Prof. Zohar Eitan

ביה"ס למוזיקה בוכמן-מהטה סגל אקדמי בכיר

Zohar Eitan's CV

Curriculum Vitae

Updated March 7, 2021

 

Zohar Eitan, Ph.D

Israeli I.d. no.: 053628970

 

Faculty: Arts   Dept.: Musicology Program, Buchman-Mehta School of Music.

 

Home Address: Haoranim 9, Sde Warburg, Israel

Phone no.: +972-97420726 (H), +972-36408415 (W)

Date and place of birth: 20.7.55, Kfar Sava; Israel

Marital Status: Divorced        No. of children: 1

 

 

A. EDUCATION

Period of Study

Name of University

Subject

Degree

Date of award

1977-1982

Tel Aviv University

Music (theory & Composition), Philosophy

B.A.

1982

1982-83

Tel Aviv University

Music composition

M.M.A (summa cum laude)

1983

1984-91

University of Pennsylvania (USA)

Music theory

Ph.D.

1991

 

 

Title of Master’s thesis: “Functionality within Cluster Harmony: Primary Notes and Cadences in the First Movement of Ligeti’s Double Concerto.”     

Supervisor: Abel Ehrlich

 

Title of Doctoral dissertation: "Style and Gesture: A Study of Melodic Peaks”

Supervisor: Leonard B. Meyer

 

 

B. FURTHER STUDIES:

Period of Study

Name of Institution

Subject

1979

Centre Acanthes, Aix, France

Music composition (Studies with György Ligeti_

1982

-

Music composition (Private studies with Luciano Berio)

2005

Mannes Institute for Advanced Studies in Music

“Analysis of musical rhythm” workshop for senior researchers

2009

Mannes Institute for Advanced Studies in Music

“Music and the mind” workshop for senior researchers

2011

Rice University, Houston, TX

“Exploring the mind through music,” workshop for music researchers and neuroscientists

 

 

 

 

 

C. ACADEMIC AND PROFESSIONAL EXPERIENCE

Period

Name of institution

Department

Rank/Function

1982-84

The Open University (Israel)

Humanities (Music)

Instructor (music theory)

1983-84

Tel Aviv University

Rubin Academy of Music

Teaching assistant (music theory & analysis)

1986-87

University of Pennsylvania, Philadelphia, USA

College of General Studies

Instructor (music theory & analysis)

1990-91

Tel Aviv University

Musicology

Instructor (music theory & analysis)

1991-93

Tel Aviv University

Musicology/Rubin Academy of Music

Guest lecturer (music theory & analysis)

1993-97

Tel Aviv University

Musicology

Lecturer (music theory & analysis)

1997-2007

Tel Aviv University

Musicology

Senior Lecturer (music theory & analysis, music cognition)

2003-04

Ohio State University, Columbus, Ohio (USA)

School of Music

Visiting Scholar (music cognition)

2004

Northwestern University, Evanston, Illinois (USA)

School of Music

Visiting Scholar (music cognition)

2007-2013

Tel Aviv University

School of Music

Associate Professor (music theory & analysis, music cognition)

2014

University of Arkansas, Fayetteville

Department of Music

Visiting Scholar

2015

Harvard University

School of Music

Visiting Scholar

2013-

Tel Aviv University

School of Music

Professor (music theory & analysis, music cognition)

 

 

 

D. ACTIVE PARTICIPATION IN SCIENTIFIC MEETINGS

Year

Meeting

Presentation

1986

9th annual meeting, Society for Music Theory, Bloomington, Indiana

“Functionality within Cluster Harmony: Primary Notes and Cadences in the First Movement of Ligeti’s Double Concerto.”

1989

4th Annual Meeting, the New England Conference of Music Theorists, Waltham, Mass.

“Family Resemblance in Music”

1989

12th annual meeting, Society for Music Theory, Austin, Texas

"Family Resemblance: Towards an Alternative Account of Coherence in Music.”

1995

18th annual meeting, Society for Music Theory, New York, NY

“Beethoven’s Thematization of Musical Space: The Case of the Appassionata.”

1997

3rd Triennial ESCOM Conference. Uppsala, Sweden

“Registral Direction and Melodic Expectancy: A Reexamination of Empirical Data.”

1997

3rd Biannual Meeting, Society for Music Perception and Cognition (SMPC), Cambridge, Mass.

"Melodic Implication and Pitch Direction.”

1997

16th International Congress, International Musicological Society, London, UK.

“Registral Direction and Melodic Implication.”

1999

International conference, “Rethinking Interpretive Traditions in Musicology”, TAU.

“Thematic Gestures: Theoretical Preliminaries and an Analysis.”

2000

Biennial 19th-Century Music Conference, Egham, UK.

“Thematic Gestures in Beethoven’s Piano Sonatas”

2000

6th International Conference on Music Perception and Cognition, Keele, UK.

“Musical gesture, analysis, and listening.”

2001

Annual Meeting of the Society for Music Perception and Cognition (SMPC), Queen's University, Kingston, Ontario, Canada.

“(Re)constituting Musical Motives.”

2002

7th international conference on music perception & cognition, Sydney, Australia.

 

 “Perceiving thematic structure: similarity perception versus explicit categorization tasks.” (with N. Ziv)

2003

International Workshop on Gesture and Sign Language based Human-Computer Interaction (GW 2003), Genoa, Italy.

“Motion imagery and musical parameters” (poster presentation with R. Granot).

 

2003

International Conference, "Music and Gesture,” University of East Anglia, Norwich, UK.

“Musical parameters, motion imagery and the intensification–abatement model: An empirical study.”

2003

5th Triennial ESCOM Conference. Hanover, Germany.

“Inter-parametric analogy and the perception of similarity in music.” (with R. Granot).

2004

1st Conference on Interdisciplinary Musicology, Graz, Austria.

 “Musical parameters and images of motion.” (with R. Granot).

