Elizabeth West Marvin is Professor of Music Theory at the Eastman School of Music and Chair of the Music Theory Department. She holds a secondary appointment in the University of Rochester’s Brain and Cognitive Sciences Department. At Eastman, Marvin previously served as Dean of Academic Affairs (2000-2004) and as chair (1996-2000), during which time she oversaw major curricular changes in both the undergraduate and graduate theory curricula. Until 2005 she held an affiliate appointment in Eastman’s voice department, where she earned a Performer’s Certificate in Voice while a student. She continues to perform actively in the Rochester area.
Dr. Marvin is the 2012 recipient of the Gail Boyd de Stwolinski Prize for Teaching and Research in Music Theory Pedagogy (a national lifetime-achievement award). In 2003, Marvin completed her term as national President of the Society for Music Theory, which she served previously as member of the Executive Board, Editorial Board, Newsletter editor, and committee member. She is also former President, Vice President, and Program Chair for the Music Theory Society of New York State.
Professor Marvin’s research interests are diverse: she has published in the areas of music cognition, music theory pedagogy, theory and analysis of atonal music, contour theory, history of theory, and analysis and performance. In 1993, she was recipient of the SMT Young Scholar Award for “The Perception of Rhythm in Non-Tonal Music,” Music Theory Spectrum 13 (1991). In 2005, she received a University of Rochester Bridging Fellowship to study with faculty in the University’s Brain and Cognitive Sciences Department, where she continues to research music cognition. Dr. Marvin’s articles and reviews appear in numerous journals, including Music Perception, Music Theory Spectrum, Journal of Music Theory, Theory and Practice, and others. Marvin is co-editor ofConcert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies, published by the University of Rochester Press. She has completed three undergraduate theory textbooks for W. W. Norton: A Musician’s Guide to Theory and Analysis (3rd edition, 2016) with Jane Clendinning; A Musician’s Guide to Aural Skills (3rd edition, 2016) with Clendinning, Joel Phillips, and Paul Murphy; and A Musician’s Guide to Fundamentals (2nd edition, 2014) with Clendinning and Phillips.
Eastman School of Music
26 Gibbs St.
Rochester, NY 14604
office: (585) 274-1076
Books, Dissertation, Thesis
The Musician’s Guide to Theory and Analysis, co-authored with Jane Clendinning (textbook, workbook, anthology and CDs). W. W. Norton, 3rd edition, 2016.
The Musician’s Guide to Aural Skills, 2 vols., co-authored with Joel Phillips, Paul Murphy, and Jane Clendinning. W. W. Norton, 3rd edition, 2016.
The Musician’s Guide to Fundamentals, co-authored with Jane Clendinning and Joel Phillips, W. W. Norton, 2nd edition, 2014.
Co-Editor, Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies, (Rochester, NY: University of Rochester Press, 1995), with Richard Hermann. Reprint (paperback), 2002.
A Generalized Theory of Musical Contour: Its Application to Melodic and Rhythmic Analysis of Non-Tonal Music and its Perceptual and Pedagogical Implications, Ph.D. dissertation, University of Rochester, 1988. (Advisor: Robert Morris)
“An Analytic Study of Anton Webern’s Posthumous Orchestra Pieces (1913),” Masters thesis, Eastman School of Music, 1981. (Advisor: David Beach)
Articles (Sole or Primary Author)
Encyclopedia entries for Sage Music in the Social and Behavioral Sciences, ed. William Thompson, 2014. Topics: atonality; mode; pitch, absolute; pitch, relative.
“Appropriate Uses of Six-Four Chords” in Toward Thinking Contrapuntally: Synthesizing Vertical and Horizontal Elements in Four-Part Writing and Melody Harmonization (ed. Melissa Cox). New York: The College Board, 2013.
“The Core Curricula in Music Theory: Developments and Pedagogical Trends,” Journal of Music Theory Pedagogy 26 (2012): 255-264. Also appeared in NASM Proceedings of the 87th Annual Meeting 2011. National Association of Schools of Music, No. 100 (May 2012): 11-16.
“A Statistical Learning Test of Absolute Pitch without Labeling: Effects of Musical Training and Tone Language” co-authored with Elissa Newport (anticipated, 2016).
“The Core Curricula in Music Theory: Developments and Pedagogical Trends,” accepted for Journal of Music Theory Pedagogy (forthcoming, 2012). Also appeared in NASM Proceedings of the Annual Meeting 2011.
“Absolute Pitch Perception and the Pedagogy of Relative Pitch,” Journal of Music Theory Pedagogy 21 (2007): 1-34.
“Innovative Ideas for the Undergraduate Curriculum: Music Theory” Proceedings of the 77th Annual Meeting 2001, National Association of Schools of Music, No. 90 (July 2002).
“The Effect of Key Color and Timbre on Absolute-Pitch Recognition in Musical Contexts,” Music Perception18/2 (2000): 111-137. Primary author; co-authored with Aleck Brinkman.
“Music Theory Research and Curricula: Past, Present, and Future” Proceedings of the 75th Annual Meeting 1999, National Association of Schools of Music, No. 88 (June 2000).
“The Effect of Modulation and Formal Manipulation on Perception of Tonic Closure by Expert Listeners,” Music Perception 16/4 (1999): 389-408. Primary author; co-authored with Aleck Brinkman.
“Integrating Music Theory Instruction into Studio Teaching,” reprinted in CMS Newsletter (May 1999): 4-5.
“Tonal/Atonal: Cognitive Strategies for Recognition of Transposed Melodies,” Music Theory in Concept and Practice, James Baker, David Beach, and Jonathan Bernard, eds. (Rochester, NY: University of Rochester Press, 1997), 217-236.
“Research on Tonal Perception and Memory: What Implications for Music Theory Pedagogy?” Journal of Music Theory Pedagogy 9 (1995): 31-70.
“A Generalization of Contour Theory to Diverse Musical Spaces: Analytical Applications to the Music of Dallapiccola and Stockhausen,” Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies,Elizabeth West Marvin and Richard Hermann, eds. (Rochester, NY: University of Rochester Press, 1995), 135-71.
“Intrinsic Motivation and the Relation of Analysis to Performance in Undergraduate Music Theory Instruction,” Journal of Music Theory Pedagogy 8 (1994): 47-57.
“The Effect of Sex Differences on Recognition of Melodic Transformations,” Proceedings of the European Society for the Cognitive Sciences of Music, Third International Music Cognition and Perception Conference,Liège, Belgium (1994): 449-50.
“Integrating Music Theory Instruction into Studio Teaching,” The College Music Society Newsletter(November, 1991): 1-2.
