarheim Haugen 2016, University of Oslo
University of Oxford (Lord Crewe JRF) Fabio Morabito 2014, King's College London
University of Oxford (Postdoc Research Assistant - HIP) Marten Noorduin 2016, University of Manchester
University of Oxford (Leverhulme Early Career Fellow) Yvonne Liao 2016, King's College London
University of Rochester Andrew A. Cashner 2015, University of Chicago Univ of Southern California Asst Prof
University of Saskatchewan Amanda Lalonde 2014, Cornell Mt. Allison University VAP
University of Southern California (Lecturer, Ethnomusicology/World Music) Scott Spencer 2010, NYU
University of Sussex Mimi Haddon 2015, McGill University
University of Tampa Sarah Iker ABD, University of Chicago
University of Texas, Rio Grande Valley Silvia Lazo 2013, University of Montana Syracuse University VAP
University of Utah Stephanie Doktor 2016, University of Virginia University of Virginia Lecturer
University of Victoria Katharina Clausius ABD, University of Cambridge
University of Vienna Carolin Krahn 2017, University of Vienna
University of Wisconsin-Madison (German/Jewish Studies) Jeremy Zima 2014, University of Wisconsin-Madison
Wabash College Mollie Ables 2016, Indiana University
Washburn University Kelly Huff 2015, University of Kansas
Washington University in St. Louis Richard Deja 2016, University of Illinois UIUC Postdoc
West Virginia University Alecia Barbour ABD, Stony Brook University
Western Michigan University Maria Cristina Fava 2012, Eastman School of Music Eastman School of Music Asst Prof
Williams College Sarah Politz 2017, Harvard University

Schools with Failed or Canceled SearchesEdit

  • Green River College: Ethnomusicology Instructor
  • Lehigh University: Professor and Chair of Music Department
  • St. Peter's University: Assistant Professor of Music
  • Texas Tech University: Assistant Professor of Music History
  • UCLA: Associate Professor/Professor, Ethnomusicology/Jazz Studies
  • University of Washington-Tacoma: Lecturer in Lower Division Visual/Literary/Performing Arts
  • University of Wisconsin-Platteville: Assistant Professor of Music History (position beginning January 2017)

Jobs for 2017Edit

Note: in keeping with prior practice, "Jobs for 2017" shall be interpreted as covering jobs that fall into the 2016-2017 application cycle for jobs starting during the North American / UK 2017-2018 Academic Year. Although exact start times will vary, this will generally include any positions starting between July 2017 and April 2018, and can include such things as 1-term visiting professorships, temporary lecturer opportunities, etc. Listings accidentally placed here but belonging to a preceding or following academic year will be moved appropriately.

In keeping with discussion on the previous year's wiki page, this listing welcomes postings about jobs from institutions around the world, including but not limited to: non-tenure track full-time university faculty, full-time tenure track faculty, and full-time community college faculty appointments.

Aarhus University: Professorship in Musicology (Deadline: 01 December 2016)Edit

  • Professorship in musicology 864977
  • The School of Communication and Culture invites applications for a professorship in musicology, specialising in musical culture. The professorship is available on 1 January 2017 or as soon as possible thereafter. The place of employment is Aarhus University, Langelandsgade 139, 8000 Aarhus C.
  • The position: The successful applicant will be expected to improve, expand and raise the profile of the department’s external commitments by studying and analysing contemporary Danish and international musical culture. The professorship comprises research, teaching and supervision in this subject area, so the successful applicant will be expected to inspire and initiate relevant research activities and help to improve the status of musicology at Aarhus University in the Danish and international musicology environment. The successful applicant is also expected to play a productive and cross-disciplinary role in relevant parts of Aarhus University’s research, teaching and talent development programmes, as well as strengthening knowledge exchange activities both internally at the university and externally.
  • Research: The successful applicant is expected to develop and strengthen the department’s research profile with regard to the study and analysis of musical culture in relation to both institutional analysis and the analysis of music-cultural practice. This applies in relation to improving and developing new methods, in relation to choosing and designing empirical evidence, and in relation to including external circumstances and/or interaction with external partners. In other words, the successful applicant must help to develop relevant research projects, and in this connection to strengthen the department’s collaboration both internally and in relation to external partners. Consequently, in their applications applicants are expected to outline clear visions for upcoming research projects and external collaborations within the study and analysis of musical culture.
  • Teaching: The successful applicant is expected to take part in and be committed to the department’s teaching activities, to develop and initiate new ways of teaching musicology, and to teach and supervise students at all levels: BA, MA and PhD. In this connection, documented experience of the development and administration of degree programmes is required.
  • Talent development: The successful applicant is expected to recruit and supervise PhD students, and must have experience of including and encouraging talented students.
  • Knowledge exchange: Applicants are expected to contribute to knowledge exchange as outlined in the strategy of the Faculty of Arts, for instance via research collaboration with external partners, public-sector institutions or private organisations. Applicants must be able to document previous experience of research communication and knowledge exchange.
  • Qualifications: With a view to ensuring that applicants can help to strengthen the department’s development and external commitments by studying and analysing contemporary musical culture, they are expected to be able to document an original academic production at the highest international level within this field. More specifically, these qualifications must have been obtained within one of the following research fields:
Studies of contemporary and/or historical Euro-American institutions of musical culture and music-cultural practice with the focus on their didactic, sociological and/or anthropological dimensions. A weighting of musical life as a dynamic process and/or differentiated daily practice is regarded as an additional qualification.
Studies of music as a performative phenomenon with the focus on situated practice in Euro-American musical culture, including aesthetic, institutional, technological and/or media-related dimensions. A combination of these dimensions is regarded as an additional qualification.
  • Applicants must also be able to document qualifications and experience with regard to:
Active participation in international research collaborations and academic networks.
The organisation of research, including research applications, and the achievement and administration of external research funding in relation to studies of musical culture.
Teaching, teaching development and supervision at all levels.
The development and administration of degree programmes.
Talent development, supervision of research projects and development of research programmes, for instance in the form of PhD courses.
  • As part of our research and teaching team, the successful applicant will be expected to contribute to the development of the local subject environment, as well as contributing to the academic environment both internally within the Faculty of Arts and at Aarhus University more generally. Participation in the daily life of the programme is a high priority, and we emphasise the importance of good working relationships, both among colleagues and with our students.
  • If the successful applicant is not fluent in Danish, he or she will be expected to learn Danish within a period of approximately two years.
  • For further information about the position, please contact associate professor Mads Krogh, PhD, mail: musmk@cc.au.dk
  • Qualification requirements: Applicants should hold a PhD or equivalent academic qualifications.
  • Formalities: Faculty of Arts refers to the Ministerial Order on the Appointment of Academic Staff at Danish Universities (the Appointment Order). Appointment shall be in accordance with the collective labour agreement between the Danish Ministry of Finance and the Danish Confederation of Professional Associations. Further information on qualification requirements and job content may be found in the Memorandum on Job Structure for Academic Staff at Danish Universities. Further information on the application and supplementary materials may be found in Applicant Guidelines.
  • The application must outline the applicant's motivation for applying for the position, attaching a curriculum vitae, a teaching portfolio, a complete list of published works, copies of degree certificates and no more than eight examples of academic production. Please upload this material electronically along with your application.
  • In the absence of any statement to the contrary, applications must be submitted in English. All interested candidates are encouraged to apply, regardless of their personal background.
  • Deadline: All applications must be made online and received by: 01.12.2016