2004

8th International Conference on Music Perception & Cognition (ICMPC8), Evanston, Illinois, USA.

Organizer, symposium on Music and cross-modal interaction.

2004

8th International Conference on Music Perception & Cognition (ICMPC8), Evanston, Illinois, USA.

“Musical parameters and spatio-kinetic imagery” (with R. Granot).

 

2004

27th annual meeting, Society for Music Theory, Seattle, Washington, USA

“Imagining musical space and motion.” (with R. Granot).

2005

International study day “Musical Performance and Musical Research,” Tel Aviv University.

“Intensity contours and cross-dimensional interaction in music: Converging evidence from recent experiments.”

2005

20th Script conference, Nir Etzion, Israel

“Latent metaphors for auditory pitch.”

2006

3rd International Symposium on the Science of Musical Language (SLM3), Bologna, Italy.

“Thematic coherence and listeners' aesthetic judgments.”

2006

Seeing the Voices: Multi-Disciplinary view of Synesthesia and Cross-Modal Transfers. International Symposium, Tel Aviv University

“Beethoven’s last piano sonata and those who follow crocodiles: Cross-domain mappings of auditory pitch in a musical context.”

2006

9th International Conference on Music Perception & Cognition (ICMPC9), Bologna, Italy.

“Growing oranges on Mozart’s apple tree: ‘Inner form’ and aesthetic judgment” (with R. Granot).

2006

9th International Conference on Music Perception & Cognition (ICMPC9), Bologna, Italy.

“Beethoven’s last piano sonata and those who follow crocodiles: Cross-domain mappings of auditory pitch in a musical context” (with R. Timmers).

2006

SCRIPT workshop, "Metaphors: Linguistic and Non-linguistic Aspects." Tel Aviv U.

"Music perception and metaphorical transfer" (With M. Adler)

2007

"Music and Language as Cognitive Systems" Conference, Cambridge, UK.

"Cross-domain mappings of pitch in musical contexts" (with R. Timmers).

2007

8th Conference of the Society for Music Perception and Cognition (SMPC), Montreal, Canada.

Musical parameters and children's spatio-kinetic imagery. (with N. Tubul)

 

2007

8th Conference of the Society for Music Perception and Cognition (SMPC), Montreal, Canada.

Higher is faster, but for whom? Pitch register, tempo preferences, musical training &gender. (with H. Tamir)

2007

Association for Linguistic Typology: 7th Biannual Meeting (ALT-7), Paris, France

Metaphors for high and low auditory pitch: A cognitive basis for cross-linguistic variation

2008

10th International Conference on Music Perception & Cognition (ICMPC10), Sapporo, Japan (August 2008).

How music touches: The effects of loudness, pitch, timbre and vibrato on listeners' auditory-tactile mappings (with I. Rothschild).

2008

10th International Conference on Music Perception & Cognition (ICMPC10), Sapporo, Japan (August 2008).

Perceived musical tension and the interaction of dynamic auditory parameters (with R. Granot).

2008

10th International Conference on Music Perception & Cognition (ICMPC9), Sapporo, Japan (August 2008).

Louder is higher: Cross-modal interaction of loudness change and vertical motion in speeded classification (with A. Schupack & L. Marks).

2008

10th International Conference on Music Perception & Cognition (ICMPC9), Sapporo, Japan (August 2008).

Musical parameters and the classification of melodic motives (poster presentation; with R. Granot).

2009

ESCOM 2009, 7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyväskylä, Finland (August 2009).

Musical Parameters and Children's Movement Responses (with D. Kohn).

2009

ESCOM 2009, 7th Triennial Conference of European Society for the Cognitive Sciences of Music, University of Jyväskylä, Finland (August 2009).

Children's cross-modal mappings of dynamic pitch stimuli (with M. Marcus).

2010

Visible Sounds conference, Israel Academy of Science, February 21-25

Cross-modal interactions and the meanings of music

2010

10 Conference on Interdisciplinary Musicology, Sheffield, July 24-25

Cross-modal mappings of musical parameters in the congenitally and early blind (With E. Ornoy & R. Y. Granot).

2010

11th International Conference on Music Perception & Cognition (ICMPC11), Seattle, WA (August 2010).

 Common and rare musical keys are absolutely different: implicit absolute pitch, exposure effects, and pitch processing (with M. S. Ben-Haim & E. Chajut)

2010

11th International Conference on Music Perception & Cognition (ICMPC11), Seattle, WA (August 2010).

 Effects of pitch register, loudness and tempo on children's use of metaphors for music (poster presentation with A. Katz and Y. Shen)

2011

10th Conference of the Society for Music Perception and Cognition (SMPC), Rochester, NY (August, 2011).

Listeners’ images of motion and the interaction of musical parameters (With R. Granot)

2011

International Society for Psychophysics, 27th Annual Meeting , Herzlia, Israel (October, 2011).

Lower pitch is larger, yet falling pitches shrink: Interaction of pitch and size change in speeded discrimination (with A. Schupak, A. Gotler, and L. E. Marks)

2012

International Multisensory Forum 2012 (IMRF 2012), Oxford, England, June 2012.

Garner's paradigm and audiovisual correspondence in dynamic stimuli: pitch and vertical direction (with L. E. Marks)

2012

12th International Conference on Music Perception & Cognition (ICMPC12), Thessaloniki, Greece (July 2012).

Rare pitch-classes are larger and stronger: Implicit absolute pitch, exposure effect, and qualia of harmonic intervals (with M. S. Ben-Haim and E. Chajut)

2012

12th International Conference on Music Perception & Cognition (ICMPC12), Thessaloniki, Greece (July 2012).

Congruence of pitch and loudness with human movement and visual shape (with D. Kohn).

2012

12th International Conference on Music Perception & Cognition (ICMPC12), Thessaloniki, Greece (July 2012).