“The Perception of Rhythm in Non-Tonal Music: Rhythmic Contours in the Music of Edgard Varèse,” Music Theory Spectrum 13 (1991): 61-78. [Winner of the 1993 Society for Music Theory Young Scholar Award.]
“Relating Musical Contours: Extensions of a Theory for Contour,” Journal of Music Theory 31 (1987): 225-67. Primary author, co-authored with Paul Laprade.
“Tonpsychologie and Musikpsychologie : Historical Perspectives on the Study of Music Perception,” Theoria 2 (1987): 59-84.
“The Structural Role of Complementation in Webern’s Orchestra Pieces (1913),” Music Theory Spectrum 5 (1983): 76-88.
“Pitch-Class Distribution and the Identification of Key,” Music Perception 25/3 (2008), 193-212. Co-authored: David Temperley and Elizabeth Marvin.
“Absolute Pitch among American and Chinese Conservatory Students: Prevalence Differences and Evidence for a Speech-Related Critical Period,” Journal of the Acoustical Society of America 119/2 (2006): 719-722. Co-authored: Diana Deutsch, Trevor Henthorn, Elizabeth Marvin, and HongShuai Xu.
“Absolute Pitch” entry (update) in Harvard Dictionary of Music (4th ed.)
“Early Childhood Musical Education and Predisposition to Absolute Pitch: Teasing Apart Genes and Environment,” American Journal of Medical Genetics 98 (2000): 280-282. Co-authored: Peter Gregersen, Elena Kowalsky, Nina Kohn, and Elizabeth W. Marvin.
“Absolute Pitch: Prevalence, Ethnic Variation, and the Estimation of the Genetic Component,” The American Journal of Human Genetics 65/3 (1999): 911-3. Co-authored: Peter Gregersen, Elena Kowalsky, Nina Kohn, and Elizabeth W. Marvin.
“Absolute Pitch and Sex Affect Event-Related Potential Activity for a Melodic Interval Discrimination Task,”Journal of the Acoustical Society of America 102 (July 1997): 451-460. Co-authored by E. C. Hantz, K. G. Kreilick, E. W. Marvin, and R. C. Chapman.
“Sex Differences in Memory for Timbre: An Event-Related Potential Study,” International Journal of Neuroscience 87 (1996): 17-40. Co-authored by E.C. Hantz, E. W. Marvin, K. G. Kreilick, and R. M. Chapman.
“CD-ROMs, HyperCard, and the Theory Curriculum: A Retrospective Review” Journal of Music Theory Pedagogy 10 (1996): 91-188. Co-authored with Alexander R. Brinkman.
“On Preparing Anton Webern’s Early Songs for Performance: A Collaborators’ Dialogue,” Theory and Practice20 (1995): 31-124. Co-authored with Robert Wason.
“Introduction” to Concert Music, Rock, and Jazz since 1945 (Rochester, NY: University of Rochester Press, 1995), 1-8. Co-authored with Richard Hermann.
“Hugo Riemann’s ‘Ideen zu einer Lehre von den Tonvorstellungen’: An Annotated Translation,” Journal of Music Theory 36 (1992): 69-117. Co-authored with Robert W. Wason.
“Analytical Issues and Interpretive Decisions in Two Songs by Richard Strauss,” Intégral 4 (1990): 67-103. Co-authored with Marie Rolf.
Reviews/Tributes (Sole Author)
“Steve Larson – In memoriam,” Music Perception 29/3 (2011): 325.
“Robert Wason: A Tribute and Dedication,” Intégral 24 (2011), forthcoming.
Review of Deborah Stein, ed. Engaging Music, Theory and Practice 31 (2006).
Review of Jeanne Bamberger, The Mind Behind the Musical Ear: How Children Develop Musical Intelligence,Journal of Musicological Research 15 (1995): 113-148.
Review of David Butler, The Musician’s Guide to Perception and Cognition, solicited by Journal of Music Theory Pedagogy 7 (1993): 119-26.
Review of Michael L. Friedmann, Ear Training for Twentieth-Century Music, Music Theory Spectrum 14 (1992): 66-74.
Review of Eugene Narmour and Ruth Solie (ed.), Explorations in Music, the Arts, and Ideas (Festschrift in honor of Leonard B. Meyer), Current Musicology 49 (1992): 54-65.
Review of Jonathan Bernard, The Music of Edgard Varèse, Journal of Music Theory 34 (1990): 359-68.
Review of John A. Sloboda, The Musical Mind: The Cognitive Psychology of Music, Journal of Music Theory Pedagogy 2 (1988): 163-72.
“A Qualitative Study of Absolute-Pitch Perception,” co-authored with Joseph VanderStel and Joseph Siu. Society for Music Perception and Cognition national meeting, Nashville, TN (August 1-5, 2015)
“Musical Experience and Language Discrimination through Noise,” co-authored with Joyce McDonough and Anne Luebke. Eastman/UR/Buffalo Music Cognition Symposium (April, 2014)
“Nonmusical Benefits of Musical Training,” Society for Music Perception and Cognition national meeting, Ryerson University, Toronto, Ontario, Canada (August 8-11, 2013)
“Implicit learning and music theory: Implications for scale degree perception and melodic pattern learning” Keynote/Plenary Session (“Music Theory and Music Cognition”), New England Conference of Music Theorists. Presentations by Elizabeth Marvin, Ani Patel, Ian Quinn (April, 2013)
“Musical Experience Effects on Perceptual Grouping” by Keturah Bixby, Elizabeth Marvin, and Joyce McDonough; annual meeting of APCAM (Auditory Perception, Cognition, and Action Meeting), Minneapolis, MN (November 2012)
“Music Cognition: Then and Now,” delivered at the Society for Music Theory Music Cognition Group meeting (Indianapolis, November, 2010)
“Does Absolute Pitch Require Musical Training? Implicit Learning and Pitch Memory in Musicians and Nonmusicians”
- Keynote Address for University of Western Ontario, Graduate Student Sympoisum (London, ONT, May 2010)
- Theory Colloquium, Eastman School of Music (September 24, 2010)
“Music, Memory, Pitch, and Pitch Memory”
- Cognitive Sciences Dinner, University of Rochester River Campus (February 24, 2009)
- Friday Morning Music, Department of Electrical and Computer Engineering (February 27, 2009)
“Pitch Memory and Implict Learning” – opening Plenary Session for the Mannes Institute (Mannes, New York City – June 26, 2009)
“Melodic Pattern Learning: Statistical Learning and Absolute Pitch,” co-authored: Elizabeth Marvin and Elissa Newport
- Music and Language II – interdisciplinary conference at Tufts University, July 10-13, 2008 (Boston, MA)
- International Conference on Music Perception and Cognition (ICMPC10), August 25-29, 2008 (Sapporo, Japan)
Three-Day Residency at Queens University (Kingston, Ontario), October (2007)
- “Creativity in Music Theory Pedagogy” (music education seminar)
- “Perception of Rhythm in Nontonal Music” (20th century theory class)
- “Absolute Pitch in Musicians, Nonmusicians, and Starlings,” co-authored with Elissa Newport (Theory Colloquium presentation)
“Absolute Pitch in Musicians, Nonmusicians, and Starlings,” invited lecture for Lunch with the Provost series, co-authored with Elissa Newport, March 2007. Also invited lecture for Queens University, Kingston, Ontario (October 2007)
“Pitch-Class Distribution and the Perception of Key,” co-authored with David Temperley
- Society for Music Cognition and Perception (Montreal, August 2007)
- Society for Music Theory, poster session (Los Angeles, November 2006)
- Music Cognition Symposium (Rochester, April 2006)
“The Mystery and Science of Absolute Pitch,”
- College-Conservatory of Music, University of Cincinnati (April 2006)
