JUSTIN M. LONDONCURRICULUM VITAE

EDUCATION

Ph.D. in the History and Theory of Music, University of Pennsylvania, 1990.

Dissertation: The Interaction Between Meter and Phrase Beginnings and Endings in theMature Instrumental Music of Haydn and Mozart. Advisor: Leonard B. Meyer.

Studies with Leonard Meyer, Eugene Narmour, Thomas Christensen, Lawrence F. Bernstein,Jeffrey Kallberg, Norman Smith, and Eugene Wolf. Study in linguistics with Ellen Prince.

M.M. in Music Theory, University of Cincinnati, College­Conservatory of Music, 1986.

Master's Thesis: A Phenomenological and Linguistic Analysis of Surface Harmonies inThree Mozart Piano Sonatas. Advisor: Jonathan Kramer.

B.M. in Classical Guitar performance, summa cum laude, University of Cincinnati College­Conservatoryof Music, 1982.

FELLOWSHIPS, GRANTS, APPOINTMENTS, AND AWARDS

Visiting Professor of Musicology, The University of Oslo, September­December 2016.

Core Fulbright Scholar Grant, Finnish Centre of Excellence in Interdisciplinary Music Research,University of Jyväskylä, January­May 2014.

Visiting Fellow, Wolfson College, Cambridge, Fall 2013.

Carleton 2011­2012 Research Seminar Faculty Fellowship, "The Psychology and Neuroscience ofMusical Virtuosity" (Fellowship subsequently declined).

Curricular Research and Development Grant, Carleton College, Summer 2011, to develop a newArgument & Inquiry seminar on "How to Talk About Music."

Carleton Student Research Grant (Keck Foundation Statistics Fellowship), Summer 2010, to supportexperimental work on the perception of musical tempo.

Carleton Student Research Assistant Grant, Summer 2009, to support experimental work on theperception of musical tempo.

with Ronald Rodman, Curricular Research and Development Grant, Carleton College, Summer 2008, tosupport revisions to the music theory couse sequence.

Roth Faculty Development Fund "Targeted Opportunity Grant," Carleton College, Fall 2007 and Fall2008, to support tenure as President of the Society for Music Theory.

Guest Professor, International Orpheus Academy for Music & Theory on Tempo, Meter, Rhythm: Time

in Music after 1950, Ghent, Belgium, April 2007.

Visiting Scholar, Florida State University, Tallahassee, FL, March 2007.

Fulbright UK Distinguished Scholars Lecturing/Research Grant, Centre for Music and Science andFaculty of Music, University of Cambridge, Fall 2005­Spring 2006.

Visiting Fellow, Wolfson College, Cambridge, Fall 2005­Spring 2006.

Workshop Leader, Mannes Institute for Advanced Studies in Music Theory, institute on Rhythm andTemporality, June 2005.

Fellow, Mannes Institute for Advanced Studies in Music Theory, 2011, 2009, 2004 and 2001.

Publication Subventions for Hearing in Time (Oxford University Press) from the Society for MusicTheory, the Lloyd Hibberd Publication Endowment Fund of the American Musicological Society, and theFaculty Research Fund of Carleton College, 2002.

Mellon Endowment Fellowship, Carleton College, for extended sabbatical leave, Fall 2000­Spring 2001.

Carleton Faculty Development Grant (large grant) for extended sabbatical leave, Spring 1997.

Carleton Curricular Computing Grant, for the development of an electronic harmony text and workbook,July­August 1996.

Carleton Faculty Development Grant (small grant) for summer travel, July 1994.

Honorary Fellow at the Institute for Research in the Humanities, University of Wisconsin, Madison, Fall1993.

NEH Summer Seminar for College Teachers on The Temporal Art of Music, Columbia University, June­July 1993.

Carleton Faculty Development Grant Awards (small grants) for summer research, June 1991 and August1993.

Paul Rochberg Memorial Fellowship and Michael Hurley Cross Scholarship, University of Pennsylvania,1987­89.

Research Fellow to Professor Leonard B. Meyer, 1984­85.

University Graduate Assistantship Award, University of Cincinnati College­Conservatory of Music,1982­84.

Award for outstanding musical achievement, University of Cincinnati College­Conservatory of Music,1982.

Wilder Scholarship, Cincinnati College­Conservatory of Music, 1979.

FORTHCOMING PUBLICATIONS (*peer reviewed)

What is Rhythmic Well­Formedness? In Musical Metre in Comparative Perspective: General TheoryDesign and Case Studies from Four Continents, Hans Neuhoff, ed. Köln: Dohr Music Publishing (2016),in press.

The Problems of Rhythm Perception. In The Aesthetics of Rhythm: Science, Philosophy, Music, Dance,Poetics, Max Paddison and Andy Hamilton, eds. Oxford: Oxford University Press (2016), in preparation.

Entries on Leonard B. Meyer's Emotion and Meaning in Music and The Rhythmic Structure of Music(with Grosvenor Cooper), and Fred Lerdahl and Ray Jackendoff's A Generative Theory of Tonal Music, inthe Musikschrifttum, vol. 1, "Musiktheorie," F. Wörner and U. Schneider, Eds. Kassel: Bärenreiter­Verlag(2016), in press.

BOOKS AND OTHER MAJOR PUBLICATIONS

Hearing in Time, Oxford University Press (August 2004; 2nd Edition April 2012). 2nd Edition includes anew chapter on the neuroscience of rhythm, updated bibliography, and major revision of the book's majortheoretical arguments regarding metric well­formedness.

Rhythm. in The New Grove Dictionary of Music and Musicians, revised edition, John Tyrrell and StanleySadie, eds. Vol. 21, pp. 277­309. A main entry of 22,000 words (plus bibliography), along with shorter(500 word) entries on Metre, Pulse, Tempo, and Time. Oxford University Press (2001).

PEER­REVIEWED ARTICLES and BOOK CHAPTERS

J. London, B. Burger, M. Thompson, and P. Toiviainen. Speed on the Dance Floor: Auditory and VisualCues for Musical Tempo. Acta Psychologica 164 (2016): 70­80.

R. Polak and J. London. Timing and Meter in Mande Drumming from Mali. Music Theory Online 20.1(2014): http://www.mtosmt.org/issues/mto.14.20.1/mto.14.20.1.polak­london.php.

Building a Representative Corpus of Classical Music, Music Perception 31.1 (2013): 68­90.

B. Repp, J. London, and P. Keller. Systematic Distortions in Musicians' Reproduction of Cyclic Three­Interval Rhythms. Music Perception 30.3 (2013): 291­305.

Ephemeral Media, Ephemeral Works, and Sonny Boy Williamson’s ‘Little Village.’ The Journal ofAesthetics and Art Criticism 71.1 (2013): 45­53.