American University of the Middle East: Assistant/Associate/Full Professor of Music (Deadline: Open until filled, posted 07 December 2016)Edit

  • The American University of the Middle East (AUM) - Kuwait, in affiliation with Purdue University, is an emerging university, dedicated to developing students' critical thinking, identities and helping to build their characters, in order to become successful individuals, well-rounded professionals and entrepreneurs, through a unique, learner centered methodology. AUM is committed to creating a value proposition through the integration of multicultural faculty, learning facilities and outreach centers.
  • We encourage innovative teaching methodologies, academic research and publications.
  • Due to our continued growth and success, we are looking to recruit additional faculty members holding PhD. degree in the following major: Music. To commence teaching next academic year - Full 2017/2018.
  • The successful applicant will have strong problem-solving and communication skills and the ability to work in an interdisciplinary environment. A strong commitment to teaching excellence and appropriate publications in leading scholarly journals are expected. Preferred qualifications are teaching experience, as well as industrial experience. Excellent oral and written communication skills are essential.
  • Candidates should submit an application indicating availability date, curriculum vitae, statement of teaching philosophy. He or she will demonstrate an interest in the university's mission, and a desire to make a positive impact on the community through scholarship, teaching, and service.
  • Interested applicants should forward their resumes to: hr@aum.edu.kw
  • Job Requirements: PhD degree in Music. Minimum of 3 Years Teaching experience in the related Field. Willing to relocate to Kuwait.
  • Benefits: 60 days annual leave. (Fully paid after 9 months of continuous service with us, as per the Kuwait labor law). Annual tickets (for yourself, and family up to 2 kids). School Fees (up to 2 kids) 2000 K.D/year for each kid (in Kuwait) (to be reimbursed after probation period). Medical Insurance (for yourself and family - up to 2 kids). Life Insurance (for yourself). Baggage allowance up to 250 K.D. Furnished apartment and transportation will be provided ONLY for the first month.
  • Applications will be accepted until the position is filled.

Amherst College: Visiting Assistant Professor of American Music (Deadline: 01 March 2017) FILLED: Amy Coddington, University of Virginia ABDEdit

  • The Amherst College Department of Music invites applications for a one-year Visiting Assistant Professor position in American Music to begin July 1, 2017. In seeking a colleague who connects scholarship and/or creative work to innovative pedagogies in an interdisciplinary liberal arts environment, we particularly encourage applications from specialists in African American and/or Latinx musical traditions.
  • The teaching load is two courses per semester, and the successful candidate will be expected to offer introductory and advanced courses in the history, ethnography, theory, production/composition, and/or performance of American Music.
  • Within the last decade, Amherst College has profoundly transformed its student body in terms of socioeconomic status, ethnicity, and nationality, among other areas. Today, nearly one-quarter of Amherst’s students are Pell Grant recipients; 44 percent of our students are domestic students of color. Our expectation is that the successful candidate will excel at teaching and mentoring students who are broadly diverse with regard to race, ethnicity, socioeconomic status, gender, nationality, sexual orientation, and religion.
  • PhD or DMA required by the time of appointment.
  • Interested candidates should submit a cover letter, CV, teaching statement, and three confidential letters of recommendation. Review of applications will begin on March 1, 2017 and continue until the position is filled.
  • 3/3 Request for writing sample and syllabus x2
  • 3/15 Request for Skype interview
  • 4/3 Any updates on campus visits?
  • 5/11 email from committee chair, position has been filled.

Anglia Ruskin University: Lecturer/Senior Lecturer in Music (Deadline: 10 July 2016) FILLED: Christopher Tarrant, Royal Holloway, University of London 2015Edit

  • Ref: 000234-4
  • Location: Cambridge
  • Faculty/Support Service: Faculty of Arts, Law & Social Sciences
  • Salary: £31,656 - £46,414 p.a.
  • Closing Date - 10 July 2016
  • About the role: We’re seeking a committed and dedicated Lecturer/Senior Lecturer in Music to join the team within the Department of Music and Performing Arts. Based in Cambridge, we’re a thriving multi-disciplinary department, committed to research-informed teaching, with an expanding portfolio of courses. Our BA (Hons) Music course develops students’ understanding of a broad range of areas of musical enquiry, with the opportunity to specialise in performance, composition, music technology, musicology, music education and ethnomusicology. The course regularly enjoys high levels of student satisfaction rating in the National Student Survey (NSS) and our departmental research was recognised as world leading in the 2014 Research Excellence Framework.
  • With a PhD or Professional Doctorate, or nearing completion, you’ll be expected to contribute to both undergraduate and postgraduate teaching and, where appropriate, research supervision. You’ll have proven teaching experience at Higher Education (HE) level in critical and practical approaches to aspects of music, ideally with a specialism in historical musicology and analysis. We would particularly welcome applications from those who are able to contribute to the performance activities of the department. With a research profile commensurate with the stage of your career, you’ll make a contribution to the thriving research profile of the group, and will engage in income generation.
  • For an informal enquiry, please contact Paul Jackson, Head of the Department of Music and Performing Arts, at paul.jackson@anglia.ac.uk.
  • Guidance Notes: For a list of key requirements, please download the Job Description and Person Specification below. To apply for this role please demonstrate how your skills and experience match the criteria in the person specification.