- University of Oregon THEME lecture series (April 2005)
- University of Rochester Medical Center, Medical Humanities Seminar (February 2005)
- Eastman/UR/Cornell Music Cognition Symposium (December 2004)
- Eastman School of Music Alumni Weekend (October 2004)
“Absolute Pitch: Perception, Acquisition, and Labeling,” University of Rochester, Brain & Cognitive Sciences Department, Aslin-Newport Lab (March 2005)
“Tone Language and Absolute Pitch: Prevalence among American and Chinese Conservatory Students,” Acoustical Society of America (San Diego, November 2004), co-authored by Diana Deutsch, with Trevor Henthorn, Elizabeth Marvin, and HongShuai Xu
“Absolute Memory of Learned Melodies in Children Trained by the Suzuki Violin Method,” International Society for Music Perception and Cognition (Evanston, August 2004), co-authored with Victoria Saah
“Absolute Pitch Perception and the Pedagogy of Relative Pitch,”
- Indiana University Symposium, Keynote Address (February 2004)
- Eastman School of Music Colloquium (March 2003)
- College of Wooster, Ohio (October 2002)
- University of Western Ontario, London, Ontario, Canada (April 2002)
- Invited William Poland Lecture (Ohio State University), held jointly with MusicCog2001, Columbus, Ohio (May 2001)
Poster Session, “Curriculum Development: Music Cognition Research Methods,” Society for Music Theory, Toronto (2000)
“The Effect of Key Color and Timbre on Absolute-Pitch Recognition in Musical Contexts,” lecture presented at Ohio State University, Columbus, Ohio (December 2000)
“Absolute Pitch (In)abilities”
- Eastman/Rochester/Cornell Music Cognition Symposium (December 1999)
- Society for Music Theory national meeting, Phoenix (November 1997); invited paper for a special session entitled “Cognition Research in Music Theory: A Ten-Year Retrospective”
“Perception of Tonal Closure: Experimental Evidence”
- University of Chicago Theory Colloquium (May 1998)
- Northwestern University Lecture Series (May 1998)
- Keynote Address for the Florida State University Theory Forum (January 1998)
“The Effect of Modulation and Formal Disruption on Perceived Tonal Closure,” Society for Music Perception and Cognition national meeting, Cambridge, Mass. (August 1997). Co-authored with Alexander R. Brinkman
“The Perception of Tonal Closure by Skilled Musicians,” invited for a special session entitled “Convergence of Music Cognition and Music Theory,” Acoustical Society of America national meeting, State College, PA (June 1997)
“The Effect of “Chroma” and Context on Tonic Key Identification,” invited paper for the Second International Symposium of the Psychology of Music, Freiburg, Germany (September 1996). Co-authored with Alexander R. Brinkman
“The Effect of Timbre and “Chroma” on Pitch Recognition in Musical Contexts. ” presented at the joint international meeting of the Society for Music Perception and Cognition and ICMPC (International Conference on Music Perception and Cognition) in Montreal (August 1996)
“The Effect of Sex Differences on Recognition of Melodic Transformations,” European Society for the Cognitive Sciences of Music, Third International Music Cognition and Perception Conference, Liège, Belgium (July 1994)
“Can We ‘Hear’ Retrograde-Inversion? Sex Differences in Melodic Recognition Tasks,” University of North Texas (March 1994)
“Cognitive Strategies for Recognition of Invariant-Contour Melodies: Tonal Context Affects Performance Among Musicians and Non-Musicians,” Society for Music Perception and Cognition national meeting in Philadelphia (June 1993)
Poster session, “The Effect of Sex Differences in Melodic Recognition Tasks,” Society for Music Theory national meeting in Montreal (1993)
“Tonal/Atonal: Cognitive Strategies for Melodic Recognition in Varying Tonal Contexts,” State University of New York at Buffalo, Lecture Series (1992)
“Tonal Context Affects Musicians’ Recognition of Transposed Melodies and Same-Contour Variant Melodies,” Society for Music Theory national meeting in Cincinnati (1991)
“The Perception of Musical Contour in Non-Tonal Music: Analytical and Pedagogical Implications,” Society for Music Theory’s national meeting in Rochester, NY (1987)
“Music Perception and Theories of Non-Tonal Music,” Society for Music Theory’s national meeting, Music Cognition Group Special Session, Rochester (1987)
Music Analysis and Performance
“Hearing and Performing the Music of Anton Webern: The Early Songs,” lecture-recital, co-authored with Robert W. Wason
- Peabody Institute, Johns Hopkins University (April 1998)
- Invited paper for the international conference, “Austria 996-1996: Music in a Changing Society,” Ottawa, Canada (January 1996)
- Mt. Holyoke College (October 1995), on the “Warbeke Concert Series”
- Hartt School of Music, University of Hartford (October 1995)
“Rehearsing Brahms’s “Im Herbst,” Op. 104/5: Analytical Insights and Interpretation,” lecture-demonstration, part of the “Triptych” symposium: a Special Session of the Society for Music Theory national meeting, New York City (November 1995)
“On Preparing Anton Webern’s Early Songs for Performance: A Collaborators’ Dialogue,” Society for Music Theory annual meeting, Tallahassee (November 1994), invited Special Session; co-authored with Robert Wason
“Master Class on Analysis and Performance,” Lamar University, Beaumont, TX (March 1994). Guest lecturer in Analysis and Performance Seminar, University of Houston (March 1994)
“On Preparing Anton Webern’s Opus 3 Songs for Performance: A Collaborators’ Dialogue,” co-authored with Robert Wason
- Music Theory Society of New York State annual meeting, Flushing, NY (October 1993)
- Eastman School of Music (October 1993)
“A Generalization of Contour Theory to Diverse Musical Spaces”
- Society for Music Theory national meeting, Oakland (1990)
- Eastman Theory Symposium (1990)
- Columbia University, Lecture Series (1990)
“Musical Analysis and Musical Performance: Schumann’s Frauenliebe und Leben,” College Music Society national meeting in St. Louis (1989). Co-authored with Louise Trucks
“The Perception of Rhythm in Non-Tonal Music: Rhythmic Contours in the Music of Edgard Varèse”
- Society for Music Theory national meeting, Baltimore (1988)
- New England Conference of Music Theorists annual meeting at Brandeis University (1988)
“Intuition, Analysis, and Performance: Robert Schumann’s Frauenliebe und Leben,” College Music Society Northeast Chapter’s annual meeting, Northeastern University, Boston (1987). Co-authored with Louise Trucks
“Theory and the Performing Musician,” New York State Music Teachers’ Association, State University of New York at Buffalo (1987)
“Anton Webern as Poet and Composer: Text and Music in the Three Orchestral Songs (1913/14)”
- Music Theory Society of New York State’s annual meeting in New York City (1983)
- International Webern Congress in Vienna (1983); read by Robert Wason
“The Structural Role of Complementation in Webern’s Orchestra Pieces (1913),” Eastman Theory Symposium (1982)
Music Theory Pedagogy
