Tel: +44 (0)1223 335185
e-mail: ic108[at]cam.ac.uk
Ian Cross’s Home Page
Publications
Lithoacoustics Project
Ian Cross is Professor of Music & Science and is a Fellow of Wolfson College, Cambridge. Together with Sarah Hawkins, he teaches and researches in science and music in the Faculty at Cambridge, where he is Director of the Centre for Music and Science. He is also a contributor to the University’s M.Phil in Screen, Media and Cultures. Publications include the books Musical Structure and Cognition (Academic Press, 1985) and Representing Musical Structure (Academic Press, 1991), both co-edited with Peter Howell and Robert West, the Oxford Handbook of Music Psychology (OUP, 2009), co-edited with Susan Hallam and Michael Thaut, and Language and Music as Cognitive Systems (OUP, 2012), co-edited with Patrick Rebuschat, Martin Rohrmeier, and John Hawkins.
He is involved in experimental investigations of the perception of tonal structures and of the role of culture and formal education in shaping musical cognition, and is also actively interested in exploring the general limits and constraints on scientific accounts of music as well as the relation between music and cognitive evolution. He has also collaborated with Jim Woodhouse, Brian Moore and Claudia Fritz in the Departments of Engineering and Psychology on a Leverhulme Trust-funded project exploring the perceptual correlates of violin acoustics
He is a Trustee and committee member of the Society for Education, Music and Psychology Research (SEMPRE), is on the editorial board of Musica Humana and on the editorial advisory boards of Psychology of Music, Music Perception, AI & Society, The New Soundtrack, and Cognitive Semiotics, and from 1997 until 2000 was the Associate Editor (English language) of ESCOM’s journal Musicae Scientiae.
Ph.D dissertations supervised in the last fifteen years include:
- Alexandra Lamont (1998, Dept of Education), The development of cognitive representations of musical pitch
- Ben Reis (1999, Computer Laboratory), Simulating music learning with autonomous listening agents
- Martin Dixon (1999, Faculty of Music), T. W. Adorno’s critique of post-war musical composition
- Nicola Phillips (1999, Faculty of Music), Audio-visual scene analysis: attending to music in film
- Erica Eyrich (2001, Faculty of Music) The ‘folk-psychology’ of piano pedagogy: concentration and attention
- Jonathan Impett (2001, Faculty of Music) Computational models for musical behaviour in interactive composition/performance systems
- Matthew Lavy (2001, Faculty of Music) Emotion and the experience of listening to music: a framework for empirical research
- Martin Fautley (2002, Faculty of Education) Creativity in the music class: an empirical investigation
- Tim Horton (2003, Faculty of Music) The formal structure of tonal theory
- Martin Iddon (2004, Faculty of Music) The dissolution of the avant-garde: Darmstadt 1968-1984
- Iain Morley (2004, Department of Archaeology) The evolutionary origins and archaeology of music: an investigation into the prehistory of human musical capacities and behaviours
- Nick Collins (2006, Faculty of Music) Towards autonomous agents for live computer music: realtime machine listening and interactive music systems
- Neta Spiro (2007, University of Amsterdam) What contributes to the perception of musical phrases in western classical music?
- Nikki Moran (2007, Open University) Measuring musical meaning: studying physically interactive communicative behaviour in North Indian classical music performance
- Isabel Martinez (2007, University of Surrey at Roehampton) The cognitive reality of prolongational structure in tonal music
- Matthew Woolhouse (2007, Faculty of Music) Interval cycles and the cognition of pitch attraction in Western tonal-harmonic music
- Matthias Seifert (2009, Judge Business School, co-supervised by Allegre Hadida and Ian Cross) Intuition and rationality in managerial decision behaviour
- Martin Rohrmeier (2009, Faculty of Music)Implicit learning of musical structure: experimental and computational approaches
- Elizabeth Blake (2010, Department of Archaeology/CMS, co-supervised with Professor Sir Paul Mellars) Stone “tools” as portable sound-producing objects in Upper Palaeolithic contexts: the application of an experimental study
- Ghofur Woodruff (2010, Faculty of Music) An ecosemantic theory of musical meaning
Current graduate students include:
- Barry Ross (PhD) (co-supervised with Sarah Hawkins)
- Andrew Goldman (PhD) (co-supervised with Sarah Hawkins)
- Fernando Bravo (PhD) (co-supervised with Sarah Hawkins)
- Mark Gotham (PhD) (co-supervised with Justin London)
- Arild Suarez Stenberg (PhD) (co-supervised with Sarah Hawkins)
- Li-Ching Wang (PhD) (co-supervised with Sarah Hawkins)
- Jiaxi Liu (PhD) (co-supervised with Sarah Hawkins)
- Stephan Gericke (MPhil) (co-supervised with Sarah Hawkins)
- Timothy Lee Keeler (MPhil)
- Marcus Martin (MPhil) (co-supervised with Sarah Hawkins)
- Charlie Williams (MPhil)
- Becky Yau (MPhil) (co-supervised with Sarah Hawkins)
- Guy Hayward – Doing M.Phil with Ian Cross on Development of affective responses to music, CMS, Faculty of Music, Cambridge
- Sarah Knight – doing Ph.D with Ian Cross on The perception of metrical and grouping structures, CMS, Faculty of Music, Cambridge
- Michelle Phillips – Doing Ph.D with Ian Cross on Experience of elapsed duration during music listening and its relevance to the Golden Section debate, CMS, Faculty of Music, Cambridge
- Tal-Chen Rabinowitch – Doing Ph.D with Ian Cross and Pam Burnard (Faculty of Education) on Musical Group Interaction and the Development of Empathy in Children, CMS, Faculty of Music, Cambridge
- Beatrice Sicouri – Doing M.Phil with Ian Cross on The communication of tacit knowledge in music master-classes, CMS, Faculty of Music, Cambridge