The embodied effect of facial expressions on pianists’ performance interpretation (poster presentation with H. Tamir).

2012

12th International Conference on Music Perception & Cognition (ICMPC12), Thessaloniki, Greece (July 2012).

Tonality and affective experience: What the probe tone method reveals (poster presentation with E. Margulis).

2013

Experimental Psychology Society Meeting, April 2013

Music and sound symbolism: Prospects and challenges of empirical research.

2014

13th International Conference on Music Perception & Cognition (ICMPC13), Seoul, South Korea (August 2014).

Love at first sound? Effects of presentation order and exposure rate on the evaluation of musical performance. (Poster presentation, with I. Solomon)

2014

13th International Conference on Music Perception & Cognition (ICMPC13), Seoul, South Korea (August 2014).

Between Peaks and Troughs: Local and Global Aspects of Contour and the Perception of Melodic Direction. (Poster presentation, with N. Cohen-Shani)

2014

Milestones in Music Cognition (BKN 25), Montreal, Canada, July 2014

Pitch height, parametric scales, and cross-domain mappings.

2015

International Conference on the Multimodal Experience of Music (ICMEM), University of Sheffield, Sheffield, UK (March 2015).

Cross-modality and Emotion in Schubert’s Die Stadt. (with R. Timmers)

2017

Israeli Society for Cognitive Psychology, Akko (February 2017)

Cross-Modal Correspondence between  Tonal Stability and Visual Brightness (with N. Maimon and D. Lami)

2017

25th Anniversary Conference of the European Society for the Cognitive Sciences of Music (ESCOM). Ghent, BL., July 2017.

Cross-modal Correspondences of Tonal Stability (with Neta Maimon and Dominique Lamy)

2018

15th International Conference on Music Perception and Cognition and 10th triennial meeting of the European Society for the Cognitive Sciences of Music. Graz, AU.

Tonal Space, Perceived: Associations of Tonal Stability and visual space (with Neta Maimon and Dominique Lamy).

2019

Sixth Conference on Cognition Research of the Israeli Society for Cognitive Psychology. Akko, IL., February, 2019

Associations of Tonal Stability and Visual Space: Explicit and Implicit Measures (with Neta Maimon and Dominique Lamy)

2019

18th Conference of the Society for Music Perception and Cognition (SMPC), NYU, 5-7 July, 2019

Tonics laugh, chromatics cry: children associate tonal hierarchy with emotional valence (with Assaf Subery)

2019

18th Conference of the Society for Music Perception and Cognition (SMPC), NYU, 5-7 July, 2019

For tonics, turn left and go high: Spatial mappings of tonal stability (with Neta Maimon and Dominique Lamy)

2019

21st Conference of the European Society for Cognitive Psychology, Sptember 25-28, 2019

Cross-modal correspondences between tonal stability and visual space: Associating musical syntax with spatial location (with Neta Maimon and Dominique Lamy)

 

 

 

E. AWARDS, GRANTS, AND FELLOWSHIPS

Year

Name of institution

Occasion

1974-81

USA-Israel Cultural Foundation, Tel Aviv, Israel

Sharet Educational Grants in music composition

1979

Israeli Council for Arts and Culture

Travel grant to a composition workshop in France

1981

Rubin Academy of Music, Tel-Aviv University

First Prize in Composition

1983

USA - Israel Cultural Foundation, Tel Aviv

Artists and teachers grant

1984

Italian Ministry of Foreign Affairs, Rome

Travel grant to study composition with L. Berio (declined)

1984-85

Rothschild Foundation

Rothschild Fellowship for Ph.D. candidates

1985-86

University of Pennsylvania, Philadelphia, USA

Dean's Fellowship

1986-87

University of Pennsylvania

Dean's Fellowship

1987-88

University of Pennsylvania

Dean's Fellowship

1988-89, 1989-90

University of Pennsylvania

Mellon Dissertation Fellowships

1991-92

Israel Absorption Ministry, Jerusalem

Research grant

1993-95

Tel Aviv University

Basic Research Foundation grants

1997-98

Tel Aviv University

Basic Research Foundation grant

2002-2007

Israel Science Foundation, Jerusalem, Israel

Research grants (PI; total 87,000 $, all granted to Z.E.). Project: “Processes of categorization and the perception of thematic-motivic structure in music.”

2005

Mannes Institute for Advanced Studies in Music

Mannes Institute Fellowship

2006-2010

United States-Israel Binational Science Foundation, Jerusalem

Research Grants. (PI1, with With L. B. Marks (Yale) as PI2; 4 years, total grant 140,000$; entire sum granted to Z.E).

Project: “Interaction of auditory and visuospatial dimensions: Speeded discrimination experiments using dynamic stimuli.”

2008

ICMPC

Young Researcher Award citation (given to Inbar Rothschild for a joint research paper)

2009

Mannes Institute for Advanced Studies in Music

Mannes Institute Fellowship

2009

ESCOM

Young Researcher Award, 1st prize (given to Dafna Kohn for a joint research paper)

2009-2012

Israel Science Foundation

S.T.A.R.T (BIKURA) Research grants (PI1, With E. Chajut (Open U.) as PI2; 3 years, total grant 585,000 NIS).

Project: "Implicit absolute pitch and exposure to musical keys: an unacknowledged effect of familiarity on the perception and evaluation of music"

2009, 2010

TAU

Research Encouragement Fund (10,000 and 14,000 NIS)

2010-2013

Yad Hanadiv (Rothschild Foundation)

Humanities Innovation Grant (with M. Grover and D. Tanai); 3 years; total grant 710,000 NIS.

Project: "Reconceived great works of music."

2012-2015

British Academy

British Academy International Partnership and Mobility Scheme (with R. Timmers, N. Dibben, and R. Granot); 3 years; £27,230.  Project: Establishing an international network for cross-modal research in music.