“Building Bridges: Music Cognition and Music Theory Instruction,” Keynote address, Midwest Music Cognition Symposium, Ohio State University (May 24-26, 2013)
“The Core Curricula in Music Theory: Developments and Pedagogical Trends,” National Association of Schools of Music annual meeting (Scottsdale, AZ; November, 2011)
“Teaching Aural-Based Sets,” Advanced Placement Music Theory Teacher’s Workshop
- Plano, TX, March 2012
- Albuquerque, NM, January 2012
- San Antonio, TX, January 2011
- Memphis, TN, February 2010
- Boston, MA, February 2009
“Inside the Musician’s Guide: New (and Old) Theory Pedagogy for Twenty-First Century Musicians ” co-authored with Jane Clendinning
- State University of New York, Fredonia (May 2005)
- University of Oregon (April 2005)
- W. W. Norton Sales Conference (January 2005)
“Media Savvy Students and Music Theory Pedagogy” University of Colorado, Boulder (March 2004)
“Innovative Ideas for the Undergraduate Curriculum: Music Theory” paper presented at National Association of Schools of Music annual meeting, Dallas, Texas (November 2001)
“Music Theory Research and Curricula: Past, Present, and Future” invited paper presented at the annual meeting of the National Association of Schools of Music, Chicago (November 1999)
“Multimedia Programming for Music-Cognitive Research: Implications for Music Theory Pedagogy,” Association for Technology in Music Instruction national meeting, San Juan (October 1998). Aleck Brinkman, co-author
“Using the Tools to Teach the Tools: Multimedia Programming for CAI and Cognitive Research.” Co-authored with Alexander R. Brinkman
- Mu Phi Alpha music sorority presentation (Eastman School, May 1998)
- Society for Music Theory annual meeting, Baton Rouge, LA (November 1996), for a special session “Teaching Multimedia Programming in Music Curricula”
“Research in Music Cognition: What Implications for Music Theory Pedagogy?”
- Invited Keynote Address for the Texas Society for Music Theory (March 1994)
- Eastman Theory Symposium (April 1994)
“Development of an Aural Skills Curriculum for a School of Music,” invited paper for the Oberlin College Conservatory of Music (December 1993)
“Art as Science: Science as Art,” Aesthetic Education Institute, Rochester, NY (1987)
“Collaboration and Co-Authoring” University of Colorado, Boulder (March 2004)
“On Giving Presentations at Professional Conferences,” invited paper for special session by SMT Professional Development Committee, Society for Music Theory national meeting, Phoenix (November 1997)
Chair and Organizer, “Professional Renewal and Responsibilities,” Special Session presented by the SMT Professional Development Committee, Society for Music Theory national meeting, Toronto (2000)
Chair and Organizer, “Preparing an Effective Tenure Case,” Special Session presented by the SMT Professional Development Committee, Society for Music Theory national meeting, Atlanta (1999)
History of Theory
“Solmization and English Modal Theory: Signs of an Emerging Major-Minor Tonal System”
- Music Theory Society of New York State annual meeting in Albany, NY (1985)
- Eastman Theory Association Symposium (1985)
SMT Graduate Student Workshop Program, faculty “Exploring Pitch Perception and Melody Perception: Empirical Approaches – November 6-9, 2014 (Milwaukee, WI)
Workshops in Music Theory Pedagogy, Eastman School of Music (June 2014)
- Developing an Undergraduate Core Curriculum
- Building the Foundation: Teaching Fundamentals
Workshops in Music Theory Pedagogy, University of Massachusetts Amherst (June 24-28, 2013)
Five papers presented:
- Music Cognition: Basic Principles
- Statistical Learning: Tonal and Metric Hierarchies
- Absolute Pitch Acquisition: What do We Know?
- Pedagogy at the Extremes: AP and Tone Deafness
- Motivating Students: Intrinsic Motivation, Emotion, and Music
“Exploring Pitch Memory and Melody Perception: Empirical Approaches,” Graduate Student Workshop, New England Conference of Music Theorists (Tufts University, April 2013)
Panelist, Session Chair
Panelist: “Transdisciplinarity” Orpheus Institute Research Festival (Ghent, Belgium; October 2011)
Panelist/Respondant: “The Teaching Component of the Job Interview” (Society for Music Theory national conference, Montreal (2009)
Session Chair, “Complexity and Contour” (Society for Music Theory national conference, Montreal (2009)
Organizer/Chair, “Issues in Music Cognition” – Plenary Session of the Society for Music Theory, Baltimore (2007)
Panelist, Committee on the Status of Women, speaking on university policies on sexual harassment, Baltimore (2007)
Chair, Pedagogy/Education session, Society for Music Perception and Cognition, Montreal (2007)
Organizer/Panelist, “Scholars for Social Responsibility,” Society for Music Theory/American Musicological Society national meeting, Seattle (2004); Boston (2005); Los Angeles (2006)
Chair, “Pedagogy,” Society for Music Theory national meeting, Seattle (2004)
Chair, “Conducting,” Society for Music Perception and Cognition, with International Conference on Music Perception and Cognition national meeting, Evanston (2004)
Chair, “Theories of Music,” Music Theory Society of New York State, Rochester (2004)
Chair, “Atonal and Modal Music,” Society for Music Perception and Cognition national meeting, Toronto (2000)
Chair of session on atonal music perception, Society for Music Perception and Cognition annual meeting, Evanston (1999)
Chair, “Analysis and Performance,” Music Theory Society of New York State annual meeting (1998)
Chair, “Opera,” Music Theory Society of New York State annual meeting (1997)
Panelist, “Technology in Teaching,” part of “Eastman Initiatives: Looking to the Future,” Eastman School of Music 75th Anniversary Kick-Off Weekend (1996)
Panelist, “Women, Music, and Pedagogy,” Special Session presented by the Committee on the Status of Women, Society for Music Theory national meeting, Tallahassee, FL (1994)
Chair, “Philosophical Treatments of Music,” Society for Music Perception and Cognition national meeting, Philadelphia (1993)
Panelist, “Gender Assumptions: Our Students, Our Teachers, Our Colleagues,” SMT national meeting, Kansas City, MO (1992)
Chair, “Analysis and Performance,” Eastman School of Music Theory Symposium (1992)
Panelist, “Feminism and Pluralism in Music Theory”; presented book review of Feminist Theory: A Critique of Ideology (edited by Keohane, Rsoldo, and Gelpi); SMT national meeting, Cincinnati, OH (1991)
Chair, “Musics since 1945,” annual meeting of the Music Theory Society of New York State, Eastman School of Music, Rochester, NY (1990)
Chair, “Schenkerian Research,” annual meeting of the Music Theory Society of New York State, Baruch College, New York, NY (1989)
Chair, “Rhythm and Meter,” annual meeting of the Music Theory Society of New York State, Skidmore College, Saratoga Springs, NY (1988)
An active performer as well as music theorist, have presented solo recitals in Eastman’s Kilbourn Hall, and won Eastman’s prestigious Performers’ Certificate (1988). Professional church soloist/section leader since 1977.