Anna Maria College: Visiting Instructor/Assistant Professor of Music (Deadline: None listed, posted 01 June 2017) FILLED: Melissa Martiros, UW-Madison 2012 (DMA Piano)Edit

  • Department: Faculty
  • Job Type: Full Time
  • Education: Graduate Degree
  • Job Description: The School of Visual and Performing Arts at Anna Maria College invites applications for visiting one-year full-time position as an Instructor (or) Assistant Professor of Music. Responsibilities include: Teaching music history, music appreciation, organizing performance lab, collaborate with music core faculty, advising music majors, engaging in productive scholarly activity, engaged in the music community and becoming an active presence on and off campus.
  • Qualifications: Doctorate (Ph.D., D.M.A., D.M.) required for Assistant Professor position. Familiarity with music history, performance, and music core. Minimum of three years’ experience working as a music educator at the high school and/or college-level. Excellent interpersonal and communications skills
  • Please submit a letter of interest, resume, salary requirements, and names of three references.

Arizona State University: Instructor of Musicology (Deadline: 27 April 2017) FILLED: Nicole Vilkner, Rutgers 2016Edit

  • The School of Music in the Herberger Institute for Design and the Arts at Arizona State University, Tempe campus, seeks an instructor of musicology for a one-year, full-time, benefits eligible position for the 2017-18 academic year.
  • The successful candidate is expected to teach undergraduate and graduate courses in musicology in the instructor's area of specialization depending on departmental needs. Our undergraduate and graduate curricula allow for a range of teaching interests.
  • Arizona State University is a new model for American higher education, an unprecedented combination of academic excellence, entrepreneurial energy and broad access. This New American University is a single, unified institution comprising four differentiated campuses positively impacting the economic, social, cultural and environmental health of the communities it serves. Its research is inspired by real world application blurring the boundaries that traditionally separate academic disciplines. ASU serves more than 80,000 students in metropolitan Phoenix, Arizona, the nation's fifth largest city. ASU champions intellectual and cultural diversity, and welcomes students from all fifty states and more than one hundred nations across the globe.
  • The Herberger Institute for Design and the Arts, the largest comprehensive design and arts school in the nation, is a vibrant example of the of the New American University philosophy. With 4,700+ students, nearly 400 faculty and faculty associates, 125 program options and a tradition of top-ranked programs, the Herberger Institute is built on a combination of disciplines unlike any other program in the nation. The institute includes the School of Art, The School of Arts, Media + Engineering, The Design School, The School of Film, Dance and Theatre, The School of Music, and the ASU Art Museum. Through recognizing that design and the arts are critical resources for transforming society and solving complex problems, the Herberger Institute is committed to positioning artists, scholars, designers, and educators at the center of public life. herbergerinstitute.asu.edu
  • Located in one of the most expansive metropolitan centers in the United States and situated in the Sonoran desert, the ASU School of Music supports a broad range of inquiry. Programs within the School of Music lead to the degrees of Bachelor of Arts (BA) in Music with an optional concentration in Music and Culture; Bachelor of Music (BM) in Music with concentrations in music performance, jazz studies, music theatre, music education, music theory and composition, music therapy as well as two minors in music studies and music performance; Master of Arts (MA) in Music with concentrations in ethnomusicology or historical musicology; and Master of Music (MM) in composition, conducting, music education, music performance, performance pedagogy and music therapy. In addition, the school offers a Doctor of Musical Arts (DMA) in composition, conducting and performance and the Doctor of Philosophy (PhD) with a concentration in music education or musicology, as well as a graduate certificate in theory pedagogy. With one of the largest comprehensive music programs in a public research university in the United States, the ASU School of Music plays a prominent role within the Herberger Institute for Design and the Arts and is located on the ASU Tempe campus. [1]
  • Required Qualifications:
    • PhD in Musicology or related field, ABD considered.
    • Demonstrated excellence in teaching undergraduate musicology courses for music majors or non-music majors.
    • In addition to teaching coursework at the undergraduate level, the successful candidate will demonstrate an ability to teach in at least one of these areas: eighteenth-century music, nineteenth-century music, popular music studies.
  • Desired Qualifications:
    • Record of scholarly achievement as demonstrated through conference presentations and/or peer-reviewed publication.
    • Ability to teach basic courses in the core Western art music repertoire.
    • Demonstrated expertise or potential for teaching a wide range of courses at both the undergraduate and graduate levels.
    • Research specialty and/or teaching expertise in popular and/or non-Western musics.
    • Experience in online teaching and/or course development.
  1. a cover letter stating qualifications and teaching interests;
  2. curriculum vitae or resume;
  3. a representative piece of scholarly research; and
  4. three confidential letters of reference.
  • Application materials should be sent electronically in PDF format to musicsearch@asu.edu with “Musicology Instructor” in the subject line.
  • The application deadline is April 27, 2017; if not filled, reviews will occur every two weeks thereafter until search is closed.
  • ASU conducts pre-employment screening for all positions which includes a criminal background check, verification of work history, academic credentials, licenses and certifications. Arizona State University is a VEVRAA Federal Contractor and an Equal Opportunity/Affirmative Action Employer. All qualified applicants will be considered without regard to race, color, sex, religion, national origin, disability, protected veteran status, or any other basis protected by law. See ASU's complete non-discrimination statement at [2]. See ASU’s Title IX policy at [3].
  • 4/12 Note to moderators: Received via email, could not locate online posting.
  • 4/12 It was posted on more than one society listserv.
  • https://herbergerinstitute.asu.edu/profile/nicole-vilkner

