Carol Lynne Krumhansl is Professor of Psychology and a member of the graduate fields of Music and Cognitive Science at Cornell University. The Music Cognition Laboratory, founded in 1980, has studied a wide range of topics. The experiments on tonality, pitch, and harmony helped establish the psychological reality of music-theoretic concepts. Contemporary proposals on melodic structure and musical tension have been tested and extended to music from other cultures and post-tonal music

Viktor Lazarov is a classically trained pianist and a fourth year doctoral candidate in musicology at the Faculty of Music of the University of Montreal. His thesis topic is the analysis and teaching of interpretation styles in the performance of baroque music by university-level pianists. Viktor’s thesis explores stylistic, historical and aesthetic issues of interpretation through quantitative methods of performance analysis, an accent- based approach to score interpretation and qualitative descriptions of the creative process and practices by expert musicians.

Rebecca Leydon is Professor of Music Theory at Oberlin Conservatory, in Oberlin, Ohio. Born in Saskatchewan, she holds degrees in music from University of Toronto, Eastman School of Music, and McGill University.  Her writing appears in Music Theory Spectrum, Music Theory Online, Perspectives of New Music. Popular Music, JAMS, and various essay collections—most recently, The Oxford Handbook of Spectral Music. 

Project Coordinator

Project Director

Jason Noble is a composer and researcher whose work focuses on meaning in contemporary music. He currently holds a postdoctoral fellowship at the Université de Montréal, funded by FQRSC. Previously he worked as a postdoctoral researcher with the ACTOR project (Analysis, Creation, and Teaching of Orchestration). His PhD from McGill University was funded by the prestigious Vanier Scholarship (SSHRC).

Lindsey Reymore is an assistant professor of Music Theory in the School of Music, Dance and Theatre and co-director of the CACTUS Music Lab at ASU. Her research investigates the role of timbre—the perceptual qualities or characteristics of sound—in musical experience.

ACTOR Webmaster

Composer, electronic musician, and improvising pianist Anthony Tan (Canada) intersects notated instrumental practice with signal processing, synthesized models, sampling, and field recording, resulting in music that explores the identity of sound, and the fluidity of genre.

Daphne Tan is Associate Professor of Music Theory. Her research explores questions about music and the mind, with methodologies and perspectives from the history of music theory and cognitive science.

Michael Tenzer is active as a performer, composer, scholar, and teacher. As an ethnomusicologist his four books and many articles address topics ranging from aesthetics to category theory, and has been instrumental in the recent revival of music analysis techniques in the study of world traditions.

Musicienne et ingénieure de formation, je mène des recherches et enseigne dans le domaine de l'acoustique musicale, de l'organologie, de la psychoacoustique et de l'informatique musicale. Dès mon entrée en fonction à la Faculté de musique, je me suis engagée activement dans le développement de plusieurs secteurs académiques, de la composition électroacoustique à la musicologie.

Zachary Wallmark is a musicologist with an interest in popular music, timbre, and music cognition. Prior to his appointment at UO, Wallmark served on the music faculty at Southern Methodist University, where he also held a courtesy appointment in psychology.

Yadegari is currently on the faculty of the department of Music at UC San Diego, and the director of the Sonic Arts Research and Development group and the Initiative for Digital Exploration of Arts and Sciences (IDEAS) at the Qualcomm Institute (UC San Diego's branch of California Institute for Telecommunication and Information Technology).