Vocal/Church Music Positions
|Soprano soloist||Third Presbyterian Church, Rochester, NY||1992-present|
|Mezzo-soprano soloist||Third Presbyterian Church, Rochester, NY||1982-1992|
|Mezzo-soprano soloist||Covenant Presbyterian Church, Long Beach, CA||1980-1982|
|Mezzo-soprano soloist||Incarnate Word Lutheran Church, Rochester, NY||1977-1979|
Selected Oratorio Performances (alphabetical)
Bach, Magnificat Third Presbyterian Church, Peter DuBois, conductor (December 1997) Third Presbyterian Church, Ted Hollenbach, conductor (December 1990)
Fauré, Requiem Third Presbyterian Church, Peter DuBois, conductor (March 2005, March 1992)
Finzi;, In Terra Pax Third Presbyterian Church, Peter DuBois, conductor (December 2004)
Handel, Messiah Finger Lakes Chorale, John Walker, conductor (December 1999) Genessee Valley Orchestra and Chorus, Virginia Hogan, conductor (December 1997)
Mahler, Finale to Symphony, No. 2, “Resurrection” Third Presbyterian Church, Peter DuBois, conductor (March 1997) CD recording with Third Presbyterian choir, “Shout Joy,” 1997
Mendelssohn, Elijah Eastman-Rochester Chorus “Summer Sing,” Virginia Hogan, conductor (July 1997) Finger Lakes Chorale, John Walker, conductor (December 1995)
Mozart, Requiem Irondequoit Chorale, Paul Stuart, conductor (March 2000) Third Presbyterian Church, Peter DuBois, conductor (October 2006, March 1994)
Mozart, Missa Brevis Finger Lakes Chorale, John Walker, conductor (December 1994)
Poulenc, Gloria Dickinson College Choir (Carlisle, PA), Truman Bullard, conductor (November 1993) Third Presbyterian Church, Peter DuBois, conductor (December 1992)
Respighi, Laud to the Nativity Third Presbyterian Church, Peter DuBois, conductor (December 1999)
Rutter, Requiem Third Presbyterian Church, Peter DuBois, conductor (March 1998)
Saint Saëns, Christmas Oratorio Third Presbyterian Church, Peter DuBois, conductor (March 2006, December 1993)
Schubert, Mass in G Third Presbyterian Church, Peter DuBois, conductor (April 1995) Eastman-Rochester Chorus “Summer Sing,” Roger Wilhelm, conductor (July 1995)
Vaughn Williams, Dona Nobis Pacem Eastman-Rochester Chorus “Summer Sing,” William Weinert, conductor (July 1996)
Selected Recitals and Recordings
Soloist “CDs to Accompany The Musician’s Guide to Theory and Analysis; The Musician’s Guide to Aural Skills,” W.W. Norton, 2005
Chevy Chase Concerts, “Reunion Concert,” performing John Carter, “Cantata.”
Kilbourn Concert, “Jean Barr and Friends,” performing Lieder of Clara Schumann (January 23, 2001)
Musica Nova: concert in honor of the 50th anniversary of the death of Anton Webern- Dehmel Lieder with Bob Wason, piano (September 1995)
Musica Nova, featured soloist, Kilbourn Hall (Eastman School, February, 1993) Vienna: The Early Years — Webern songs Op. 3, Op. 8, Dehmel Lieder with Robert Wason, piano; Mariusz Smolij, conductor
Solo recital, Kilbourn Hall: January 28, 1991
Featured two complete song cycles: Schumann, “Frauenliebe und Leben” and Barber, “Hermit Songs” with Diane Birr accompanying.
Lecture-Recital: Memorial Art Gallery (February 5, 1991). Performance of songs as musical examples for “Isabella Stewart Gardner: The Boston Lady as Music Patron” by Ralph Locke, followed by brief vocal recital of works discussed, with Jean Barr, piano – also presented with Anton Nel accompanying, at the – University of Rochester, Welles Brown Room (April 1990) – Eastman School of Music (October 1989) – American Musicological Society Meeting in Austin, TX (October 1989)
Solo recital: Kilbourn Hall: May 1, 1988 (Performers’ Certificate Recital) Music of Purcell, Ravel, Mahler, and Obradors
Faculty Recitals: Sewanee Summer Music Center (University of the South) Adams, Byron, Requiem Songs for soprano, violin and cello (July 1988) Schubert, Shepherd on the Rock for soprano, clarinet, and piano (July 1988)
20th Festival of Contemporary Music (Cornell University) Adams, Byron, Requiem Songs for soprano, violin and cello (March 1988)
Solo recital: Kilbourn Hall, Eastman School of Music. Music of Purcell, Mozart, Adams, Schumann, Warlock (February 1987)
Paper co-authored with Elissa Newport, Department of Brain and Cognitive Sciences
“Melodic Pattern Learning: Statistical Learning and Absolute Pitch”
Absolute pitch (the ability to name or produce a musical pitch accurately without external reference) is a cognitive ability possessed by only a small proportion of humans, though the ability is common in certain branches of the animal kingdom (where relative-pitch—understanding relational properties between pitches once transposed—is rare). Some studies have hypothesized that all babies are born with absolute pitch (AP), but that this ability is “unlearned” as they develop higher-order relational processing skills. Others propose that absolute-pitch abilities are learned only during a critical period in early childhood, similar to that for acquisition of a second language. Still others point to the higher incidence of AP in Chinese musicians and hypothesize a linguistic link with the acquisition of a tone language. Our work seeks to untangle some of these issues by using a statistical-learning paradigm that familiarizes listeners with a lengthy stream of pitches, and then tests memory for three-tone segments of the stream versus transposed segments not present in the stream. With a population of AP musicians at the Eastman School, we can test the reliability of the statistical-learning test against traditional tests of absolute pitch, and so develop a test that is free from a labeling component (e.g., this pitch is a G#). Without labels, we are free to adapt the design to nonmusicians, including nonmusician speakers of tone languages, to infants, and even to animals to address some of the research questions described above. This work is ongoing, and has already produced a test that reliably distinguishes between two classes of musicians: those with and without absolute pitch.