B. Repp, J. London, and P. Keller. Distortions in Reproduction of Two­Interval Rhythms: When the“Attractor Ratio” Is Not Exactly 1:2. Music Perception 30.2 (2012): 205­223.

Three Things Linguists Need to Know About Rhythm and Time in Music, Empricial Musicology Review7.1­2 (2012): http://emusicology.org/v7n1­2/contents1.html.

J. London and K. Jones. Rhythmic Refinements to the nPVI Measure: A Reanalysis of Patel & Daniele(2003a), Music Perception 29.1 (2011): 113­118.

Tactus does not equal Tempo: Some Dissociations Between Attentional Focus, Motor Behavior, andTempo Judgment. Empirical Musicology Review 6.1 (2011): http://emusicology.org/v6n1/target.html.

B. Repp, J. London, and P. Keller. Perception­Production Relationships and Phase Correction inSynchronization with Two­Interval Rhythms. Psychological Research 75 (2011): 227­242.

The Philosophy of Music and Musicology. in The Routledge Companion to Philosophy and Music,Andrew Kania & Ted Gracyk, eds. Routledge (2010): 495­505.

J. London, T. Himberg, and I. Cross. Structural and Performance Factors in the Perception of Anacruses.Music Perception 27.2 (2009): 103­120.

B. Repp, J. London, and P. Keller, Phase Correction in Sensorimotor Synchronization with Non­Isochronous Rhythms. Music Perception 26.2 (2008): 171­175.

Third Party Uses of Music and Musical Pragmatics. Journal of Aesthetics and Art Criticism 66.3 (2008):253­264.

B. Repp, J. London, and P. Keller, Production and Synchronization of Uneven Rhythms at Fast Tempi.Music Perception 23.2 (2005): 61­78.

Some Non­Isomorphisms between Pitch and Time. Journal of Music Theory 46.1&2 (2002): 127­151.

Cognitive Constraints on Metric Systems: Some Observations and Hypotheses. Music Perception 19.4(2002): 529­550.

Rhythm in Twentieth­Century Theory. in The Cambridge History of Western Music Theory, ed. ThomasChristensen, Cambridge: Cambridge University Press (2002): 695­725.

A Cohenian Approach to Musical Expression. Journal of Aesthetics and Art Criticism 60.2 (2002): 182­85.

Musical Leitmotivs in Cinema and Proper Names in Language: Structural and Functional Parallels. inMusic and Cinema, ed. James Buhler, Caryl Flinn, and David Neumeyer. Weslyan University Press(2000): 85­96.

Hasty's Dichotomy, a review­essay of Rhythm as Meter, by Christopher Hasty. Music Theory Spectrum21.2 (1999): 260­74.

with Ronald Rodman: Musical Genre and Schenkerian Analysis. Journal of Music Theory 43.1 (1998):101­124.

Lerdahl and Jackendoff's 'Strong Reduction Hypothesis' and the Limits of Analytical Description. InTheory Only, 13.1­4 (1997): 3­29.

Hearing is Believing? A review­essay of Mark Debellis's Music and Conceptualization. CurrentMusicology 60­61 (1996): 111­31.

A Psychological Addendum to 'Takadimi: A Beat­Oriented System of Rhythm Pedagogy.' Journal ofMusic Theory Pedagogy 10 (1996): 25­30.

Musical and Linguistic Speech Acts. Journal of Aesthetics and Art Criticism 54.1 (1996): 49­64.

Some Examples of Complex Meters and Their Implications for Models of Metric Perception. MusicPerception 13.1 (1995): 59­77.

Metric Ambiguity (?) in J.S. Bach's Third Brandenburg Concerto: A Reply to Botelho. In Theory Only9.7­8 (1991): 21­53.

Riepel and Absatz: Poetic and Prosaic Aspects of Phrase Structure in Eighteenth­Century Theory. Journalof Musicology 7.4 (1990): 505­519.

REVIEWS, COMMENTARIES, and OTHER PUBLICATIONS

Review of Groove: A Phenomenology of Rhythmic Nuance, by Tiger Roholt. The Journal of Aestheticsand Art Criticism 74.1 (2016): 101­104.

Editors Note, Special Issue on "Rhythm Perception and Production across Styles and Cultures,"Empirical Musicology 10.4 (2016): 1.

Musical Meter, Social Cognition, and Musical Expression: An Inquiry in Cognitive Aesthetics. InMusical Implications: Essays in Honor of Eugene Narmour, A. Rozin & L. Bernstein, eds. Hillsdale:Pendragon Press (2013): 275­294.

Review of Musical Cognition by Henkjan Honing, Psychomusicology: Music, Mind & Brain 22.1 (2012):61­62.

Recent Neuroscientific Research in Musical Rhythm, The Journal of Rhythms (Japan) 13 (2012): 7­17.

Schemas, Not Syntax: A Reply to Patel. in Language and Music as Cognitive Systems, Rebuschat, P.,Rohrmeier, M., Hawkins, J., & I. Cross, eds. Oxford University Press (2011): 242­247.

Review of Metric Manipulations in Haydn and Mozart by Danuta Mirka. Eighteenth­Century Music 8.2(2011): 331­334.

Review of Songs in Motion: Rhythm and Meter in the German Lied by Yonatan Malin. Music TheoryOnline 17.2 (2011): http://www.mtosmt.org/issues/mto.11.17.2/mto.11.17.2.london.html.

Commentaries on "Variant Timekeeping Patterns and Their Effects in Jazz" by Matthew Butterfield and"Rhythmic Feel as Meter: Non­Isochronous Beat Subdivision in Jembe Music from Mali" by RainerPolak. Music Theory Online, special issue on "Drumming from Africa and Beyond" 16.4.8 (2010):http://mto.societymusictheory.org/issues/mto.10.16.4.

Statistical versus Musical Significance: Commentary for VanHandel. Emprical Musicology Review 4.4(2009): http://emusicology.org/v4n4.

Temporal Complexity in Modern and Post­Modern Music: A Critique from Cognitive Aesthetics. inUnfolding Time: Studies in Temporality in Twentieth Century Music, Darla Crispin, ed. CollectedWritings of the Orpheus Institute, vol. 9, Leuven University Press (2009): 45­68.

Review of Conceptualizing Music: Cognitive Structure, Theory, and Analysis by Lawrence M.Zbikowski. Music Theory Spectrum 29.1 (2007): 115­125.

Musical Rhythm: Motion, Pace and Gesture. in Music and Gesture, ed. A. Gritten and E. King,Aldershot: Ashgate (2006): 126­141.

Recent Rhythmic Research in North American Music Theory. Zeitschrift der Gesellschaft für

Musiktheorie, 2, (2005). http://www.gmth.de/www/artikel/2005­04­11_08­11­51_7/.

Review of Tonal Pitch Space by Fred Lerdahl. Music Perception 20.2 (2002): 201­216.