Ashland University: Visiting Assistant Professor of Music Theory/History(Deadline: Review begins immediately, posted 21 March 2017)Edit

  • PhD in Musicology or related field, ABD considered.
  • Demonstrated excellence in teaching undergraduate musicology courses for music majors or non-music majors.
  • In addition to teaching coursework at the undergraduate level, the successful candidate will demonstrate an ability to teach in at least one of these areas: eighteenth-century music, nineteenth-century music, popular music studies.
  • Record of scholarly achievement as demonstrated through conference presentations and/or peer-reviewed publication.
  • Ability to teach basic courses in the core Western art music repertoire.
  • Demonstrated expertise or potential for teaching a wide range of courses at both the undergraduate and graduate levels.
  • Research specialty and/or teaching expertise in popular and/or non-Western musics.
  • Experience in online teaching and/or course development.
  • Institution: Ashland University
  • Location: Ashland, OH
  • Category: Faculty - Fine and Applied Arts - Music
  • Posted: 03/21/2017
  • Application Due: Open Until Filled
  • Type: Full Time
  • Visiting Assistant Professor of Music Theory/History (one-year, non tenure-track).
  • Duties: teach undergraduate courses as assigned Music Theory, Aural Skills, Music Appreciation and/or Music History. Teaching load is 12 credit hours per semester.
  • A Ph.D. in Music is preferred, D.M.A. or ABD candidates accepted. Experience teaching undergraduate music theory and aural skills courses required. Applicants should send a letter of application, CV, and list of references to music@ashland.edu. Review of applications will begin immediately and continue until the position is filled.
  • Also posted at Music Theory/Composition 2016-2017
  • From theory wiki: (4/15) Request for Skype interview
  • From theory wiki: (4/19) Request for campus interview
  • 9/20 Anyone know what happened here?

Austin Peay State University: Assistant Professor - African American Studies (Deadline: Open until filled, posted 20 February 2017)Edit

  • Posting Number: 2012203Faculty
  • Working Title: Assistant Professor - African American Studies
  • Pay Rate: Salary is competitive and commensurate with experience and education.
  • Regular/Temporary: Regular
  • Type of Appointment: Tenure Track
  • Contract Period: 9 month
  • Position Summary: The African American Studies Program at Austin Peay State University invites applications for a tenure-track Assistant Professor to begin on August 1, 2017.
  • We seek candidates from a variety of academic disciplines and interdisciplinary approaches, including from the areas of theatre and dance, ethnomusicology, women’s and gender studies, communications, film studies, and art. The successful candidate will collaborate with the current coordinator to increase the program’s presence on campus and to recruit students for the minor.
  • Primary Duties and Responsibilities: The successful candidate will teach coursework within the area of African American studies; Teach a range of courses that include introductory and upper-level classes in the minor.
  • Required Minimum Qualifications: Ph.D. in related field required; ABD will be considered if all requirements are met by date of hire. Evidence of teaching excellence required. A background search will be required of the successful applicant.
  • Open Date: 02/20/2017
  • Open Until Filled: Yes
  • Special Instructions to Applicants: Each applicant must include the names and contact information for three references, one of which must be from your most recent or current employer, with your application materials. Many people add this to the end of the CV.
  • If you would like to additionally attach Letters of Recommendation to your online application, letters must be dated one year or less from the date of your application. You may attach your letters of recommendation in the “Optional Documents” section under the “Letter of Reference” tab. Letters of recommendation may be sent by email to “facultyapplications@apsu.edu” or hard copy to “Austin Peay State University, Human Resources Dept., PO Box 4507, Clarksville, TN 37044” with your name and desired position clearly indicated after your online application is completed.
  • If granted an interview, unofficial transcripts will be required of applicants and official transcripts will be required of the selected candidate before the candidate will be offered a position. It is highly recommended that you attach unofficial transcripts in PDF format to your online application in the “Optional Documents” section under the “Unofficial Transcript” tab before finalizing and submitting your application.
  • You will not be able to attach your letters of recommendation, unofficial transcripts or any other supplemental document(s) nor modify your application after it has been submitted.
  • Applicant review will continue until the position is filled.
  • Please refer all questions to facultyapplications@apsu.edu
  • Applications taken ONLINE ONLY at http://www.apsu.edu/human-resources

Australian National University: Lecturer or Senior Lecturer of Music (Deadline: 15 January 2017) FILLED: Kim Cunio, Univ of Western Sydney 2008 (Composition), Queensland Conservatorium; Mike Cheng-Yu Lee, Cornell University 2016Edit