2012-13

TAU

Vice President for Research Grant (19,000 NIS)

2014-2016

Yad Hanadiv (Rothschild Foundation)

Humanities Innovation Grant extension (with M. Grover and D. Tanai); total grant: 600,000 NIS.

Project: "Reconceived great works of music."

2014-15

TAU

Vice President for Research Grant (10,000 NIS)

2016-21

Israel Science Foundation, Jerusalem, Israel

Research grant (600,000 NIS, 3 years). Project: “Bright dominants, fat mediants? Cross-modal correspondences and tonal stability.”

2021-23

Emory University/TAU

Emory-TAU research collaboration fund (20,000 $)

 

 

 

F. MEMBERSHIP IN PROFESSIONAL SOCIETIES

1986-1990, 1995, 2005

Society for Music Theory (USA)

1989-90

New England Society for Music Theory (USA)

1997, 2001, 2007-8

Society for Music Perception and Cognition (USA)

1997-8

International Musicological Society

2000, 2003-4, 2009-2010

European Society for Music Perception and Cognition

1992-2002, 2010-2014

Israel Musicological Society

 

 

 

STUDENTS SUPERVISED BY CANDIDATE

 

G1. DOCTORAL STUDENTS

Begun/Completed

Name of Student

Title

Academic institution

Co-supervisor

2004-2010

Katz, Alexandra

"Metaphor in children’s representation of musical thought "

TAU

Y. Shen

2005-2011

Cohen, Dafna

"Music and movement: the relationships of musical parameters, bodily movement responses, and listeners' images of motion"

TAU

 

2006-2014

Adler, Mordechai

"Cross-modal Interaction as a basis for Musical Meaning"

TAU

D. Algom

2007-2016

Gabai, Alin

The application of music-theoretical models in harmony textbooks

TAU

E. Rapoport (to 2009); C. Schachter, Mannes College

2010-

Oren, Avigail

 

Auditory and Visual identification of structural musical parameters

TAU

D. Mioduser

2016-2021

Maimon, Neta

Tonal stability and Cross-modal correspondences

TAU (Psychology)

D. Lami

2019-

Wohl, Moshe

Shimon Cohen’s orchestration style: A test case in orchestration analysis

TAU

 

 

 

Member of Ph.D. Committees:

 

Begun/Completed

Name of Student

University

Department

2009-2012

Tirtza Yuval

Hebrew U.

Musicology

2010-2013

Moshe-Shai Ben Haim

 TAU

Psychology

2011-2016

Vered Shakuf

 TAU

Psychology

2012-2020

Amos Boasson

Hebrew U.

Musicology

2012-2019

Hila Tamir

NYU

Music (composition)

2016-2020

Naji Ismail

Hebrew U.

Musicology

2017-2020

Itai Cohen

Hebrew U.

Musicology

2020-

Maya Twieg

Hebrew U.

Musicology

 

 

 

G2. M.A. STUDENTS

Begun/Completed

Name of Student

Title

Academic institution

Co-supervisor

1994-1995

Katz, Alexandra

Children's listening skills as applied to polyphonic music

TAU

 

1995-1997

Harari, Odeda

"Circular melodies in Stravinsky's music, 1901-1950"

TAU

 

2000-2002

Bashan, Nava

" Timbre and texture as structural factors in Louis Andriessen’s music"

TAU

A. Wolman

2001-2003

Mizrakhi, Itzkhak

"Extending the sonic potential of keyboard instruments"

TAU

 

2003-2004

Viks, Anat

 

"Motion and directionality in orchestral music of Takimitsu"

TAU

 

2001-2004

Bronitzki, Zipi

"Fragment structure in Ives’ 2nd quartet"

TAU

 

2004-2005

Azaryahu, Libi

"The contribution of live concerts to the development of listening skills in children."

TAU

 

2004-2005

Gal, Aya.

"Melodic types in Stravinsky’s Symphony of Psalms."

TAU

 

2004-2006

Takachenko, Irena.

"Texture in Rachmaninov’s Piano Works: The Variations on a Theme by Chopin, op. 22"

TAU

E. Rapoport

2004-2006

Levin, Galia

"Dream and Reality in Schubert's piano sonata in A minor, D.784 "

TAU

E. Rapoport

2005-2007

Tubul, Nurit

"Musical parameters and children's spatio-kinetic imagery"

TAU

 

2005-2008

Tamir, Hila

"The influence of pitch height, melodic features, musical training and gender on listeners' tempo preferences"

TAU

 

2006-2009

Marcus, Miri.

"Children's visual analogies for dynamic pitch"

TAU

 

2006-2010

Keren, Ilil

"Early musical development: What develops?"

TAU

 

2008-2010

Wohl, Moshe

Orchestration as a parameter in analysis: Comparing orchestrations of 1st themes in expositions and recapitulations in Beethoven’s symphonies (M. Mus.)

TAU

 

2008-2010

Boasson, Amos

Relationships of sound and motion in infants and the sense of musical motion (M.Mus.)

TAU

 

2008-2010

Oren, Avigail

Nonmusicians' perception of musical structure: comparing audition-only to audio-visual exposure

TAU

 

2008-2010

Gazit, Ofer

Improvisation in music: Historical, Aesthetic and Cognitive perspectives

TAU

M. Grover-Friedlander

2010

Knaan, Yonatan

Characteristics of Spectralist music as expressed in Tristan Murail’s Ethers (M. Mus.)

TAU

R. Seroussi

2007-2011

Nassim Khalaf

The musical characteristics of sixth Taqasim byRiyad Al-Sonbati

TAU

A. Bar-Yosef

2008-2011

Raphaeli, Moshe

Investigating dynamic crossmodal interactions using the oddball paradigm: Congruency effects between pitch direction and vertical motion.

TAU

 

2010-2013

Mugrabi, Avi

Analysis of Giacinto Scelsi’s String Quartet (M. Mus.)