Some Theories of Emotion in Music and Their Implications for Research in Music Psychology. MusicaeScientiae Special Issue: Current Trends in the Study of Music and Emotion (2001/2002): 23­35.

Review of Musical Performance: A Philosophical Study by Stan Godlovitch. Journal of Aesthetics andArt Criticism 59.3 (2001): 339­41.

Review of Of Mind and Music by Laird Addis and The Philosophy and Aesthetics of Music by EdwardW. Lippman. Music Theory Spectrum 23.1 (2001): 108­17.

Review of Music in the Moment by Jerrold Levinson. Journal of the American Musicological Society 52.1(1999): 156­62.

Concatenationism and Musical Form, an introduction to Music in the Moment: A Discussion. MusicPerception 16.4 (1999): 463­67.

A Different Species of Counterpoint. Journal of Music Theory Pedagogy 12 (1998): 105­10.

A Different Response to Killam. Music Theory Online 3.4 (1997).

Review of Shaping Time: Music, the Brain, and Performance by David Epstein. MLA Notes (June 1997):1128­32.

Misquoting Meyer: A Response to Cochrane. Music Theory Online 1.3 (1995).

Review of The Fine Art of Repetition by Peter Kivy and Language, Music and Mind by Diana Raffman.Music Theory Spectrum 14.2 (1994): 267­75.

Loud Rests and Other Strange Metric Phenomena (or, Meter as Heard). Music Theory Online 0.2 (1993).

Report on the Second International Conference on Music Perception and Cognition. Journal ofMusicology 10.4 (1992): 537­545.

Music Notation Programs in the Theory Classroom and in Research. Journal of Computers in MusicResearch 2 (1990): 145­170.

One Step Up­­A Lesson from Popular Music. Journal of Music Theory Pedagogy 4.1 (1990): 111­14.

Phrase Structure in Eighteenth and Nineteenth Century Theory: An Overview. Music Research Forum 5(1990): 13­50.

Two Kinds of Accent: Further Thoughts on Phrase Structure. Soundboard 15 (Spring 1988): 25­27.

INVITED LECTURES, COLLOQUIUM TALKS, AND RESIDENCIES

Just What is Musical Tempo? Keynote Address, SysMus16 (International Conference of Students ofSystematic Musicology), Jyväskylä Finland, June 2016.

Really Bad Music: Musical and Moral Mistakes, colloquium talks given at Bates College (January 2016),The Eastman School of Music (October 2014), University of Jyväskylä (March 2014), Queen MaryUniversity of London (December 2013), The University of Sheffield (December 2013), GoldsmithsUniversity of London (November 2013), The University of Manchester (October 2013).

Speed on the Dance Floor: Auditory and Visual Cues for Musical Tempo. Colloquium lectures given atPrinceton University (February 2016), the Peabody School of Music (February 2015), the Univeristy ofCambridge (December 2014), Queen Mary University of London (December 2014), and the EastmanSchool of Music (October 2014).

A Quick and Dirty Introduction to the Psychology of Musical Rhythm. Rutgers University, February2015.

Perceptual and Cognitive Constraints on Rhythm and Meter. The Eastman School of Music, October2014.

Categories of Melody, Categories of Rhythm: Some Lessons from Euguene Narmour. Milestones inMusic Cognition BKN 25, Montreal, July 2014.

The Psychology and Neuroscience of Virtuosity. The University of Jyväskylä, June 2014.

with Rainer Polak: Timing, Meter, and Rhythm in Mande drumming from Mali. Entrainment Symposium,University of Durham, June 2014.

What a Neuroscientist Needs to Know About Musical Rhythm. Aalto University, Helsinki, May 2014.

What Makes Something Rhythmical? The History, Theory, and Psychology of Musical Meter, Rhythm inCultural Comparison Lecture Series, Hochschule für Musik und Tanz, Cologne, May 2014.

How Fast is That Music? Understanding Musical Tempo and Musical Movement, Fulbright ResearchForum, Jyväskylä, April 2014.

How to Study Musical Rhythm: Disciplinary Approaches and Research Notes, University of Oslo, April2014.

Faculty Lecturer, Rhythmic Coordination in Music: Playing and Listening to Music as Joint Action andSocial Cognition, Interdisciplinary College (IK) 2014, focus theme "Cognition 3.0 ­ The Social Mind inthe Connected World," Gunne at Lake Mohne, Germany, 14­21 March 2014.

Two Lessons in Cognitive Aesthetics, Max Planck Institute for Empirical Aesthetics, Frankfurt, March2014.

Microtiming in Ngòn: Categorical Production and Perception of a Non­Isochronous Meter, Centre forMusic and Science colloquium series, the University of Cambridge, November 2013, and the Universityof Edinburgh, October 2013.

What is Metric Well­Formedness? Graduate Student Workshop leader, annual meeting of the Society forMusic Theory, Charlotte, NC, November 2013.

The Psychology and Neuroscience of Virtuosity, the University of Newcastle, October 2013.

with Rainer Polak: Timing and Dynamics in Mande Ensemble Drumming: Metric Well­Formedness and

Perception­Action Coupling, Colloquium given at the International Symposium on Performance Science,Vienna, August 2013.

Toward a Global Understanding of Musical Meter, Keynote Address, 1st International Conference onBasic Concepts in Rhythm, Cologne, April 2013.

Invited Lecturer, International Workshop on Cross­disciplinary and Multi­cultural Perspectives onMusical Rhythm, New York University Abu Dhabi, March 2013.

Building a Representative Corpus of Classical Music, colloquium lectures given at the Centre for Musicand Science, University of Cambridge, and Queen Marys University London, December 2012.

The Psychology and Neurobiology of Musical Virtuosity, summer colloquium talk, Faculty ofMathematics and Natural Sciences, University of Cologne,12 July 2012.

Really Bad Music, Keynote Address, Interdisciplinary College (IK) 2012, focus theme "Emotion andAesthetics," Gunne at Lake Mohne, Germany, 16­23 March 2012.

Faculty Lecturer, Issues in Musical Aesthetics at the Interdisciplinary College (IK) 2012, focus theme"Emotion and Aesthetics," Gunne at Lake Mohne, Germany, 16­23 March 2012.

An Introduction to Empirical Studies of Musical Rhythm, colloquium lecture given at Queen Mary'sUniversity, London, UK, 9 December 2011.

Probing the Influence of Motor Behavior on Tempo Judgments, colloquium lecture given at the Centrefor Music and Science, University of Cambridge, UK, 7 December 2011.

Current Theoretical and Analytical Approaches to Rhythm,given at the "Music Theory between East andWest" conference, Beijing, China 15­18 November 2011.

The Great Theory Debate: Be it Resolved...Common Practice Period Repertoire No Longer Speaks to ourStudents; it's Time to Fire a Cannon at the Canon, at the annual meeting of the Society for Music Theory,Minneapolis, MN, October 2011.

