Professor of Music & Science
Secretary of the Degree Committee
11 West Road
Cambridge CB3 9DP
Ian Cross is Professor of Music & Science and is a Fellow of Wolfson College, Cambridge. He is responsible for teaching science and music in the Faculty at Cambridge, where he is Director of the Faculty’s Centre for Music and Science (CMS). He is also a contributor to the University’s M.Phil in Film and Screen Studies. 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; 2nd edition, 2016), co-edited with Susan Hallam and Michael Thaut, and Language and Music as Cognitive Systems (OUP, 2012), co-edited with Patrick Rebuschat, Martin Rorhmeier 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. His current research focuses on the exploration of the cognitive processes underlying spontaneous interaction in speech and music (with Sarah Hawkins, Cambridge, and Richard Ogden, University of York), and on the relationships between musical group interaction and the development of the capacity for empathy in children (with Tal-Chen Rabinowitch, ILABS, Seattle), funded by the Templeton Foundation. He collaborated with Jim Woodhouse and Brian Moore in the Departments of Engineering and Psychology on a Leverhulme Trust-funded project exploring the perceptual correlates of violin acoustics.
He is a member of the Committee and a Trustee of the Society for Education, Music and Psychology Research (SEMPRE), is on the editorial advisory boards of Psychology of Music, Music Perception, AI & Society, The Soundtrack, and Cognitive Semiotics, and from 1997 until 2000 was the Associate Editor (English language) of ESCOM’s journal Musicae Scientiae. Along with Professors Graham Welch and Adam Ockelford, he is Series Editor of Ashgate's SEMPRE Studies in the Psychology of Music.
Departments and Institutes
Selected publications since 2012:
(for a more complete list and access to preprints of papers and chapters, see http://www-personal.mus.cam.ac.uk/~ic108/crosspubs96.html)
Hallam, S., Cross, I. & Thaut, M. (Eds.) (2016) Oxford Handbook of Music Psychology, (2nd edition). Oxford, Oxford University Press
Rebuschat, P., Rohrmeier, M., Hawkins, J. & Cross, I. (Eds.) (2012) Language and music as cognitive systems. Oxford University Press
Franco, F., & Cross, I. (2012). Empirical Musicology Review, 7 (1-2), special issue constituting proceedings of BPS seminar on "Language and music, meaning and entrainment", December 2012, Cambridge (see http://emusicology.org/).
Knight, S., Spiro, N., & Cross, I. (2016) Look, listen and learn: Exploring effects of passive entrainment on social judgements of observed others. Psychology of Music, 1-17. [doi:10.1177/0305735616648008]
Woolhouse, M., Tidhar, D., and Cross, I. (2016) Effects on interpersonal memory of dancing in time with others. Frontiers in Psychology, 7(167), 1-8. [doi: 10.3389/fpsyg.2016.00167]
Woolhouse, M., Cross, I. & Horton, T. (2016) The cognition of non-adjacent harmonic relations. Psychology of Music, 44(4), 802-815.
Blake, E. & Cross, I. (2015) The acoustic and auditory contexts of human behavior. Current Anthropology, 56(1), 81-103.
Cross, I. (2014). Music and communication in music psychology. Psychology of Music, 42(6), 808-819.
Rohrmeier, M. A., & Cross, I. (2014). Modelling unsupervised online-learning of artificial grammars: Linking implicit and statistical learning. Consciousness & Cognition, 27c, 155-167.
Cross, I. (2013). "Does not compute?": music as real-time communicative interaction. AI & Society, 28(4), 415-430.
Rohrmeier, M. & Cross, I. (2013). Artificial grammar learning of melody is constrained by melodic inconsistency: Narmour's principles affect melodic learning. PLosONE, 8(7), e66174.
Rabinowitch, T-C, Cross, I. & Burnard, P. (2013). Long-term musical group interaction has a positive influence on empathy in children. Psychology of Music, 41(4), 484-498.
Cross, I. (2012). Cognitive science and the cultural nature of music. Topics in Cognitive Science, 4(4), 668-677.
Fritz, C., Blackwell, A. F., Cross, I., Woodhouse, J., & Moore, B.C.J. (2012). Exploring violin sound quality: investigating English timbre descriptors and correlating acoustical modifications with perceptual properties. Journal of the Acoustical Society of America, 131 (1), 783-794.
Chapters in books
Blake, E. & Cross, I. (2016, in press). Stone Tools as Sound Tools: If Rock Could Talk. In R. Till, C. Scarre & J. Kang (Eds.), Sonic Archaeology: The Acoustics and Music of British Prehistory. London: Routledge.
Cross, I (2016) The nature of music and its evolution. In S. Hallam, I. Cross, and M. Thaut (Eds.) Oxford Handbook of Music Psychology , 2nd Edn, (pp 3-17), Oxford, Oxford University Press.
Cross, I. & Tolbert, E (2016) Music and meaning. In S. Hallam, I. Cross, and M. Thaut (Eds.) Oxford Handbook of Music Psychology, 2nd Edn, (pp 33-46), Oxford, Oxford University Press.
Stainsby, T. & Cross, I (2016) The perception of pitch. In S. Hallam, I. Cross, and M. Thaut (Eds.) Oxford Handbook of Music Psychology, 2nd Edn, (pp 63-79), Oxford, Oxford University Press.
Hallam, S., Thaut, M. & Cross, I. (2016) Where now? In S. Hallam, I. Cross, and M. Thaut (Eds.) Oxford Handbook of Music Psychology, 2nd Edn, (pp 905-913), Oxford, Oxford University Press.
Cross, I. (2015). Music, speech and meaning in interaction. In Christian Maeder & Mark Reybrouck (Eds.). Music, Analysis, Experience. New Perspectives in Musical Semiotics. (pp19-30) Leuven: Leuven University Press.
Hawkins, S., Cross, I., & Ogden, R. (2013). Communicative interaction in spontaneous music and speech. In M. Orwin, C. Howes & R. Kempson (Eds.), Music, language and interaction (pp285-329), London: College Publications.
Cross, I., Fitch, W. T., Aboitiz, F., Iriki, A., Jarvis, E. D., Lewis, J., Liebal, K., Merker, B., Stout, D., and Trehub, S. E. (2013). Culture and evolution. In Michael Arbib (Ed.) Language, music and the brain, (pp541-562), Strüngmann Forum Reports, Vol. 10, Cambridge, MA, MIT Press.
Rabinowitch, T-C, Cross, I. & Burnard, P. (2012). Between Consciousnesses: Embodied Musical Intersubjectivity. In M. Reason & D. Reynolds (Eds.), Kinesthetic Empathy in Creative and Cultural Practices, (pp109-120), Intellect Press, Bristol.
Cross, I. (2012). Music as an emergent exaptation. In N. Bannan (Ed.) Music, language and human evolution (pp263-276), Oxford, Oxford University Press.
Cross, I., Laurence, F. & Rabinowitch, T-C. (2012) Empathy and creativity in group musical practices; towards a concept of empathic creativity. In G. MacPherson and G. Welch (Eds.) Oxford Handbook of Music Education, (pp337-353). Oxford, Oxford University Press.
Cross, I. (2012). Music and biocultural evolution. Rewritten chapter for second edition of M. Clayton, R. Middleton, T. Herbert (Eds.) The Cultural Study of Music: A Critical Introduction (pp17-27), London: Routledge.