TAU

R. Seroussi

2010-2014

Solomon, Inbar

Order and exposure effects in the evaluation of music performance

TAU

 

2012-2014

Cohen-Shani, Neta (M.A., Musicology)

Adapting Navon’s global vs. local paradigm to melodic perception

TAU

 

2012-2019

Karny, Tom

Extended vocal techniques in choir singing

TAU

R. Seroussi

2013-2016

Sarid, Daniel

Improvisation vs. performance: A tapping experiment.

TAU

 

2014-2016

Maimon, Neta

Cross-modal correspondences of tonal position.

TAU (Psychology)

D. Lami

2016-2019

Shlomi Freig

Poetry reading as a musical process

TAU

M. Grover-Friedlander

2016-2019

Dana Khazma

Varieties of absolute pitch perception

TAU

 

2017-2019

Asaf Suberi

Tonal stability and children’s perception of emotion

Lewinski College

 

2019-2021

Yotam Coman

Crossmodal correspondences in people with dementia

TAU (Psychology)

 

2019-2021

Yael Taub

Learning chord structure

TAU

 

2020-

Omer Raz

Verbal Imagery in choral music

TAU

 

2020-

Ilan Sofer

To be determined

TAU

 

2020-

Emmanuel Zweig

Effects of notes’ size and shape on processing musical notation

TAU

 

 

 

 

H. ORGANIZATIONAL AND EDITORIAL ACTIVITIES

 

Institution

Years

Activity or function

Tel Aviv University

1999

Organized the International Conference “Rethinking interpretive traditions in musicology,”

TAU

2003-05

Co-editor, Orbis Musicae

ICMPC

2004

Initiated and chaired the symposium “Music and cross-modal interaction,” ICMPC8, Northwestern University

Empirical Musicology Review

2005-

Associate Editor

Tel Aviv University

2006

Organized (with Yeshayahu Shen), the international conference “Seeing the Voices: Multidisciplinary view of Synesthesia and Cross-Modal Transfer"

Tel Aviv University

2004-06

Chair, Department of Musicology

ESCOM 2009

2009-2010

Member of the Program Committee

Psychomusicology

2008-

Consulting Editor

CIM10

2010

Member of the Program Committee

Music Theory Spectrum

2010-2012

Associate Editor

Tel Aviv University

2010-

Initiates and organizes (with M. Grover and D. Tanai) the educational program "Reconceived great works of music" Supported by Yad Hanadiv/High Education Commission (MALAG) Humanities Grant.

IMCOG

2010-

Initiates and organizes (with H. Tamir and R. Granot) the Israeli Music Cognition Group (IMCOG)

TAU

2012-

Head of the musicology division, School of Music

ICMPC-ESCOM

2012

Scientific Advisory Board

BKN 25 (Milestones in Music Cognition)

2014

Member of the Program Committee

ICMEM

2015

Member of the Program and organizing Committees

 

 

 

I.              OCCASIONAL REVIEWS

For peer-reviewed journals:

Cognitive Science

Empirical Musicology Review

Empirical Studies of the Arts

Experimental Psychology

Frontiers in Psychology

Journal of Experimental Psychology: Human Perception and Performance

Journal of New Music Research

Memory and Cognition

Min-Ad

Multisensory Research

Music and Science

Music Perception

Music Theory Spectrum

Musicae Scientiae

Musicology Australia

Neuropsychologia

Orbis Musicae

Peyimot (פעימות)

Psychological Science

Psychology of Music

Psychomusicology: Music, Mind, and Brain

Psychonomic Bulletin & Review

Quarterly Journal of Experimental Psychology

 

Reviews of chapters submitted to scholarly books:

Timmers, R., & R. Ashley (Eds.), Routledge Companion to Music Cognition, 2017.
Wöllner, C. (Ed.). Body, Sound, and Space in Music and Beyond: Multimodal Explorations. London: Ashgate, 2017.
Grimshaw, M. Walther-Hansen, M. and Knakkergaard, M. (Eds.), Oxford Handbook of Sound & Imagination. Oxford: Oxford University Press, 2018.

For program committees of international conferences:

ICMPC 10, 2008

ICMPC 11, 2010

ESCOM 2009

CIM 2010

ICMPC-ESCOM 2012

BKN 25 (2014)

ICMEM 2015

ESCOM 2017

ICMPC 2018

 SMPC 2019

 

For grant foundations:

Israel Science Foundation

McArthur Foundation

ERC (starting grants)

ERC (advanced grants)

 

 

 

 

A list of publications is presented separately

Zohar Eitan's research interests

Music Perception and Cognition (Cross-modal correspondences in music, music and metaphor, Cognition of musical structure, Cognition of thematic-motivic relationships, Absolute pitch, music perception and psychedelics)

Music Theory (Implication-realization model)

Music Analysis

​Cross-modal correspondences

Zohar Eitan's Publications

Zohar Eitan

Sam Rubin Musicology Program, Buchman-Mehta School of Music

Yolanda and David Katz Faculty of the Arts

Tel Aviv University, Tel Aviv, Israel 69978

E-Mail: zeitan@post.tau.ac.il, zohar44@yahoo.com

 

LIST OF PUBLICATIONS

Updated March 7, 2021

 

BOOKS & MONOGRAPHS

1. Z. Eitan. Highpoints:  A Study of Melodic Peaks.  Philadelphia:  University of Pennsylvania Press, 1997 (187 pp.)

ARTICLES IN PEER-REVIEWED JOURNALS

1. Z. Eitan.  Melodic contour and musical style:  A quantitative study. Musikometrika,  vol. 5, 1993  (pp. 1-68).

2. Z. Eitan. Functionality within cluster harmony: Cadences and primary tones in the first movement of Ligeti's Double Concerto. Orbis Musicae, 1994, vol. 11 (pp. 92-123.)