Music and the Brain, "Beaker and Brush" Lecture Series, sponsored by the Science Museum ofMinnesota, 12 April 2011.

The Psychology and Neurobiology of Musical Virtuosity, colloquium Lecture given at Florida AtlanticUniversity, 28 January 2011.

The Psychology and Neurobiology of Musical Virtuosity, Whitehead Lecture in "Cognition,Computation, and Culture," given at Goldsmiths University, London, 15 December 2010.

The Three Things a Psycholinguist Needs to Know About Musical Rhythm and Meter, orientationLecture given at the British Psychological Society Language & Music Seminar on "Entrainment &Meaning," Cambridge, UK, 13­14 December 2010.

Metrical Analysis and Musical nPVI: A Re­analysis of Patel and Daniele, colloquium talk given atSheffield University, 8 December 2010.

Tapping Doesn't Help: A Dissociation Between Motor Behavior and Tempo Judgment, colloquium/classlecture given at the University of Durham, 7 December 2010.

The Psychology and Neurobiology of Musical Virtuosity, colloquium talk given at The University ofEdinburgh, 6 December 2010.

Tapping Doesn't Help: Musical Motion and Self­Motion, colloquium talk given at the Donders Institutefor Brain, Cognition and Behaviour, Cognitive Artificial Intelligence Group, Radboud UniversityNijmegen, the Netherlands, March 19th 2010.

Faculty Lecturer on "The Rules of the Game: Cognitive Constraints on Musical Virtuosity and MusicalHumor" at the Interdisciplinary College (IK) 2010, "Play, Act, and Learn," Gunne at Lake Mohne,Germany, March 12­18 2010.

Stravinsky's Hiccups: Cognitive and Aesthetic Aspects of Metrical Ambiguity, colloquium talk given atMichigan State University, February 2010.

Stravinsky's Hiccups: Cognitive and Aesthetic Aspects of Metrical Ambiguity, colloquium talk given atThe University of Arkansas, November 2009.

Faculty Lecturer on "Music, Aesthetics, Rhythm, and Meter" at the Interdisciplinary College (IK) 2009,"Rhythm and Timing," Gunne at Lake Mohne, Germany, March 6­13 2009.

Cognitive and Aesthetic Aspects of Metrical Ambiguity, colloquium talks given at The University ofAlberta and The University of Pennsylvania, Fall 2008.

The Aesthetic Import of Metrical Ambiguity. Keynote Address, 15th Biennial Symposium for Researchin Music Theory, Indiana University, February 2008.

Metrical Snipe Hunting in the Psychology Lab, biannual meeting of The Society for Music Perceptionand Cognition, Montreal, Canada, August 2007.

What is Metric Well Formedness?', How to Talk about Musical Meter: Psychological and Cross­CulturalPerspectives, and A Skeptical View of Music Theory Pedagogy, Florida State University, Tallahassee,FL, March 2007.

‘The Perception and Cognition of Rhythm and Time’ and ‘Temporality in Modern and Post­ModernMusic: A Critique from Cognitive Aesthetics,’ International Orpheus Academy for Music & Theory onTempo, Meter, Rhythm: Time in Music after 1950, Ghent, Belgium, April 2007.

High Water Everywhere: Finding Dylan in the Delta. American Studies Lecture, Carleton College,January 2007.

How to Talk about Musical Meter: Psychological and Cross­Cultural Perspectives, colloquium talk,University of Minnesota, Minneapolis, MN November 2006.

How to Talk About Music Meter: Psychological and Cross­Cultural Perspectives, colloquium talks givenat The University of Nottingham, The University of Hull, Oxford University, Goldsmiths College,Sheffield University, The Open University, Queen Mary’s University of London, Keele University,Cambridge University, and City University of London, January­May 2006.

Entrainment or Entrainments? Questions for Theories of Musical Meter, Entrainment in Music ResearchMeeting III, Cambridge UK, December 2005.

What's my repertoire? It's ALL my repertoire: A different kind of analytical empiricism, invited

presentation and panelist, West Coast Conference of Music Theory and Analysis, UCSB, Santa Barbara,CA, April 2004.

Hearing Rhythmic Gestures: Moving Bodies and Embodied Minds, Keynote Address, Music andGesture Conference, University of East Anglia, Norwich, August 2003.

How to Talk about Meter: Cognitive and Cross­Cultural Perspectives, colloquium presentation,Northwestern University, February 2003.

Cognitive Constraints on Metric Systems: Some Observations and Hypotheses, colloquium presentation,Monash University, Melbourne, Australia, July 2002.

Fernhören is Bunk: Jerrold Levinson's Music in the Moment, colloquium presentations, U.C. Berkeleyand Stanford Universities, October 1998.

Who is Robert Johnson and Why Are We Looking for Him in the Delta?, The Rock and Roll Hall ofFame and Museum, to the Cleveland area Carleton Alumni Club, Cleveland OH, July 1997.

Meter Casts No Shadows, colloquium presentation, the University of Cincinnati College­Conservatory ofMusic, 21 February 1997.

Hypermeter in the Delta Blues, colloquium presentations, University of Iowa, 18 September 1996, and atthe University of Cincinnati's College­Conservatory of Music, 21 February 1997.

Music and Language: Untangling a Gordian Knot, Phi Beta Kappa lecture, Carleton College, 16 February1994.

Music, Language, and Meaning: Unpacking a Messy Metaphor, colloquium presentation, Institute forResearch in the Humanities, University of Wisconsin­Madison, 13 December 1993.

Musical Humor and Speech­Act Theory, University of Wisconsin­ Madison Music History and MusicTheory Colloquium Series, 12 November 1993.

Getting the Joke in the 'Joke' Quartet: Haydn and the Relationship between Music and Language, MusicDepartment Lecture Series of Pomona College, 21 Feb. 1992, Claremont, CA.

CONFERENCE PRESENTATIONS (peer reviewed)

with Birgitta Burger, Marc R. Thompson, & Petri Toiviainen. Stimulus and familiary factors in judgmentsof musical tempo (poster). 14th Annual Auditory Perception, Cognition, and Action Meeting, inconjunction with the annual meeting of the Psychonomic Society, Chicago, November 2015.

with Birgitta Burger, Marc R. Thompson, & Petri Toiviainen. Musical familiarity can confound tempojudgments. Biennial meeting of the Society for Music Perception and Cognition, Nashville, August 2015.

with Petri Toiviainen, Birgitta Burger, & Marc R. Thompson. Interactions between auditory and visualcues for musical tempo. Biennial meeting of the Society for Music Perception and Cognition, Nashville,August 2015.

with Birgitta Burger, Marc R. Thompson, & Petri Toiviainen. Speed on the dance floor: Visual andauditory cues for musical tempo. Ninth Triennial Conference of the European Society for the Cognitive

Sciences of Music, Manchester, UK, August 2015.