  • Location: Canberra, Australian Capital Territory, Australia
  • Posted: 22 Dec 2016
  • End of advertisement period: 15 Jan 2017
  • Classification: Academic Level B or Academic Level C
  • Salary package: Level B $94,287 - $107,381 or Level C $113,929 - $127,025 plus 17% superannuation
  • Fixed Term: 3 years, with the possibility of conversion to a continuing appointment
  • Design, plan and deliver high-quality courses in music Supervise undergraduate, postgraduate and higher degree research students Contribute to the School's research quality, impact and engagement profile
  • Position overview: The School is currently engaged in a strategic redevelopment, to build on past strengths while addressing the future needs of the rapidly changing music profession and the creative arts sector. It seeks to fill up to 1.5 full-time equivalent staff positions in the broad field of music studies and musicology, at Levels B or C.
  • Appointment at Level B or C, will be according to qualifications and experience. Appointees will be expected to participate in all aspects of the academic life of the School and to engage actively in the governance of the School and the College of Arts and Social Sciences. Appointments will be made initially for 3 years, with the possibility of conversion to a continuing appointment.
  • The appointees are expected to make significant contributions to the teaching, postgraduate supervision and research profile of the School, and to be able to work as part of a team. The appointees will also be expected to contribute to wider-ranging academic and artistic activity within the Research School of the Humanities and the Arts, and within the Canberra community. The Australian National University offers a wide variety of staff development opportunities in education and research, especially for early-career staff.
  • The University actively encourages applications from Aboriginal and Torres Strait Islander people. For more information on employment opportunities, contact our Indigenous Employment Consultant on indigenous.employment@anu.edu.au.
  • Enquiries: Head of School, Prof Malcolm Gillies E: Malcolm.gillies@anu.edu.au
  • Application information In order to apply for this role please make sure that you upload the following documents: A statement addressing the selection criteria. A current curriculum vitae (CV) which includes the names and contact details of at least three referees (preferably including a current or previous supervisor). If your CV does not include referees you can complete these online when prompted in the application form. Other documents, if required.
  • For position description please see: Lecturer or Senior Lecturer_PD.pdf
  • Closing date: 11.55pm, Sunday 15 January 2017. (N.B. 7:55am EST January 15)
  • Applications which do not address the selection criteria may not be considered for the position.
  • 1/12 [NB: The PDF link leads to the job description for a position in criminology.]
  • 1/12 Thanks! Fixed it. -5120j

Baldwin Wallace University: Assistant Professor of Music History, Advisor to the Riemenschneider Bach Institute, and Editor-in-Chief of the BACH Journal (Deadline: 15 October 2016) FILLED: Christina Fuhrmann, Washington University in St. Louis 2001Edit

  • The Conservatory of Music at Baldwin Wallace University announces a full-time, tenure track position as Professor of Music History (75%) and RBI Advisor and Editor (25%).
  • Essential duties, tasks and responsibilities:
Teach music history and literature courses (specifically Renaissance & Baroque, but also one or more of the following: World & Medieval, Classical & Romantic, and Music Since 1900) in an innovative, all-undergraduate conservatory environment
Develop seminars utilizing the unique holdings of the RBI collection, per the candidate's expertise and the needs of the Conservatory
Participate in academic advising and other departmental and Conservatory duties as necessary
Help realize the full potential of Renaissance & Baroque Music History as a process-writing course
Provide visionary and strategic leadership for the future of the RBI
Implement the Riemenschneiders’ vision of the RBI as a research institution supporting the undergraduate programs in music
Participate in the current RBI advisory board structure and, in collaboration with the Conservatory Dean, Director of the Jones Music Library, and Director of Library Services, explore changes to ensure an effective and meaningful plan for fund development and programmatic support
Prioritize collection development/acquisitions, connecting the collections to new scholarship and helping to identify the RBI’s “audience”
Actively engage in Baroque scholarship, collaborating with other scholars, contributing to the international body of knowledge, and leveraging resources to enhance the academic climate at Baldwin Wallace University
Expand post-doctoral, undergraduate, and graduate student opportunities at the RBI
Reevaluate the content, purpose and direction of the BACH Journal in light of current trends in scholarship and considering the undergraduate focus of the BW Conservatory of Music
Provide overall leadership for the direction of the BACH Journal
Doctorate in musicology
Proven excellence teaching at the collegiate level
Established record of scholarship in Baroque music
Experience in journal editing and/or academic library environments preferred
Superior writing talent and a demonstrated understanding of new media
Commitment to quality teaching and service in a liberal arts institution, especially classes typically found in an undergraduate curriculum
Willingness to work in a small department that thrives and depends on collaboration
  • In a continuing effort to enrich its academic environment and provide equal educational and employment opportunities, the University and the Conservatory actively encourage applications from individuals who desire an environment that celebrates diversity.
  • Please send a professional resume and CV, cover letter and list of three professional references in one (1) Word document or one (1) PDF and submit via the To Apply link on HR’s Current Job Openings web page at https://www.bw.edu/employment. Review of materials will begin October 15, 2016 and continue until the position is filled.

Baldwin Wallace University: Assistant Professor of Music History and Riemenschneider Bach Institute Scholar-in-Residence – Tenure Track (Deadline: 15 October 2016) FILLED: Danielle Kuntz, University of Minnesota 2014Edit

  • The Conservatory of Music at Baldwin Wallace University announces a full-time, tenure track position as Professor of Music History (75%) and RBI Scholar-in-Residence (25%).
  • The successful candidate will teach music history and literature courses (specifically Renaissance & Baroque, but also one or more of the following: World & Medieval, Classical & Romantic, and Music Since 1900) in an innovative, all-undergraduate conservatory environment. S/he will also be expected to develop seminars utilizing the unique holdings of the RBI collection (per the candidate's expertise and the needs of the Conservatory), perform academic advising and other departmental and Conservatory duties as necessary, and help realize the full potential of Renaissance & Baroque Music History as a process-writing course.

"Psychology of Music" redirects here. For the journal, see Psychology of Music (journal).

Music psychology, or the psychology of music, may be regarded as a branch of both psychology and musicology. It aims to explain and understand musicalbehavior and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life.[1][2] Modern music psychology is primarily empirical; its knowledge tends to advance on the basis of interpretations of data collected by systematic observation of and interaction with human participants. Music psychology is a field of research with practical relevance for many areas, including music performance, composition, education, criticism, and therapy, as well as investigations of human attitude, skill, performance, intelligence, creativity, and social behavior.

Music psychology can shed light on non-psychological aspects of musicology and musical practice. For example, it contributes to music theory through investigations of the perception and computational modelling of musical structures such as melody, harmony, tonality, rhythm, meter, and form. Research in music history can benefit from systematic study of the history of musical syntax, or from psychological analyses of composers and compositions in relation to perceptual, affective, and social responses to their music. Ethnomusicology can benefit from psychological approaches to the study of music cognition in different cultures.