3. Z. Eitan.  Beethoven’s thematization of musical space: The case of the Appassionata.  Sonus, vol. 16, 1995  (pp.  22-55)

4. Z. Eitan. Associative convergence and structure in Chopin's Revolutionary Etude.  Israel Studies in Musicology, vol.  6, 1996 (pp. 153-178)

5. Z. Eitan. Thematic gestures: Theoretical preliminaries and an analysis. Orbis Musicae, vol. 13, 2003 (pp. 213-236).

6. Z. Eitan & R. Y. Granot. Parametri Musicali E Immagini Cinetiche. Rivista di Analisi e Teoria Musicale, vol 10, 2004 (pp. 15-33).

7. Z. Eitan & R. Y. Granot. How music moves: musical parameters and images of motion.  Music Perception, vol. 23, 2006 (pp. 221-247).

8. Z. Eitan & R. Y. Granot. Intensity changes and perceived similarity: Inter-parametric analogies. Musicae Scientiae, Discussion forum 4a, 2007 (pp. 39-75)

9. N. Ziv. & Z. Eitan, Perceiving thematic structure: Similarity judgments versus categorization tasks. Musicae Scientiae, Discussion forum 4a, 2007 (pp. 99-133)

10. Z. Eitan. Intensity contours and cross-dimensional interaction in music: Recent research and its implications for performance studies.  Orbis Musicae, vol. 14,  2007 (pp. 141-166).

11. Z. Eitan & R. Y. Granot. Growing oranges on Mozart’s apple tree: “Inner form” and aesthetic judgment.  Music Perception, vol. 25, 2008 (pp. 397-418).

12. Z. Eitan. Leonard Meyer, referentialist (Invited tribute article). Music Perception, vol. 25, 2008 (pp. 479-481).

13. Z. Eitan. Commentary on “The happy xylophone: acoustics affordances restrict an emotional palate” by Michael Schutz, David Huron, Kristopher Keeton, & Greg Loewer. Empirical Musicology Review, 3, 2008 (pp. 136-139).

14. Z. Eitan & R. Y. Granot. Primary versus secondary musical parameters and the classification of melodic motives. Musicae Scientiae, Discussion forum 4b, 2009 (pp. 139-179).

15. Z. Eitan and & R. Timmers. Beethoven’s last piano sonata and those who follow crocodiles: Cross-domain mappings of auditory pitch in a musical context. Cognition 114, 2010 (pp. 405–422).

16. Z. Eitan. Reaction, anticipation and accent in a gravitational pitch space: Commentary on Ammirante and Thompson. Empirical Musicology Review 5, 2010 (pp. 107-110).

17. Z. Eitan & N. Tubul.  Musical parameters and children's images of motion. Musicae Scientiae, Special Issue, 2010 (pp.  89-111).

18. R. Y. Granot & Z. Eitan. Musical tension and the interaction of dynamic auditory parameters. Music Perception, 28, 2011 (pp. 219-245).

19.  Z. Eitan & I. Rothschild. How music touches: Musical Parameters and Listeners' Audiotactile Metaphorical Mappings. Psychology of Music. 39, 2011 (pp. 449-467)

20.  Z. Eitan, E. Ornoy, & R. Y. Granot. Listening in the dark: congenital and early blindness and cross-domain mappings in music. Psychomusicology: Music, Mind and Brain, 22, 2012 (pp. 33-45).

21. Z. Eitan. Musical objects, cross-domain correspondences, and cultural choice. Empirical Musicology Review, 2013 (pp. 200-203).

22. M. S. Ben Haim, Z. Eitan, & E. Chajut.*. Pitch memory and exposure effects. Journal of Experimental Psychology: Human Perception and Performance, 40, 2014 (pp. 24-32).

            * The 1st and 2nd authors contributed equally to this article.

23. Z. Eitan, A. Schupak, A. Gotler & L. E. Marks. Lower Pitch is Larger, Yet Falling Pitches Shrink: Interaction of Pitch Change and Size Change in Speeded Discrimination. Experimental Psychology, 61, 2014 (pp. 273-284).

24. H. Tamir & Z. Eitan. Higher is faster: Pitch register and tempo preferences. Music Perception, 33, 2015 (pp. 179-198).

25. D. Kohn & Z. Eitan. Moving music: Correspondences of musical parameters and movement dimensions in children's motion and verbal responses. Music Perception, 34, 2016 (pp. 40-55).

26. Z. Eitan, M. Ben-Haim, & E. Margulis. Implicit absolute pitch representation affects basic tonal perception. Music Perception, 34, 2017 (pp. 569-584).

27. N. Maimon, D. Lamy, & Z. Eitan. Cross-Modal Correspondence Between Tonal Hierarchy and Visual Brightness: Associating Syntactic Structure and Perceptual Dimensions Across Modalities. Multisensory Research. 1(aop), 1-32.

28. A, Suberry, N. Maimon, & Z. Eitan. Sad Syntax? Tonality and Children's Perception of Emotional Valence in Music. Arvix.org (Submitted August 2020).

29. Z. Eitan,  & H. Czernowin. Die Flamme und die Hand. Neue Zeitschrift Fur Musik, 6, 2021 (pp. 8-17).

 

CHAPTERS IN BOOKS

1. Z. Eitan and R. Y. Granot. Thematic coherence and listeners' aesthetic judgments. In Barbieri, D., Marconi, L., & Spampinato, F. (Eds.), L'ascolto Musicale:
Condotte, Pratiche, Grammatiche
(pp. 141-154). Lucca: Libreria Musicale Italiana, 2008.

2. Z. Eitan. How pitch and loudness shape musical space and motion: New finding and persisting questions. In S. L. Tan, A. Cohen, S. Lipscomb, & R. Kendall (Eds.), The Psychology of Music in Multimedia. (pp. 161-187). Oxford: Oxford University Press, 2013

3.  Z. Eitan. Which is more? Pitch height, parametric scales, and the intricacies of cross-domain magnitude relationships.  in L. Brenstein & A. Rozin (Eds.), Musical Implications: Essays in Honor of Eugene Narmour. (pp. 131-148). Hillsdale, NY: Pendragon Press, 2013.