Birgitta Burger, Justin London, Marc R. Thompson, & Petri Toiviainen. Event density predictssynchronization ability in music­induced movement. 15th Rhythm Perception and Production Workshop,Amsterdam, July 2015.

Timo Fischinger, Rainer Polak, Justin London, & Hans Neuhoff. Perception of metric timing patterns inMalian jembe music. 15th Rhythm Perception and Production Workshop, Amsterdam, July 2015.

with Birgitta Burger, Marc R. Thompson, & Petri Toiviainen. Speed on the dance floor: Visual andauditory cues for musical tempo. 15th Rhythm Perception and Production Workshop, Amsterdam, July2015.

Rainer Polak, Nori Jacoby, & Justin London. How West African drummers keep in time together:Ensemble entrainment in jembe music from Mali. 15th Rhythm Perception and Production Workshop,Amsterdam, July 2015.

with Birgitta Burger, March Thompson, and Petri Toiviainen, Speed on the dance floor: Interactionsbetween visual and auditory cues for tempo, International Conference on Multimodal Experience ofMusic, March 2015, Sheffield, UK.

with Birgitta Burger, March Thompson, and Petri Toiviainen, Changing speeds: Dancing faster changesthe character of one's movement (poster), International Conference on Multimodal Experience of Music,March 2015, Sheffield, UK.

with Rainer Polak, “Dansa” from Mali: Tempo­Metrical Types in a Non­Isochronous Meter, annualmeeting of the Society for Music Theory, Milwaukee, November 2014.

Marc Thompson, Tommi Himberg, J. London, and Petri Toiviainen, The Effect of Tempo and Vision onInterpersonal Coordination of Timing,13th International Conference on Music Perception and Cognition,Seoul, August 2014.

with Nori Jacoby and Rainer Polak, The Effect of Ensemble, Musical Role, and Performer onEntrainment in Khasonka Drumming (poster), 13th International Conference on Music Perception andCognition, Seoul, August 2014.

with Rainer Polak, The Influence of Task and Context on Complex Rhythm Production: Evidence FromMalian Drumming (poster), 13th International Conference on Music Perception and Cognition, Seoul,August 2014.

Hans Neuhoff, Rainer Polak, Justin London, and Timo Fischinger, Aesthetic Evaluation of Metric TimingPatterns in Malian Jembe­Music, Congress of the International Association of Empirical Aesthetics, NewYork, August 2014.

with Rainer Polak, Hans, Neuhoff, and Timo Fischinger, Non­Isochronous Meters in Theory and inCross­Cultural Practice, special session on "Meter in Malian Music: Theoretical, Analytical, andPerceptual Perspectives," 3d international meeting on Analytical Approaches to World Music,London,July 2014.

with Rainer Polak, special symposium on "Timing and Dynamics in Mande Ensemble Drumming: MetricWell­Formedness and Perception­Action Coupling," Biennial meeting of the International Symposium onPerformance Science, Vienna, August 2013.

Building a Representative Corpus of Classical Music, Biennial meeting of the Society for MusicPerception and Cognition, Toronto, August 2013.

with Rainer Polak, Microtiming in Ngòn: Categorical Production and Perception of Non­IsochronousRhythms, Biennial meeting of the Society for Music Perception and Cognition, Toronto, August 2013.

Rhythm and Meter in 21st Century Music Theory, special session on The Acoustics of Rhythm, sponsoredby the Musical Acoustics Technical Committee, Annual Meeting of the Acoustical Society of America,Kansas City, 24­25 October 2012.

with Emily Cogsdill (Carleton 2011), Tapping Rate Affects Tempo Judgments for Some Listeners, PosterPresentation, Perspectives on Rhythm and Timing workshop, University of Glasgow, July 2012.

with Emily Cogsdill (Carleton 2011), Movement Rate Affects Tempo Judgments for Some Listeners,biannual meeting of The Society for Music Perception and Cognition, Rochester, NY, August 2011.

with Emily Cogsdill (Carleton 2011), Event Density and Melodic Motion Contribute to Perceived Tempo,biannual meeting of The Society for Music Perception and Cognition, Rochester, NY, August 2011.

with Katherine Jones (Carleton 2010), Metrical Analysis and Musical nPVI: A Re­analysis of Patel andDaniele. 11th International Conference on Music Perception and Cognition, Seattle, WA, August 2010.

Bruno Repp, J. London, and Peter Keller, A Detuned Simple­Ration Attractor in Production of CyclicTwo­Interval Rhythms. 11th International Conference on Music Perception and Cognition, Seattle, WA,August 2010.

Tapping Doesn't Help: A Dissociation Between Motor Behavior and Tempo Judgment. 11th InternationalConference on Music Perception and Cognition, Seattle, WA, August 2010.

Inauthentic Authenticity: Sonny Boy Williamson's "Little Village" as Musical Bullshit, annual meeting ofthe American Society for Aesthetics, Denver, October 2009.

Differences in Metrical Structure Confound Tempo Judgments, biannual meeting of The Society forMusic Perception and Cognition, Indianapolis, August 2009.

with Ian Cross and Tommi Himberg: The Effect of Interval Size and Direction on the Perception ofAnacruses, biannual meeting of the Society for Music Perception and Cognition, Montreal, Canada,August 2007.

with Ian Cross and Tommi Himberg: Structural and Performance Factors in the Perception of Anacruses,11th Rhythm Perception and Production Workshop, Dublin, Ireland, July 2007.

with Ian Cross and Tommi Himberg: The Effect of Tempo on the Perception of Anacruses, 9thInternational Conference on Music Perception and Cognition, Bologna, Italy, August 2006.

Authenticity in Outsider Music: No Commercial Potential, No Lessons Required, annual meeting of theAmerican Society for Aesthetics, Houston, TX, October 2004.

with Peter Keller and Bruno Repp: Production and Synchronization of Uneven Rhythms at Fast Tempi,8th International Conference on Music Perception and Cognition, Evanston, IL, August 2004.

Temporal Asymmetries as Period Markers in Isochronous and Non­Isochronous Meters, 7th International

Conference on Music Perception and Cognition, Sydney, Australia, July 2002.

with Ed W. Large, Non­Isochronous Accent Structures and Meter Perception,7th InternationalConference on Music Perception and Cognition, Sydney, Australia, July 2002.

Some Non­Isomorphisms Between Pitch and Time, annual meeting of Music Theory Midwest, Cincinnati,OH, April 2001.

Hierarchic Representations of Complex Meters, 6th International Conference on Music Perception andCognition, Keele, UK, August 2000.

Musical Expression and Musical Meaning in Context, 6th International Conference on Music Perceptionand Cognition, Keele, UK, August 2000.