Paper co-authored with David Temperley
“Pitch-Class Distribution and the Identification of Key”
This study examines the question of how listeners identify the key of a melody as it is heard. One well-established view of key-finding–what we call the distributional view–is that listeners identify key by monitoring the distribution of pitch-classes in the piece, comparing this distribution to an ideal distribution for each key, and choosing the key whose distribution best matches that of the piece. An alternative view–the structural view–is that listeners judgments of key depend on the presence of certain conventional patterns, in which the ordering of pitches is crucially important. The current study examined whether listeners use a distributional method to identify key, by giving them melodies generated randomly from pitch-class distributions characteristic of tonal music so that only distributional information was present and having them judge the key. In the untimed condition, participants heard complete melodies and then judged the key; in the timed condition, participants stopped the melody and made a key judgment as soon as they were able. We also compared the performance of listeners with absolute pitch and those without, to see whether this ability affected the speed or accuracy of their judgments. Slightly more than half of listeners judgments matched the generating keys, on both the untimed and the timed conditions. While this performance is much better than chance, it also indicates that the distributional view is far from a complete explanation of human key identification. No significant difference was found between participants with regard to absolute pitch, either in the proportion of judgments matching the generating key or in the time taken to form a judgment. A simple probabilistic key-finding model matched the participants’ most popular key judgment in 49 out of 60 melodies; a number of other models were also tested, but none achieved significantly better performance.
Organizer, Music Cognition Symposium
Co-organizer, with Carol Krumhansl (Cornell University), Richard Aslin, and Elissa Newport (University of Rochester, Brain and Cognitive Science), and Davy Temperley (Eastman School of Music) of a cross-campus multi-disciplinary music cognition symposium. This study group of faculty and graduate students has met four times annually since 1998 to present recent research, discuss articles, and offer cross-disciplinary tutorials in order to foster continued research and interest in music-cognitive studies.
Gail Boyd de Stwolinski Prize for Teaching and Research in Music Theory Pedagogy (a national lifetime-achievement award), 2012
Research Leave (Eastman School of Music, fall semester, 2011)
Visiting Researcher, Orpheus Institute (Ghent, Belgium), 2011
Provost’s Multidisciplinary Award, for “Perception of Music and Language through Auditory Interference.” (University of Rochester, 2011) Co-authored with Joyce McDonough (Linguistics) and Anne Luebke (Biomedical Engineering).
Bridging Fellowship (University of Rochester, fall semester 2004) Cross-Disciplinary Research in UR Brain & Cognitive Sciences Department
Research Leave (Eastman School of Music, spring semester, 2005)
Research Leave (Eastman School of Music, fall semester, 1998)
Research Leave (Eastman School of Music, fall semester, 1994)
Bridging Fellowship (University of Rochester, spring semester 1993) Cross-Disciplinary Research in UR Psychology Department
Young Scholar Award, Society for Music Theory for the publication of 1993 “The Perception of Rhythm in Non-Tonal Music,” Music Theory Spectrum 13/1 (1991): 61-78
National Graduate Fellows Program Fellowship (Jacob Javits Award) U.S. Department of Education, dissertation-year funding
|Professor of Music Theory||Eastman School of Music||2001-present|
|Secondary appointment, Brain and Cognitive Sciences||2006-present|
|Affiliate Faculty Member, Voice Department (dual appointment)||Eastman School of Music||2000-2005|
|Associate Professor of Music Theory (tenured)||Eastman School of Music||1996-present|
|Associate Professor of Music Theory with limited tenure||Eastman School of Music||1993-1996|
|Assistant Professor of Music Theory||Eastman School of Music||1989-1993|
|Instructor of Music Theory||Eastman School of Music||1987-89 and 1985-86|
|Instructor in Theory and Chair, Theory Department||University of the South (TN) Sewanee Summer Music Ctr.||1984, 1988 Summers|
|Instructor of Music||Marymount Palos Verdes College Rancho Palos Verdes, CA||1980-82|
|Lecturer in Music||Immaculate Heart College Los Angeles, CA||1979-80|
At the Eastman School of Music, I have taught at all levels of the undergraduate curriculum, including a number of years as designer/coordinator of a three-year aural skills program. At the graduate level, I have taught Pedagogy of Music Theory, Analysis and Performance, Analysis of Tonal Music (TH 401), Analysis of Non-Tonal Music (TH 402), and doctoral seminars in Music Cognition. In 2007, I designed a new introductory course in music cognition, “Music and the Mind, that will be taught at the University’s River Campus and the Eastman School in alternating years.
Ph.D. Dissertation Advising
Nathan Burggraff, “Music as Religious Entertainment in a Postmodern Era: Analysis of Works by Steve Reich, Oswaldo Golijov, and John Adams,” 2015
Jenine Lawson, “Pitch Expectancy in Serial Compositions Using the Derived Rows and the Trichordal Array: An exploration into the music of Anton Webern,” 2014
Scott Spiegelberg (co-advisor), “The Psychoacoustics of Musical Articulation,” 2002
Noel Painter, “Exploring Contour Associations through Transformation Networks: Identification and Classification of Contour Relations in Modern Multiple Percussion Solos,”1999
Nancy Rogers, “The Role of Verbal Encoding in Musical Memory,” 2000
Ph.D. Dissertation Outside “Opponent”
Tuire Kuusi, “Set-Class and Chord: Examining Connection between Theoretical Resemblance and Perceived Closeness,” 2001. (Advisor: Marcus Castren, Sibelius Academy, Helsinki, Finland)
Ph.D. Dissertation Reading Committees
Molly Jaynes (PhD UR Medical Center) – Dysfunctional Motor Automaticity in Focal Hand Dystonia (Adviser: Jonathan Mink, MD PhD), in progress
Tyler Cassidy-Heacock (PhD, Musicology) – The Sung Self of Syllables: Interpretive Paradigms for Contemporary Vocal Music (Advisors: Jonathan Dunsby and Holly Watkins), 2015
Elizabeth Karuza (PhD, Brain & Cognitive Sciences) – Learning Across Space, Time, and Input Modality: Towards an Integrative Domain-General Account of the Neural Substrates Underlying Visual and Auditory Statistical Learning (Advisors: Richard Aslin and Elissa Newport), 2014
Alex Kuczynski (PhD, Music Theory), From Diminution to Autonomous Themes in Schenkerian Analysis: Bridging the Divide between Organic Tonal and Modern Music (Advisor: Jonathan Dunsby), 2014.