4. ז. איתן. לשמוע את  הזריחה: קשרים בין החושים ומשמעויות המוסיקה. בתוך רואים את  הקולות, י.  כדורי (עורכת). (עמ. 214-232). ירושלים: מגנס, 2013.  

5. M. Adler & Z. Eitan. Cross-domain correspondences and musical representation. In N. Yaari (Ed.), Inter-Art Journey: Exploring the Common Grounds of the Arts. Studies in Honor of Eli Rozik. Eastbourne, UK:  Sussex Academic Press, 2015.
6. Z. Eitan. Multimodal experiences of pitch height: puzzles, paradoxes and open questions. In C. Wöllner (Ed.). Body, Sound, and Space in Music and 

Beyond - Multimodal Explorations. London: Routledge, 2017 (in the series SEMPRE Studies in The Psychology of Music). 
7. Z. Eitan & R. Timmers. Cross-modal correspondences in a Schubert song. In D. Leech-Wilkinson and H. Prior (Eds.), Music and Shape. Oxford and New York: Oxford University Press, 2017.
8. Z. Eitan. Musical connections: cross-modal correspondences. In R. Timmers & R. Ashley (Eds.), Routledge Companion to Music Cognition, 2017. 
9. Z. Eitan & H. Tamir.  The sound of an infinite column: How music imagines unimaginable space. In M. Grimshaw, M. Walther-Hansen, and M. Knakkergaard (Eds.), Oxford Handbook of Sound & Imagination. Oxford: Oxford University Press, 2019.
10. E. Globerson, Z. Eitan, & T. Flash. Space, time, and expression in orchestral conducting. In Flash, T., &  Berthoz, A. (Eds.), Space-time geometries and movement in the brain and in the arts. Springer Nature Switzerland, 2020. 

 

EDITED BOOKS:

1. R. Timmers, N. Dibben, Z. Eitan, R. Granot, T. Metcalfe, T., A. Schiavio, & V. Williamson, (Eds.). International Conference on the Multimodal Experience of Music (ICMEM 2015): Proceedings. Sheffield: The University of Sheffield, 2015.

PAPERS PRESENTED AT SCIENTIFIC MEETINGS AND PUBLISHED IN PROCEEDINGS 

1. Z. Eitan. Pitch Direction and Melodic Expectancy: A Reexamination of Empirical Studies. In Gabrielsson, A. (Ed.), Third Triennial ESCOM Conference: Proceedings.  Uppsala:   Uppsala University Press, 1997 (PP. 275-81).

2. Z. Eitan.  Musical gesture, analysis, and listening.  C. Woods, G. Luck, R. Brochard, F. Seddon, & J. A. Sloboda (Eds.)  Proceedings of the Sixth International Conference on Music Perception and Cognition.  Keele, UK:  Keele University, Department of Psychology, 2000.

3. Z. Eitan, & N. Ziv. Perceiving thematic structure: similarity perception versus explicit categorization tasks.  In C. Stevens, D. Burnham, G. McPherson, E. Schubert, & J. Renwick (eds.),  Proceedings of the 7th international conference on music perception & cognition. Adelaide: Causal Productions, 2002.

4. Z. Eitan and R. Y. Granot. Inter-parametric analogy and the perception of similarity in music. In R. Kopiez, A. C. Lehmann, I. Wolther & C. Wolf (Eds.), Proceedings of the 5th Triennial ESCOM Conference. Hanover, Germany: Hanover University of Music and Drama, 2003 (pp. 116-119).

5. Z. Eitan and R. Y. Granot.  Musical parameters and images of motion. In R. Parncott, A. Kessler, & F. Zimmer (eds.), Proceedings of the Conference on Interdisciplinary Musicology (CIM04).  Graz,  2004.  http://www.gewi.uni-graz.at/~cim04

6. Z. Eitan. Introduction: Music and cross-modal interaction. In S. Lipscomb, R. Ashley, R. Gjerdingen, and P. Webster (eds.). Proceedings of the 8th International Conference on Music Perception & Cognition. Adelaide: Causal Productions, 2004 (pp. 55-56).

7. Z. Eitan and R. Y. Granot. Musical parameters and spatio-kinetic imagery.  In S. Lipscomb, R. Ashley, R. Gjerdingen, and P. Webster (eds.). Proceedings of the 8th International Conference on Music Perception & Cognition. Adelaide: Causal Productions, 2004 (pp. 57-63).