Maria is Hopeful, annual meeting of the Pacific division of the American Society for Aesthetics, PacificGrove, CA, March, 2000.

Mapping Metrical Particularity: Some Hierarchical and Psychological Considerations, annual meeting ofthe Society for Music Theory, Atlanta, GA, November 1999.

Quantitas Intrinseca: 17th­ and 18th­century Studies in Timing and Dynamics, biannual meeting of theSociety for Music Perception and Cognition, Evanston, IL, August 1999.

How Many Meters? Cognitive Constraints on Metric Hierarchies, biannual meeting of the Society forMusic Perception and Cognition, Evanston, IL, August 1999.

Structural Hearing and Jerrold Levinson's Music in the Moment, annual meeting of the American Societyfor Aesthetics, Bloomington, IN, November 1998.

Can You Hear Two Meters at Once? Metric Ambiguity, Metric Vagueness, and Music Theory, biannualmeeting of the Society for Music Perception and Cognition, Cambridge, MA, August 1997.

The Binary Bias of metric subdivision and the relative complexity of various meters, or, why is 9/8 sorare? (poster session presentation), annual meeting of the Society for Music Theory, Baton Rouge, LA,November 1996.

The Binary Bias of Metric Subdivision and the Relative Complexity of Various Meters, or, Why is 9/8 soRare?, the 4th International Conference on Music Perception and Cognition, Montreal, Quebec, August1996.

The Irregular Hypermetric Structure of the Early Delta Blues, annual meeting of Music Theory Midwest,Kalamazoo, MI, May 1996.

The Temporal Limits to Meter: Some Perceptual Considerations for the Music Theorist (poster sessionpresentation), annual meeting of the Society for Music Theory, Tallahassee, FL, November 1994.

The 'Strong Reduction Hypothesis' of Lerdahl and Jackendoff's A Generative Theory of Tonal Music, 3dInternational Conference on Music Perception and Cognition, Liège, Belgium, 23­27 July 1994.

The Temporal Limits to Meter, 3d International Conference on Music Perception and Cognition, Liège,Belgium, 23­27 July 1994.

Lerdahl and Jackendoff's 'Strong Reduction Hypothesis' and the Limits of Analytic Description, part of a

special session dedicated to the tenth anniversary of Lerdahl and Jackendoff's A Generative Theory ofTonal Music, joint meeting of the American Musicological Society and the Society for Music Theory, 5November 1993, Montreal, Quebec.

The Cognitive Implications of a Dynamic Theory of Meter, biannual meeting of the Society for MusicPerception and Cognition, 17 June 1993, Philadelphia, PA.

Getting the Joke in Haydn's Quartet Opus 33, no. 2: Linguistic Competence and Musical Cognition, 2ndInternational Conference on Music Perception and Cognition, The University of California, 25 Feb.1992, Los Angeles, CA.

The Extended Anacrusis and the Permeability of Hierarchic Levels, annual meeting of the Society forMusic Theory, October 1991, Cincinnati, OH.

The Extended Anacrusis and the Permeability of Hierarchic Levels: the opening measures of Mozart's G­minor Symphony, K.550, annual meeting of Music Theory Midwest, 19 May 1991, Kansas City, MO.

Hierarchic Theories versus Hierarchic Facts: an argument against recursive theories of musical structure,annual meeting of the Society for Music Theory, 27 October 1989, Austin, TX.

The Historical Background of Hierarchic Models of Music, mid­Atlantic chapter meeting of the AmericanMusicological Society, February 25th, 1989, Philadelphia, PA.

PANELS AND SESSION CHAIRS

Invited Respondent, panel on "Rhythm and Timing in Non­Isochronous Meter" at the 15thJahreskongress der Gesellschaft für Musiktheorie (GMTH), Berlin, October 2015.

Session Chair: Expectations: Meter/Rhythm, Biennial meeting of the Society for Music Perception andCognition, Nashville, August 2015.

Session Chair: Special Session on Metre in Malian Music: Theoretical, Analytical, & PerceptualPerspectives, 3d international meeting on Analytical Approaches to World Music,London, July 2014.

with Andrea Halpern (Bucknell University) and Siu­Lan Tan (Kalamazoo College), The Challenges andOpportunities of Teaching and Research at a Primarily Undergraduate Institution (PUI), biennial meetingof the Society for Music Perception and Cognition, Toronto, August 2013.

Panelist, "Authors Meet Critics: The Routledge Companion to Philosophy and Music," at the annualmeeting of the American Society for Aesthetics, St. Louis, MO, October 2012.

Session Chair: "Theorizing about Theorizing," at the annual meeting of Music Theory MidWest, AnnArbor, MI, May 2012.

Session Chair: "Playing Against Meter," at the annual meeting of the Society for Music Theory,Minneapolis, MN, October 2011.

Featured Speaker, Popular Music Interest Group session on "Metric Fake­Outs and Surprises in PopularMusic," at the annual meeting of the Society for Music Theory, Minneapolis, MN, October 2011.

Respondent, "Perfect Compliance in Musical History and Ontology" by John Dyke, at the American

Society for Aesthetics Pacific Division Meeting, Asilomar, CA, March 2011.

Respondent, Panel on "Current Issues in Entrainment and Music," at the Workshop on Joint Action andEntrainment, Open University, Milton Keynes, UK, December 2009.

Featured Speaker, Music Cognition Interest Group Panel on Hearing in Time, annual meeting of TheSociety for Music Theory, Baltimore, MD, November 2008.

Session Chair: Meter I, at the biannual meeting of The Society for Music Perception and Cognition,Montreal, Canada, August 2007.

Invited Panelist, "What is the Beat and Why Study Metrical Processing", at the biannual meeting of TheSociety for Music Perception and Cognition, Montreal, Canada, August 2007.

Session Chair: Syncopation, Rhythm, Hypermeter, at the annual meeting of The Society for MusicTheory, Los Angeles CA, November 2006.

Session Chair: Rhythm and Meter, at the annual meeting of Music Theory Midwest, Oberlin OH, May2005.

Session Chair: Rhythm III: Meter, at the 8th International Conference on Music Perception andCognition, Evanston, IL, August 2004.

Invited Panel Participant: Music Theory and Analysis Outside the Canon at the West Coast Conferenceon Music Theory and Analysis, San Diego, CA, April 2004.

Session Chair: Cognition and Temporality, at the annual meeting of the Society for Music Theory,Madison, WI, November 2003.

Session Chair: Author Meets Critics, at the American Society for Aesthetics Pacific Division Meeting,Asilomar, CA, April 2003.

Invited Panel Participant: Music, Popular Culture, and the Academy, at the conference on Popular Musicand American Culture held at the Center for American Music, Austin, TX, November 2002.

