UC Press Blog

Music Perception is thrilled to welcome a new cohort of Associate Editors with expertise in music information retrieval, cross-cultural research, music performance and expertise, cognitive neuroscience, auditory and multimodal perception, and music and emotion.    

Laura Bishop is a Researcher at the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Norway. She obtained a PhD in music psychology from the MARCS Institute at Western Sydney University, Australia, and later worked as a postdoctoral researcher at the Austrian Research Institute for Artificial Intelligence in Vienna, Austria. She has led two projects with grants from the Austrian Science Fund about collaborative creativity and togetherness in music ensembles. Her research investigates the cognition of music performance, expressivity, interactivity, and the role of the body in imagining, articulating, and responding to music.

Morwaread Farbood is an Associate Professor and Associate Director of Music Technology in the Department of Music and Performing Arts Professions at New York University. She is also affiliated with the NYU Center for Language, Music, and Emotion (CLaME) and the NYU Music and Audio Research Laboratory (MARL). Her research focuses on understanding and modeling real-time aspects of music listening. She has examined how emergent phenomena such as tonality and musical tension are experienced by listeners and, in conjunction, developed computer-assisted composition systems that utilize cognitive models for music analysis and generation.

Massimo Grassi is Associate Professor in the Department of General Psychology at the University of Padua, Italy, where he focuses on auditory perception and its intersection with cognitive processes. His research investigates how humans interpret complex sounds, with particular attention to the relationship between perception and cognition, as well as the cognitive benefits potentially associated with musical training. Grassi’s recent studies explore whether musical expertise offers cognitive advantages, using behavioral and experimental approaches to examine these mechanisms.

Peter Harrison is an Assistant Professor at the Faculty of Music, University of Cambridge, where he directs the Centre for Music and Science. He is also College Lecturer and Director of Studies in Music at Churchill College, Cambridge. He has an interdisciplinary academic background, having degrees from music, psychology, and computer science departments. Before devoting himself fully to academia he worked as a classical organist, touring across the world and recording various albums as a choral accompanist. He now specialises in computational approaches to music cognition, building and testing computational models of music perception, performance, and composition.

Mats B. Küssner is a Lecturer in the Department of Musicology and Media Studies at Humboldt-Universität zu Berlin and Co-Director of the Erich von Hornbostel Audio Emergence Lab (HAEL), specializing in multimodal perception, music-related mental imagery, emotional responses to music, and performance science. He is principal editor of Music and Mental Imagery (Routledge, 2022) and has edited special issues in Empirical Musicology Review, Psychomusicology: Music, Mind, and Brain, and Music & Science. His work has earned several honours, including the Aubrey Hickman Award from SEMPRE and the Award for Excellence in Teaching from the Faculty of Humanities and Social Sciences at HU Berlin. Küssner’s ongoing research efforts illuminate the fundamental question of how music, as a social-emergent phenomenon, (co-)constitutes human thinking, feeling, and acting.

Kyung Myun Lee is an Associate Professor in the School of Digital Humanities and Social Sciences at KAIST, where she directs the Music and Brain Lab and serves as Adjunct Faculty in the Graduate School of Culture Technology. She earned her PhD in music cognition from Northwestern University. Her research focuses on the neural processing of music, interdisciplinary studies in music cognition and information retrieval, enhancing online concert experiences, and predicting music emotion and preference using biosignals such as EEG and EMG. She has also served as President of the Asia-Pacific Society for the Cognitive Sciences of Music.

Rie Matsunaga is an Associate Professor of Cognitive Science in the Department of Psychology at Kanagawa University. She earned her master’s degree (2001) and PhD (2005) in Psychology from Hokkaido University, Japan. Her research centers on tonality perception, which she investigates through cross-cultural and developmental perspectives, employing behavioral, computational, and neuroimaging approaches.

Music Perception is also thrilled to welcome a new cohort of Consulting Editors with expertise in music theory, cognitive neuroscience, music and dance, auditory perception, musical expertise, and music and emotion.   

Gabriele Cecchetti is a Postdoctoral Research Fellow at the MARCS Institute for Brain, Behaviour, and Development in Sydney. After graduating as a physicist and cellist in Rome, he obtained an MPhil at the Center for Music and Science of the University of Cambridge and a PhD at the Digital and Cognitive Musicology Lab in Lausanne. His research ties together music theory, cognitive science, and computer science in investigating the cognitive underpinnings of musical structure and musical creativity. He serves in the Scientific Board of the Italian Society for Music Theory and Analysis, and as Vice-Director of the journal Analitica.

Martin Hartmann is an Assistant Professor of Musicology at the Centre of Excellence in Music, Mind, Body, and Brain within the Department of Music, Art, and Culture Studies at the University of Jyväskylä, Finland. His research interests encompass music and movement, music perception and cognition, music information retrieval, and music therapy. Currently, he specializes in the computational modeling of multimodal interactions in music and dance contexts. He maintains the MoCap Toolbox, a set of MATLAB functions for motion capture data analysis. In addition to his editorial role at Music Perception, he serves as an Associate Editor for Psychology of Music.

Seung-Goo KIM (김승구) is a cognitive neuroscientist specialized in human neuroimaging and auditory processing. Seung-Goo uses computational models of sounds and non-invasive human neuroimaging techniques (functional/structural MRI and M/EEG source imaging) to investigate (1) how the musical sounds are represented in the human brain and (2) how these neural representations are transformed to evoke intense emotions. After a Ph.D. program at Max Planck Institute for Human Cognitive and Brain Sciences and postdoc fellowships at the University of Cambridge and Duke University, he now works as a research scientist at Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany.

Dr. Jihyun Lee is a Research Professor at the Brain Cognitive Convergence Medical Research Center at Hallym University. She leads a project funded by the Korean National Research Foundation, which investigates changes in cortical activities related to audio-visual processing in individuals with hearing loss using EEG. This research examines how auditory and visual cues interact in these individuals and how this interaction affects their perception of music and emotional responses. 

Danilo Ramos holds a bachelor's degree in popular piano from the State University of Campinas, and a master's and doctorate in psychology from the University of São Paulo, both in Brazil. He completed his postdoctoral studies in music cognition at the Laboratory for Studies in Learning and Development at the University of Burgundy (France). He is currently associate professor at the Federal University of Paraná (Brazil), teaching piano and music psychology in undergraduate and graduate courses. His research interests are centered on musical expertise and emotions, through empirical investigations on the expertise and expressiveness of the Brazilian pianist-performer-arranger-improviser.