Daphne Tan, “Musikpsychologie (1931) as Music Theory: A Study of Ernst Kurth’s Last Work,” in progress (Advisors: John Covach and Robert Wason)
Ticia Gingras, “Music at Home: A Portrait of Family Music-Making” (Advisor: Donna Brink Fox, Music Education)
Kelly Francis, “Attention and Multi-Voiced Music,” in progress (Advisor: Davy Temperley,Theory Department)
Christopher Bartlette, “A Study of Harmonic Distance and its Role in Musical Performance,” in progress (Advisor: Davy Temperley,Theory Department)
Robert Gardner, “The Development of a Theoretical Model to Predict Attrition, Turnover, and Retention of K-12 Music Teachers in the United States,” in progress (Advisor: Louis Bergonzi, Music Education Department)
Gavin P. Chuck, “Toward a Cognitive Theory of Musical Meaning,” 2004 (Advisor: Robert Wason, Music Theory Department)
Daphne Leong, “A Theory of Time-Spaces for the Analysis of Twentieth-Century Music: Applications to the Music of Bela Bartok,” 2000 (Advisor: Robert Morris, Composition and Theory Departments)
Mitch Robinson, “A Theory of Collaborative Music Education Between Higher Education and Urban Public Schools,” 1999 (Advisor: Donna Brink Fox, Music Education Department)
David Palmer, “Polar Processes in Stravinsky’s Neoclassical Music,” 1998 (Advisor: Dan Harrison)
Daphne Leong, “A Theory of Time-Spaces for the Analysis of 20th Century Music: Applications to the Music of Bela Bartok, ” 1998 (Advisor: Robert Morris)
Jennifer Scott Miceli, “An Investigation of an Audiation Based High School General Music Curriculum and its Relationship to Music Aptitude, Music Achievement, and Student Perception of Learning,” 1998 (Music Education Department; Advisor: Richard Grunow, Music Education Department)
Michael Howard Buchler, “Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class Similarity,” 1997 (Advisor: Robert Morris)
Dora Hanninen, “A General Theory for Context-Sensitive Music Analysis: Applications to Four Works for Piano by Contemporary American Composers,” 1996 (Advisor: Robert Morris)
Irene Yang, “The Influence of Music Instruction on Two-Year-Old Children’s Responses to Unfamiliar Music Stimuli,” 1989 (Advisor: Donna Brink Fox, Music Education Department)
Advisor, D.M.A. Doctoral Essays and Lecture-Recitals
Nicole Marane, “The Influence of Tango on the Music of Pamela Decker,” lecture-recital (2010)
Erica Washburn, “Divine Reflections in Performance,” lecture-recital (2009)
Richard Masters “For All the World to Admire: The Folk-Song Settings of Percy Grainger,” lecture-recital (2008)
JooHyun Lee (DMA, ACM), “The Influence of An die Ferne Geliebte, Op. 98 on the Third Movement of Piano Sonata in E Major, Op. 109,” lecture-recital (2008)
Aubrie Willaert, “A New Depthlessness: The Postmodern Influence on Performance,” lecture-recital (2007)
Erica Johnson, “A Call and Response to Modern Organ Music: Sowerby’s Suite for Organ,” lecture-recital (2007)
Johannes Muller-Stosch, “Franz Schmidt as Symphonist: A Practical Program.” (Lecture-recital committee, 2006)
Joanne Ju-Yuan Hsu, “From Norma to Parisian Virtuosos: Liszt–Reminiscences de Norma ,” lecture recital (2000)
Michael Ketner, “Songs Without Words: A Trombonist’s Approach to Vocal Music,” lecture recital (1998)
Rebecca Karpoff, “Vocal Health vs. Intelligible Diction: Helping American Singers Achieve Balance,” lecture-recital (1997)
Judy Kehler-Siebert, “New Music for New Audiences,” lecture-recital (1996)
Robert Bridge, “The Preludes of Raymond Helble: Musical Structure and Technical Innovations in Perspective,” lecture-recital (1996)
Robert Zimmerman, “An Examination of Two Operatic Fantasias for Double Bass based upon Donizetti’s Opera Lucia di Lammermoor, ” lecture-recital (1994)
Michael Messina, “Compositional Techniques in The Alexander Variations (1984) of Calvin Hampton,” lecture-recital (1992)
Diane Birr, “Dominick Argento: From the Diary of Virginia Woolf (1974),” lecture-recital (1992)
Jon Rumney, “Igor Stravinsky: Suite Italienne, ” lecture-recital (1992)
Peggy Dettwiler, “Aural Skills Training in the Choral Rehearsal: Preparation of Ralph Vaughan Williams’sBenedicite Using Pedagogical Methods of John Curwen,” doctoral essay (1991)
Advisor, undergraduate senior theses:
Guang Yi Chua, Music and Emotion: Music’s Therapeutic Potential on Mood, 2012.
Graham Keir, “Musical Imagery and Improvisation: A Study of the Effect of Musical Imagery and Learning Styles on Jazz Improvisation,” 2010.
Rosa Abrahams, “The Value of Listening Critically: A New Approach to Elementary Theory Pedagogy, 2010.
Kurtis Gruters (ESM Theory and BCS double major), Second Reader, “Two Musics in One Brain: A Near Infrared Spectroscopy Study on Music Bilingualism,” 2010.
Eugene Feygelsen, “Music and Human Evolution,” 2007.
Sara Ballance, “Melodic Expectancy,” 2007.