Session Chair: Music and the Western, conference on Popular Music and American Culture held at theCenter for American Music, Austin, TX, November 2002.

Invited Panel Participant: Temporal Aspects of Human Behavior: Theory & Methods, symposium held atthe MARCS lab, University of Western Sydney, Australia, July 2002.

Session Chair: Sensorimotor Synchronization, 7th International Conference on Music Perception andCognition, Sydney, Australia, July 2002.

Session Chair: Selected Issues in Tonality, biannual meeting of the Society for Music Perception andCognition, Kingston, Ontario, August 2001.

Session Chair: Rhythm and Romanticism, annual meeting of Music Theory Midwest, Appleton, WI, May2000.

Invited Panel participant: Preparing an effective tenure case: SMT Committee on ProfessionalDevelopment., annual meeting of the Society for Music Theory, Atlanta, GA, November 1999

Session Chair: Rhythm, annual meeting of the Society for Music Perception and Cognition, Evanston, IL,August 1999.

Session moderator: Jerrold Levinson's Music in the Moment, annual meeting of the Society for MusicTheory, Chapel Hill, NC, December 1998

Session chair: Hermeneutic Connections annual meeting of Music Theory Midwest, Northfield, MN, May1998.

Session respondent: Peter Kivy on Genius in Music, Pacific Division Meeting of the American Society forAesthetics, Monterey, CA, April 1998.

Invited Panel participant: Publishing in Popular Music Journals, (as Associate Editor of Music TheoryOnline) at the annual meeting of the International Association for the Study of Popular Music, Denver,CO, October 1996.

Organized special session on Lerdahl and Jackendoff's A Generative Theory of Tonal Music: Ten YearsAfter for the annual meeting of the Society for Music Theory, Montreal, Quebec, November 1993.

Session chair, Tonality at the bi­annual meeting of the Society for Music Perception and Cognition,Philadelphia, PA, June 1993.

Session chair, Pop Music and Music Theory Pedagogy at the 1992 annual meeting of Music TheoryMidwest.

WORK IN PROGRESS

Microtiming and Meter in West African Percussion Music: collaborative research with Rainer Polak,Hans Neuhoff (Hochschule für Musik und Tanz, Köln), Timo Fischinger (Max Planck Institute forEmpirical Aesthetics, Frankfurt), and Nori Jacoby (Hebrew University, Jerusalem/MIT). Rainer Polak isthe PI on a research project funded by the German Research Council (DeutschenForschungsgemeinschaft), 2011–2014 to investigate microtimngs in percussion music; the grant iscurrently under consideration for renewal. The project has developed a cross­culturally comparativeperspective on structures of microrhythmic asymmetry—colloquially referred to as rhythmic “feel” or“swing”—in Malian percussion ensemble music. Theoretical and analytical frameworks for the projectdraw upon Hearing in Time (2004/2012). First joint publication "Timing and Meter in Mande Drummingfrom Mali" appeared Music Theory Online 20.1 (2014); forthcoming publications in Musical Metre inComparative Perspective: General Theory Design and Case Studies from Four Continents, HansNeuhoff, ed. Conference presentations at the SMPC, ISPS, AAWM, and ICMPC meetings in 2013/2014and at SMT, RPPW, and SMPC meetings in 2014/2015.

Auditory and Visual Factors in Muiscal Tempo Judgments: collaborative research with Petri Toiviainen,Birgitta Burger, and Marc Thompson (University of Jyväskylä, Finland). This project, supported by aFinnish Fulbright Core Scholars Grant (2014) is a sustained investigation into the cues for tempo andmotion, of which beat induction and tactus rate judgement is but a part. Preliminary experiments in tempojudgment using artifical rhythmic stimuli were begun in 2008; results have been reported at the 2009 and2011 meeting of SMPC and the 2010 ICMPC. Initial results publisned in Emprical Musicology Review(vol. 6.1, 2011). The working hypothesis is that judgements of musical tempo involve (a) an appraisal ofthe rates of activity in the music, (b) a sense of one's self­motion as afforded by synchronization with themusic, (c) a sense of the motion of others as afforded by observation and synchronization with them, and

(d) an emergent sense of speed that stems from the interaction between musical and self­motion. Portionsof the research have been carried out with Carleton College undergraduate research assistants KatherineJones ('10), Emily Cogsdill ('11), and Eleanor Dollear ('16). First publication, "Speed on the Dance Floor:Auditory and Visual Cues for Musical Tempo" in preparation for Acta Psychologica (2015); conferencepresentations in 2015 at ICMEM, RPPW, SPMC, and ESCOM conferences.

How to To Talk About Music. A short (150 page) book written for musical layperson. It will enablereaders to describe what they hear in plain English, to tell their friends why they like (or dislike) the latesthit record, suggest ways to think about and understand their favorite pieces of music, and help them findand appreciate new music, too. It will be illustrated examples from a wide range of musical styles, andoffer explanations from history, philosophy, psychology, biology, and anthropology. Currently on hold.

Joining In: collaborative research with Sarah Hawkins and Ian Cross (Centre for Music and Science,University of Cambridge). "Mind the Gap" (working title) is part of a larger project on phonological anddiscursive parallels between music and langauage. This part will examine the structural and expressivesignificance of pauses or gaps between phrases in music and analogous gaps between utterances inspeech, especially in the course of multi­speaker conversation. Of particular interest is the ways in whichconstrasts of dynamic level and normative timing (i.e., a phrase/utterance beginning too early or too late)can convey affective and pragmatic information.

TEACHING EXPERIENCE/COURSES TAUGHT

Carleton College, Professor of Music 2002­present; Associate Professor 1996­2002; Assistant Professor1990­1996; Visiting Instructor 1989­1990. Music 204, "Musical Structures" is the core course in musictheory for the Carleton music major; project based, it requires students to explore all of the parameters ofmusic­­rhythm, melody, harmony, timbre, texture, and form­­using a wide range of approaches andmusical styles. Music 131, "The Blues From the Delta to Chicago" is an introduction to the historical,analytical, critical, and sociological study of music through the examination of the evolution from theDelta Blues to early Rock and Roll styles. Emphasis is on fundamental analytic skills and theirapplication to the assessment of changing musical styles, as well as on understanding the differencesbetween music in an oral versus a written tradition. Music 227, "The Perception and Cognition of Music,"is an introduction to historical and current research in the perception and cognition of pitch and rhythm. Itincludes a companion lab (Music 228) in which student teams re­create and extend classic experiments inmusic perception. Music 239, "The Philosophy of Music," is an introduction to musical aesthetics. Topicsdiscussed include: musical expression, musical representation and reference, authenticity in interpretationand performance, and assessments of musical value. Music 100, "The Science of Musical Time" (a first­year Argument and Inquiry seminar) introduces students to empirical musicology via studies of rhythmicperception, production, synchronization and performance nuance.