Early history (pre-1860)[edit]

The study of sound and musical phenomenon prior to the 19th century was focused primarily on the mathematical modelling of pitch and tone.[3] The earliest recorded experiments date from the 6th century BCE, most notably in the work of Pythagoras and his establishment of the simple string length ratios that formed the consonances of the octave. This view that sound and music could be understood from a purely physical standpoint was echoed by such theorists as Anaxagoras and Boethius. An important early dissenter was Aristoxenus, who foreshadowed modern music psychology in his view that music could only be understood through human perception and its relation to human memory. Despite his views, the majority of musical education through the Middle Ages and Renaissance remained rooted in the Pythagorean tradition, particularly through the quadrivium of astronomy, geometry, arithmetic, and music.[3]

Research by Vincenzo Galilei (father of Galileo) demonstrated that, when string length was held constant, varying its tension, thickness, or composition could alter perceived pitch. From this he argued that simple ratios were not enough to account for musical phenomenon and that a perceptual approach was necessary. He also claimed that the differences between various tuning systems were not perceivable, thus the disputes were unnecessary. Study of topics including vibration, consonance, the harmonic series, and resonance were furthered through the scientific revolution, including work by Galileo, Kepler, Mersenne, and Descartes. This included further speculation concerning the nature of the sense organs and higher-order processes, particularly by Savart, Helmholtz, and Koenig.[3]

Rise of empirical (1860–1960)[edit]

The latter 19th century saw the development of modern music psychology alongside the emergence of a general empirical psychology, one which passed through similar stages of development. The first was structuralist psychology, led by Wilhelm Wundt, which sought to break down experience into its smallest definable parts. This expanded upon previous centuries of acoustic study, and included Helmholtz developing the resonator to isolate and understand pure and complex tones and their perception, the philosopher Carl Stumpf using church organs and his own musical experience to explore timbre and absolute pitch, and Wundt himself associating the experience of rhythm with kinesthetic tension and relaxation.[4]

As structuralism gave way to Gestalt psychology and behaviorism at the turn of the century, music psychology moved beyond the study of isolated tones and elements to the perception of their inter-relationships and human reactions to them, though work languished behind that of visual perception.[4] In Europe Géza Révész and Albert Wellek developed a more complex understanding of musical pitch, and in the US the focus shifted to that of music education and the training and development of musical skill. Carl Seashore led this work, producing his The Measurement of Musical Talents and The Psychology of Musical Talent. Seashore used bespoke equipment and standardized tests to measure how performance deviated from indicated markings and how musical aptitude differed between students.

Modern (1960–present)[edit]

Music psychology in the second half of the 20th century has expanded to cover a wide array of theoretical and applied areas. From the 1960s the field grew along with cognitive science, including such research areas as music perception (particularly of pitch, rhythm, harmony, and melody), musical development and aptitude, music performance, and affective responses to music.[5]

This period has also seen the founding of music psychology-specific journals, societies, conferences, research groups, centers, and degrees, a trend that has brought research toward specific applications for music education, performance, and therapy.[6] While the techniques of cognitive psychology allowed for more objective examinations of musical behavior and experience, the theoretical and technological advancements of neuroscience have greatly shaped the direction of music psychology into the 21st century.[7]

While the majority of music psychology research has focused on music in a Western context, the field has expanded along with ethnomusicology to examine how the perception and practice of music differs between cultures.[8][9] It has also emerged into the public sphere. In recent years several bestselling popular science books have helped bring the field into public discussion, notably Daniel Levitin's This Is Your Brain On Music (2006) and The World in Six Songs (2008), Oliver Sacks' Musicophilia (2007), and Gary Marcus' Guitar Zero (2012). In addition, the controversial "Mozart effect" sparked lengthy debate among researchers, educators, politicians, and the public regarding the relationship between classical music listening, education, and intelligence.[10]

Research areas[edit]

Perception and cognition[edit]

Much work within music psychology seeks to understand the cognitive processes that support musical behaviors, including perception, comprehension, memory, attention, and performance. Originally arising in fields of psychoacoustics and sensation, cognitive theories of how people understand music more recently encompass neuroscience, cognitive science, music theory, music therapy, computer science, psychology, philosophy, and linguistics.[11][12]

Affective response[edit]

Main article: Music and emotion

Music has been shown to consistently elicit emotional responses in its listeners, and this relationship between human affect and music has been studied in depth.[13] This includes isolating which specific features of a musical work or performance convey or elicit certain reactions, the nature of the reactions themselves, and how characteristics of the listener may determine which emotions are felt. The field draws upon and has significant implications for such areas as philosophy, musicology, and aesthetics, as well the acts of musical composition and performance. The implications for casual listeners are also great; research has shown that the pleasurable feelings associated with emotional music are the result of dopamine release in the striatum—the same anatomical areas that underpin the anticipatory and rewarding aspects of drug addiction.[14]


Main article: Cognitive neuroscience of music

A significant amount of research concerns brain-based mechanisms involved in the cognitive processes underlying music perception and performance. These behaviours include music listening, performing, composing, reading, writing, and ancillary activities. It also is increasingly concerned with the brain basis for musical aesthetics and musical emotion. Scientists working in this field may have training in cognitive neuroscience, neurology, neuroanatomy, psychology, music theory, computer science, and other allied fields, and use such techniques as functional magnetic resonance imaging (fMRI), transcranial magnetic stimulation (TMS), magnetoencephalography (MEG), electroencephalography (EEG), and positron emission tomography (PET).

The cognitive process of performing music requires the interaction of neural mechanisms in both motor and auditory systems. Since every action expressed in a performance produces a sound that influences subsequent expression, this leads to impressive sensorimotor interplay.[15]

Processing pitch[edit]

Perceived pitch typically depends on the fundamental frequency, though the dependence could be mediated solely by the presence of harmonics corresponding to that fundamental frequency. The perception of a pitch without the corresponding fundamental frequency in the physical stimulus is called the pitch of the missing fundamental.[16] Neurons lateral to A1 in marmoset monkeys were found to be sensitive specifically to the fundamental frequency of a complex tone,[17] suggesting that pitch constancy may be enabled by such a neural mechanism.

