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 Sarah Hawkins)
• 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 The golden section in music, 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

• Diana Stammers (1995, Faculty of Music), Set theory in the perception of atonal pitch relations
  
• 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) Intuition and rationality in managerial decision behaviour
• Martin Rohrmeier (2010, Faculty of Music) Implicit learning of musical structure: experimental and computational approaches
• Elizabeth Blake (2010, Department of Archaeology/CMS, 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