University of Pennsylvania, Teaching fellow 1985­87. Taught Music 20 and 21, Introductory survey ofWestern music for non­majors.

TEACHING AREAS

Music History: General survey of Western music; Topics in eighteenth­century music,including Haydn and Mozart, history of the symphony and the evolution of the Classicalstyle; History and criticism of the blues and popular music.

Music Theory: Core curriculum in theory and analysis; 16th­ and 18th­century counterpoint;Tonal harmony; Introduction to Schenkerian analysis; History of theory in the 18th and 19thcenturies; Topics in rhythm and meter; Linguistic approaches to music; Musical time andtemporality.

Philosophy and Aesthetics: Speech­act theory and pragmatics; Introductory aesthetics; Thephilosophy of music.

Music Perception and Cognition: Introductory courses in music psychology and musiccognition; Rhythm, perception, and action; Introduction to cognitive science; The science ofmusical rhythm and time.

PH.D. CO­SUPERVISIONS

Ives Chor, "Cognitive Frameworks for the Production of Musical Rhythm, NorthwesternUniversity, 2010.

Mark Gotham, "The Metre Metrics: Characterising (dis)similarity among metricalstructures," The University of Cambridge, 2015.

CURRENT AND RECENT COURSES

Fall 2014: Music 100 (Argument & Inquiry Seminar for first year students): "I Got Rhythm:The Science of Muscial Time"

Winter 2015: Music 201, "Music Theory II" (includes aural skills lab)

Spring 2015: Music 202, "Music Theory III"; Music 131, "The Blues from the Delta toChicago"

Fall 2015: Music 103, "Musicianship Lab I"; CGSC 130, "The Musical Mind: AnIntroduction to Cognitive Science"

Winter 2016: Music 104, "Musicianship Lab II"; Music 204, "Musical Structures" (replacesTheory II)

Spring 2016: Music 227 & 228: Introduction to the Perception and Cognition of Music, withlab (satisfies college lab science requirement).

MUSICAL INTERESTS

While still an active classical guitarist, playing occasional duo recitals with Ian Cross, I also manage topractice and perform in jazz, bluegrass, and (especially) blues guitar idioms. I am also currently theguitarist and lead singer of the "New Moon Trio," Northfield, MN.

CARLETON COLLEGE SERVICE ACTIVITIES

Sustainability Committee, 2014/15­2016/17

Strategic Planning Physical Plant Working Group, 2011/12.

Chair, Admissions and Financial Aid Committee, 2006/07­2008/09, 1995/96­1997/98.

Curricular Design Team, 2007/08.

Benefits Committee, 2006/07.

Chair, Department of Music, 2000/01­2003/04.

PROFESSIONAL SERVICE ACTIVITIES

President (elected), Society for Music Perception and Cognition (President­Elect 2016,President 2017­18, Past President 2019)

Program Committe, 14th International Conference of Music Perception and Cognition, 2016.

Program Committee, 4th International Conference on Analytical Approaches to World Music,2016.

Guest Editor, Empirical Musicology Review, special issue on "Rhythm Perception andProduction across Styles and Cultures," 2015.

Program Committe, Ninth Triennial Conference of the European Society for the CognitiveSciences of Music, 2015

Program Committee, Biannual Meeting of the Society for Music Perception and Cognition,2013.

Interdisciplinary College (IK) Advisory Board, 2012­present

Co­Chair, 2012 Interdisciplinary College (IK), focus theme "Emotion and Aesthetics,"Gunne at Lake Mohne, Germany, 16­23 March 2012.

Consulting Editor, Music Perception, 2009­present.

Program Committee, Biannual Meeting of the Society for Music Perception and Cognition,2011.

Program Committee, 11th International Conference of Music Perception and Cognition,2010.

Program Committee, CIM10 Conference on Interdisciplinary Musicology, 2010.

President (elected), Society for Music Theory, (President­Elect 2006­2007; President 2007­2009; Past­President 2009­2010).

Bylaws Review Committee Chair (Presidential Appointee), Society for Music Theory, 2003­2007.

Candidate: Board of Trustees of the American Society for Aesthetics, 2005.

Program Committee for the 2004 Annual Meeting, American Society for Aesthetics.

Member, Editorial Board, Music Theory Spectrum, 2003­2005.

SMT 25 Committee (Presidential Appointee), Society for Music Theory, 2002­2005.

Secretary/Treasurer (elected), Society for Music Perception and Cognition, 2002­2005.

Member (elected), Executive Board, Society for Music Theory, 2000­2003.

Nominating Committee, Music Theory Midwest, Fall 2003.

Member (elected), Board of Directors, Society for Music Perception and Cognition, 1999­2001.

Treasurer (elected), Music Theory Midwest 1997­99 and 1999­2001.

Member, Editorial Board, Journal of Music Theory Pedagogy 1992­1999.

Member, Editorial Board, Music Theory Online 1992­1998.

Local Arrangements Committee member for the 1997 meeting of Music Theory Midwest,May 16­17, 1997, at Carleton College.

Executive Board Member (elected), Music Theory Midwest 1995­97.

Bylaws Review Committee Chair (Presidential Appointee), Society for Music Theory 1993­95.

Member of the Program Committee for the 1993 meeting of Music Theory Midwest.

Incorporator and Corporate Agent for Music Theory Midwest, 1992­present (incorporated in the state ofMinnesota in June of 1992. Successfully filed for 501 (c) (3) status with the IRS in the summer of 1993.

Manuscript reviews for Frontiers in Human Neuroscience, Timing and Time Perception,Pyschomusicology: Music, Mind and Brain, Music Perception, The Journal of Cognitive Psychology,Music Theory Spectrum, The Journal of Music Theory, The Journal of Aesthetics and Art Criticism, TheJournal of Musicological Research, The Journal of Cognitive Psychology, Psychological Research, TheQuarterly Journal of Experimental Psychology, Journal of Music Theory Pedagogy, Current Musicology,Music Theory Online, Eighteenth­Century Music, Empirical Musicology Review, The Journal of theAcoustical Society of America, Cambridge University Press, Oxford University Press, Routledge,Ashgate, C.R.C. Press, and W.W. Norton, Inc.

Grant recommendations and/or reviews for the Social Sciences and Humanities Research Council ofCanada, MacArthur Foundation, Grammy Foundation, National Science Foundation, National Institutesof Health, The U.S. Fulbright Foundation, The National Endowment for the Humanities, The BlackMusic Research Council, American Council of Learned Societies, Radcliff Institute Fellowship (HarvardUniversity), Leverhulme Foundation, The American Psychological Association, and Ford FoundationFellowship Programs.

Media appearances in/for The Atlantic, Salon, Scientific American, Norddeutscher Rundfunk, BBC Radio4, The Science Museum of Minnesota, KRLX radio, and Locally Grown Northfield.