Pitch constancy refers to the ability to perceive pitch identity across changes in acoustical properties, such as loudness, temporal envelope, or timbre.[16] The importance of cortical regions lateral to A1 for pitch coding is also supported by studies of human cortical lesions and functional magnetic resonance imaging (fMRI) of the brain.[18][19][20] These data suggest a hierarchical system for pitch processing, with more abstract properties of sound stimulus processed further along the processing pathways.

Absolute pitch[edit]

Main article: Absolute pitch

Absolute pitch (AP) is defined as the ability to identify the pitch of a musical tone or to produce a musical tone at a given pitch without the use of an external reference pitch.[21] Researchers estimate the occurrence of AP to be 1 in 10,000 people.[22] The extent to which this ability is innate or learned is debated, with evidence for both a genetic basis and for a "critical period" in which the ability can be learned, especially in conjunction with early musical training.[23][24]

Processing rhythm[edit]

Behavioural studies demonstrate that rhythm and pitch can be perceived separately,[25] but that they also interact[26] in creating a musical perception. Studies of auditory rhythm discrimination and reproduction in patients with brain injury have linked these functions to the auditory regions of the temporal lobe, but have shown no consistent localization or lateralization.[27][28][29] Neuropsychological and neuroimaging studies have shown that the motor regions of the brain contribute to both perception and production of rhythms.[30]

Even in studies where subjects only listen to rhythms, the basal ganglia, cerebellum, dorsal premotor cortex (dPMC) and supplementary motor area (SMA) are often implicated.[31][32][33] The analysis of rhythm may depend on interactions between the auditory and motor systems.

Neural correlates of musical training[edit]

Although auditory–motor interactions can be observed in people without formal musical training, musicians are an excellent population to study because of their long-established and rich associations between auditory and motor systems. Musicians have been shown to have anatomical adaptations that correlate with their training.[16] Some neuroimaging studies have observed that musicians show lower levels of activity in motor regions than non-musicians during the performance of simple motor tasks, which may suggest a more efficient pattern of neural recruitment.[34][35][36][37]

Motor imagery[edit]

Previous neuroimaging studies have consistently reported activity in the SMA and premotor areas, as well as in auditory cortices, when non-musicians imagine hearing musical excerpts.[16] Recruitment of the SMA and premotor areas is also reported when musicians are asked to imagine performing[37][38]


Main article: Psychoacoustics

Further information: Hearing (sense) and Auditory illusion

Psychoacoustics is the scientific study of sound perception. More specifically, it is the branch of science studying the psychological and physiological responses associated with sound (including speech and music). Topics of study include perception of the pitch, timbre, loudness and duration of musical sounds and the relevance of such studies for music cognition or the perceived structure of music; and auditory illusions and how humans localize sound, which can have relevance for musical composition and the design of venues for music performance. Psychoacoustics is a branch of psychophysics.

Cognitive musicology[edit]

Main article: Cognitive musicology

Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical knowledge with the goal of understanding both music and cognition.[40]

Cognitive musicology can be differentiated from the fields of music cognition and cognitive neuroscience of music by a difference in methodological emphasis. Cognitive musicology uses computer modeling to study music-related knowledge representation and has roots in artificial intelligence and cognitive science. The use of computer models provides an exacting, interactive medium in which to formulate and test theories.[41]

This interdisciplinary field investigates topics such as the parallels between language and music in the brain. Biologically inspired models of computation are often included in research, such as neural networks and evolutionary programs.[42] This field seeks to model how musical knowledge is represented, stored, perceived, performed, and generated. By using a well-structured computer environment, the systematic structures of these cognitive phenomena can be investigated.[43]

Evolutionary musicology[edit]

Main article: Evolutionary musicology

Evolutionary musicology concerns the "origins of music, the question of animal song, selection pressures underlying music evolution", and "music evolution and human evolution".[44] It seeks to understand music perception and activity in the context of evolutionary theory. Charles Darwin speculated that music may have held an adaptive advantage and functioned as a protolanguage,[45] a view which has spawned several competing theories of music evolution.[46][47][48] An alternate view sees music as a by-product of linguistic evolution; a type of "auditory cheesecake" that pleases the senses without providing any adaptive function.[49] This view has been directly countered by numerous music researchers.[50][51][52]

Cultural differences[edit]

Main article: Culture in music cognition

See also: Ethnomusicology

An individual's culture or ethnicity plays a role in their music cognition, including their preferences, emotional reaction, and musical memory. Musical preferences are biased toward culturally familiar musical traditions beginning in infancy, and adults' classification of the emotion of a musical piece depends on both culturally specific and universal structural features.[53][54] Additionally, individuals' musical memory abilities are greater for culturally familiar music than for culturally unfamiliar music.[55][56]

Applied research areas[edit]

This section needs expansion. You can help by adding to it.(April 2014)

Many areas of music psychology research focus on the application of music in everyday life as well as the practices and experiences of the amateur and professional musician. Each topic may utilize knowledge and techniques derived from one or more of the areas described above. Such areas include:

Music in society[edit]


Musical preference[edit]

Main article: Psychology of music preference

Consumers' choices in music have been studied as they relate to the Big Five personality traits: openness to experience, agreeableness, extraversion, neuroticism, and conscientiousness. In general, the plasticity traits (openness to experience and extraversion) affect music preference more than the stability traits (agreeableness, neuroticism, and conscientiousness).[57] Gender has been shown to influence preference, with men choosing music for primarily cognitive reasons and women for emotional reasons.[58] Relationships with music preference have also been found with mood[59] and nostalgic association.[60]

Background music[edit]

Main article: Background music

The study of background music focuses on the impact of music with non-musical tasks, including changes in behavior in the presence of different types, settings, or styles of music.[61] In laboratory settings, music can affect performance on cognitive tasks (memory, attention, and comprehension), both positively and negatively. Used extensively as an advertising aid, music may also affect marketing strategies, ad comprehension, and consumer choices. Background music can influence learning,[62][63]working memory and recall,[64][65] performance while working on tests,[66][67] and attention in cognitive monitoring tasks.[68][69] Background music can also be used as a way to relieve boredom, create positive moods, and maintain a private space.[70] Background music has been shown to put a restless mind at ease by presenting the listener with various melodies and tones.[70]