Anna Yevseyeva, “Absolute Pitch and Critical Periods: Teaching Children ‘Special Sounds’,” 2006.
|Doctor of Philosophy||Eastman School of Music, Music Theory||1989|
|Master of Arts||Eastman School of Music, Music Theory||1981|
|Bachelor of Music (with Honors)||The College of Wooster (Ohio) Double major: Organ Performance and Theory/Composition||1977|
|Mannes Institute for Advanced Music Theory||State of the Discipline: Workshops with Kofi Agawu and Janet Schmalfeldt||2011|
|Mannes Institute for Advanced Music Theory||Music and the Mind (faculty member): Workshop with Fred Lerdahl||2009|
|Mannes Institute for Advanced Music Theory||Jazz Meets Pop Institute: Workshops with Henry Martin and Walter Everett||2008|
|Mannes Institute for Advanced Music Theory||Musical Form Institute: Workshops with Robert Morgan and Dan Harrison||2004|
|Mannes Institute for Advanced Music Theory||Music Transformation Theory Institute: Workshops with John Roeder and Richard Cohn||2003|
|Performer’s Certificate in Voice||Eastman School of Music, Voice Department Primary teachers: John Maloy, Marcia Baldwin, Dale Moore, Robert McIver||1988|
|Seminar in Atonal Theory and Analysis||Yale University, Department of Music Theory Advisor: Allen Forte (NEH grant)||1982|
Associate/Action Editor, Journal of Interdisciplinary Music Studies, 2008-present
Consulting Editor, Empirical Musicology Review, 2005-present
Member, Editorial Board, Music Theory Spectrum, 2005-2008
Manuscript reviewer, Oxford University Press, recurring through 2006
Editorial Board, Music, Mind, and Science, 1999-2000 (papers from ICMPC, Seoul, Korea)
Consulting Editor, Music Perception, 1998-present
Editorial Board, Journal of Music Theory Pedagogy, 1995-2001
Editorial Board, University of Rochester Press, 1994-2004; Advisory Board, 2005-present
Member, Publications Committee (reviewer of submissions), Music Theory Spectrum, 1991-1994
Co-Editor (founding member of editorial staff), Music Theory Online, a juried electronic journal of the Society for Music Theory, 1992-1993
Editor, SMT Newsletter, Society for Music Theory, 1989-1992
Editorial Board, Theory and Practice, journal of the Music Theory Society of New York State, 1989-1991; Publications Committee, 1991-1995
Editorial Board, Computers in Music Research, 1988-1999
Founding Editorial Staff, Intégral, Eastman Theory Association, 1986-1987
Professional Societies: Offices Held
Society for Music Theory
Graduate Student Workshop Program, 2012-13
Development Committee, 2013-2015
Nominations Committee, 2007-08 (Chair, 2008)
Conference Guide, 2005-present (annual)
Conference Paper Mentor, Committee on the Status of Women, 2005-07
Professional Development Committee, 1997-2000 (chair, 1999-2000)
Executive Board, 1994-1997
Committee on the Status of Women, 1991-1994
Publications Committee, 1991-1994
Member, Music Cognition Group, 1989-present
Editor, SMT Newsletter, 1989-1992
Music Theory Society for New York State
President, 1991-1995 (President Elect, 1990-91)
Vice President, 1987-1990
Executive Board, 1986-1996
Program Committee, 1989, 1998 meetings
Chair, Program Committee, 1997, 1988 meetings
Society for Music Perception and Cognition and Affiliated Societies
SMPC Abstract Review Committee (Nashville, TN), 2014
ICMPC/ESCOM Abstract Review Committee (Toronto, ON, 2012)
Co-Organizer, Annual Conference of SMPC, Rochester, NY (August 2011)
International Abstract Review Committee, 3rd Conference on Interdisciplinary
Musicology (CIM10), Sheffield, England (July 2010)
Program Committee, Conference on Music and Language II (Tufts), July 2008
Scientific Advisory Board for ICMPC10 (International Conference of Music Perception and Cognition) meeting, Sapporo Japan, August 2008
International Abstract Review Committee, 3rd Conference on Interdisciplinary Musicology (CIM07), Tallinn, Estonia (August 2007)
Nominating Committee (SMPC), 2006
Executive Board (SMPC), 2000-2004
Review Committee member, ESCOM Conference on Interndisciplinary Musicology (CIM04), Graz, Austria. (ESCOM is the European Society for the Cognition of Music.)
Scientific Advisory Board for ICMPC (International Conference of Music Perception and Cognition) meeting, Northwestern University, August 2004
Program Committee for SMPC national meeting Toronto, 2000
Scientific Advisory Board for international joint meeting of SMPC and ICMPC for 5th International Congress (1998 – Seoul, Korea)
College Music Society
Member, Advisory Committee for Music Theory (1998-present)
Coordinator, Theory Pedagogy List-Serve (1998-present)
Campus Representative for CMS
Member, Test Development Committee, AP Music Theory, 2008-2016 (Chair, 2014-2016)
Reader, AP Music Theory Examination, June 2009; June 2010; June 2011
The College Board, Educational Testing Service, Princeton, NJ
External evaluator, Yale Department of Music, 2009
External Evaluator, Schulich School of Music, McGill University
External Evaluator, Thornton School of Music, University of Southern California
External Evaluator, Faculty of Music, University of Western Ontario, 2005
Consultant on revisions to the theory curriculum, Rutgers University, 1999
Member, Committee of Examiners, 1989-1995
Graduate Record Examinations, GRE Revised Music Test
Educational Testing Service, Princeton, NJ Reader, GRE Revised Music Test (ETS; Princeton, NJ), 1991, 1997, 1998, 1999, 2001
Member, Major Field Test in Music, ETS Test Development Committee, 1997-8
Consultant on revisions to the undergraduate theory curriculum, Dickinson College, Carlisle, PA, November 1993
Consultant on revisions to the undergraduate aural skills program, Oberlin College Conservatory of Music, Oberlin, OH, December 1993
Service: Eastman School and University
|Dean of Academic Affairs||Eastman School of Music||2001-2004|
|Acting Dean of Academic Affairs||Eastman School of Music||2000-2001|
|Co-Chair, Dept. of Music Theory||Eastman School of Music|
Selected University of Rochester and Eastman School Committees:
Search Committee, Dean of the Eastman School, 2013-14
Academic Integrity Committee, 2014-2015
Departmental Undergraduate Curriculum Committee, 2013-present
Middlestates Re-accreditation Steering Committee, 2012-14
Middlestates Co-Chair, Working Group 5 (Curriculum), 2012-14
Lecture-Recital Award Committee, 2012
Faculty Senate Executive Committee, Univ of Rochester, 2006-2011, 2012-13
Faculty Senate Delegate, University of Rochester, 2005-2008, 2012-15
Internal Reviewer, Rochester Research Subjects Review Board, 2010-present
Music and Sound Working Group, 2008-present
UR Diversity Officer and Chair, ESM Diversity Committee, 2007-08
Chair, Music Cognition Interdisciplinary Cluster Organizing Committee, 1998-2012 (chair, 1998-2012)
EROI Working Committee (Eastman-Rochester Organ Inititative), 2005-present
Music Theory PhD Admissions Chair, 2008-present, and 2005-2006
Copyright ©2012 by Elizabeth West Marvin
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Last Revised 11/04/15