Music in marketing[edit]

Main article: Background music § Music in marketing

In both radio and television advertisements, music plays an integral role in content recall,[71][72][73] intentions to buy the product, and attitudes toward the advertisement and brand itself.[74][75][76] Music's effect on marketing has been studied in radio ads,[73][75][76] TV ads,[71][72][74] and physical retail settings.[77][78]

One of the most important aspects of an advertisement's music is the "musical fit", or the degree of congruity between cues in the ad and song content.[79] Advertisements and music can be congruous or incongruous for both lyrical and instrumental music. The timbre, tempo, lyrics, genre, mood, as well as any positive or negative associations elicited by certain music should fit the nature of the advertisement and product.[79]

Music education[edit]


Musical aptitude[edit]

Musical aptitude refers to a person's innate ability to acquire skills and knowledge required for musical activity, and may influence the speed at which learning can take place and the level that may be achieved. Study in this area focuses on whether aptitude can be broken into subsets or represented as a single construct, whether aptitude can be measured prior to significant achievement, whether high aptitude can predict achievement, to what extent aptitude is inherited, and what implications questions of aptitude have on educational principles.[80]

It is an issue closely related to that of intelligence and IQ, and was pioneered by the work of Carl Seashore. While early tests of aptitude, such as Seashore's The Measurement of Musical Talent, sought to measure innate musical talent through discrimination tests of pitch, interval, rhythm, consonance, memory, etc., later research found these approaches to have little predictive power and to be influenced greatly by the test-taker's mood, motivation, confidence, fatigue, and boredom when taking the test.[80]

Music performance[edit]

See also: Performance science


Music and health[edit]

See also: Music therapy


Music and audio engineering[edit]

Gestalt theory is also used as a perceptual model to discuss the psychophysical impressions established by those who mix audio (i.e., mix engineers). As with other design-based activities, such as user-interface design, Gestalt constructions provide a useful guide for creative technologists.[82]


Music psychology journals include:

Music psychologists also publish in a wide range of mainstream musicology, music theory/analysis, psychology, music education, music therapy, music medicine, and systematic musicology journals. The latter include for example:


Centers of research and teaching[edit]

This list is incomplete; you can help by expanding it.






  • Centre for Interdisciplinary Research in Music and Media and Technology, McGill University[93]
  • Music and Health Research Collaboratory, University of Toronto[94]
  • Music Cognition Lab, Queen's University[95]
  • Auditory Perception and Music Cognition Research and Training Laboratory, University of Prince Edward Island[96]
  • SMART Lab, Ryerson University[97]
  • The Music, Acoustics, Perception, and LEarning (MAPLE) Lab, McMaster University[98]
  • McMaster Institute for Music and the Mind, McMaster University[99]
  • BRAMS - International Laboratory for Brain, Music, and Sound Research, University of Montreal and McGill University[100]
  • Centre for Research on Brain, Language and Music, University of Montreal[101]
  • Music and Neuroscience Lab, University of Western Ontario[102]














United Kingdom:

  • Centre for Music and Science, Cambridge University[118]
  • Music and the Human Sciences Group, University of Edinburgh[119]
  • Centre for Psychological Research, Keele University[120]
  • Music and Science Lab, Durham University[121]
  • Interdisciplinary Centre for Scientific Research in Music, University of Leeds[122]
  • Social and Applied Psychology Group, University of Leicester[123]
  • Music, Mind and Brain Group, Goldsmiths, University College London[124]
  • International Music Education Research Centre, UCL Institute of Education, University College London[125]
  • Music Cognition Lab, Queen Mary University of London[126]
  • Faculty of Music, University of Oxford[127]
  • Applied Music Research Centre, University of Roehampton[128]
  • Centre for Performance Science, Royal College of Music[129]
  • Centre for Music Performance Research, Royal Northern College of Music[130]
  • Department of Music, Sheffield University[131]

United States:

  • Music Cognition Lab, University of Arkansas[132]
  • Music and Neuroimaging Laboratory, Beth Israel Deaconess Medical Center and Harvard Medical School[133]
  • Auditory Perception & Action Lab, University at Buffalo[134]
  • Janata Lab, University of California, Davis[135]
  • Systematic Musicology Lab, University of California, Los Angeles[136]
  • Department of Psychology, University of California, San Diego[137]
  • Music Dynamics Lab, University of Connecticut[138]
  • The Music Cognition Laboratory, Cornell University[139]
  • Music Cognition at Eastman School of Music, University of Rochester[140]
  • Center for Music Research, Florida State University[141]
  • Music Cognition and Computation Lab, Louisiana State University[142]
  • Language and Music Cognition Lab, University of Maryland[143]
  • Auditory Cognition and Development Lab, University of Nevada, Las Vegas[144]
  • Auditory Neuroscience Laboratory, Northwestern University[145]
  • Music Theory and Cognition Program, Northwestern University[146]
  • Cognitive and Systematic Musicology Laboratory, Ohio State University[147]
  • Music Learning, Perception, and Cognition Focus Group, University of Oregon[148]
  • Center for Computer Research in Music and Acoustics, Stanford University[149]
  • Dowling Laboratory, University of Texas at Dallas[150]
  • Institute for Music Research, University of Texas at San Antonio[151]
  • Laboratory for Music Cognition, Culture & Learning, University of Washington[152]
  • Music, Imaging, and Neural Dynamics (MIND) Laboratory, Wesleyan University[153]
  • Brain Research and Interdisciplinary Neurosciences Lab, Western Michigan University[154]

See also[edit]


A brass, spherical Helmholtz resonator based on his original design, circa 1890-1900.
A primary focus of music psychology research concerns how best to teach music and the effects this has on childhood development.

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