8. Z. Eitan and R. Y. Granot.  Growing oranges on Mozart’s apple tree: ‘Inner form’ and aesthetic judgment. In M. Baroni, A. R. Addessi, R. Caterina, &  M. Costa (eds.). Proceedings of the 9th International Conference on Music Perception & Cognition. Bologna, 2006.
9. Z. Eitan and & R. Timmers. Beethoven’s last piano sonata and those who follow crocodiles: Cross-domain mappings of auditory pitch in a musical context. In M. Baroni, A. R. Addessi, R. Caterina, &  M. Costa (eds.). Proceedings of the 9th International Conference on Music Perception & Cognition. Bologna, 2006 (pp. 875-882).
10. Eitan, Z. Schupak, A., &  Marks, L. E. Louder is higher: Cross-modal interaction of loudness change and vertical motion in speeded classification. In K. Miyazaki, Y. Hiraga, M. Adachi, Y. Nakajima, & M. Tsuzaki (Eds.), Proceedings of the 10th International Conference on Music Perception & Cognition, (ICMPC10). Adelaide: Causal Productions, 2008 (10 pp).
11. I. Rothschild & Z. Eitan. How music touches: The Effects of Pitch, Loudness, Timbre and Vibrato on Listeners' Audiotactile Metaphorical Mappings. In K. Miyazaki, Y. Hiraga, M. Adachi, Y. Nakajima, & M. Tsuzaki (Eds.), Proceedings of the 10th International Conference on Music Perception & Cognition, (ICMPC10). Adelaide: Causal Productions, 2008 (8 pp).
12. R. Y. Granot & Z. Eitan. Dynamic Auditory Parameters and Perceived Musical Tension. In K. Miyazaki, Y. Hiraga, M. Adachi, Y. Nakajima, & M. Tsuzaki (Eds.), Proceedings of the 10th International Conference on Music Perception & Cognition, (ICMPC10). Adelaide: Causal Productions, 2008 (9 pp).
-----------------------------------
13. D. Kohn & Z. Eitan. Musical Parameters and Children's Movement Responses. In J. Louhivuori, T. Eerola, S. Saarikallio, T. Himberg, & P. S. Eerola (Eds.). Proceedings of the 7th Triennial Conference of European Society for the Cognitive Sciences of Music (ESCOM 2009), Jyväskylä, Finland (pp.  233-241).
14. Z. Eitan, A. Schupak, A. Gotler & L. E. Marks. Lower Pitch is Larger, Yet Falling Pitches Shrink: Interaction of Pitch Change and Size Change in Speeded Discrimination.  In D. Algom, D. Zakai, & Y. Mama (Eds.), Fechner Day 2011: Proceedings of the 27th Annual Meeting of the International Society for Psychophysics (pp. 81-88). Raanana, Israel: International Society for Psychophysics.

JOURNAL EDITING

1. Orbis Musicae 13. Tel Aviv: David and Yolanda Katz Faculty of the Arts, 2003 (Co-Editor).

2. Empirical Musicology Journal. Columbus, Ohio: Ohio University Press, 2005-present. (Associate Editor).

3. Psychomusicology, Music, Mind, and Brain, 2009-present (Consulting Editor)

4. Music Theory Spectrum, 2010-2012 (Associate Editor)

OTHER PUBLICATIONS

Meeting abstracts (where no proceedings were published)

1. Z. Eitan.  Functionality Within Cluster Harmony:  Primary Notes and Cadences in the First Movement of Ligeti’s Double Concerto.  9th annual meeting, Society for Music Theory, Bloomington, Indiana, November 1986.

2. Z. Eitan.  Family Resemblance: Towards an Alternative Account of Coherence in Music 12th annual meeting, Society for Music Theory, Austin, Texas, October 1989.

3. Z. Eitan.  Family Resemblance in Music. 4th Annual Meeting, The New England Conference of Music Theorists, Waltham, Mass., April 1989.

4. Z. Eitan.  Beethoven’s Thematization of Musical Space: The Case of the Appassionata. 18th annual meeting, Society for Music Theory, New York, NY, November 1995. 

5. Z. Eitan.  Melodic Implication and Pitch Direction. 3rd Biannual Meeting, Society for Music Perception and Cognition (SMPC), Cambridge, Mass., July 1997.

6. Z. Eitan.  Thematic Gestures in Beethoven’s Piano Sonatas. Biennial 19th-Century Music Conference, Egham, England, June/July 2000.

7. Z. Eitan.  (Re)constituting musical motives. Annual Meeting of the Society for Music Perception and Cognition (SMPC), Queen's University, Kingston, Ontario,Canada, August 9-11, 2001.

8. Z. Eitan. Registral direction and melodic implication.  In Greer, D. (Ed.), Musicology and Sister Disciplines:  Past, Present, Future.  Oxford:  Oxford University Press, 2001 (pp. 399-400).

9. Z. Eitan.  & R. Y. Granot.  Imagining musical space and motion.  Paper presented at the 28th annual meeting of the Society for Music Theory, Seattle, Washington, November 11-14, 2004.

10. Z. Eitan.  Latent metaphors for auditory pitch. Script conference, Israel, July 6-7, 2005.

11. Z. Eitan.  Intensity across musical parameters: recent empirical studies and their implications for perception and performance.  Paper presented at the study day “Musical Performance and Musical Research,” Tel Aviv University, February 28, 2005

12. Z. Eitan & M. Adler.  Music perception and metaphorical transfer.  Annual SCRIPT Workshop, "Metaphors: Linguistic and Non-linguistic Aspects."  Tel Aviv University, December 2006.

13. Z. Eitan & R. Timmers. Cross-domain mappings of pitch in musical contexts.  Music and Language as Cognitive Systems" Conference, Cambridge, UK, May 2007

14. Z. Eitan & N. Tubul. Musical parameters and children's spatio-kinetic imagery. 8th Conference of the Society for Music Perception and Cognition (SMPC), Montreal, Canada, July 2007.

15. Z. Eitan & H. Tamir. Higher is faster, but for whom? Pitch register, tempo preferences, musical training. 8th Conference of the Society for Music Perception and Cognition (SMPC), Montreal, Canada.

16. Z. Eitan. Metaphors for high and low auditory pitch: A cognitive basis for cross-linguistic variation. Association for Linguistic Typology: 7th Biannual Meeting (ALT-7), Paris, France, August 2007.

17. Z. Eitan & R. Y. Granot.  Musical Parameters and the Classification of Melodic Motives. 10th International Conference on Music Perception & Cognition, Sapporo, 2008.

 

18. M. Marcus & Z. Eitan. Children's cross-modal mappings of dynamic pitch stimuli. 7th Triennial Conference of European Society for the Cognitive Sciences of Music (ESCOM 2009), Jyväskylä, Finland, August 2009.

19. Z. Eitan. Cross-modal interactions and the meanings of music. Visible Sounds conference, Israel Academy of Science, February 21-25, 2010.

20. Z. Eitan. E. Ornoy, & R. Y. Granot. Cross-modal mappings of musical parameters in the congenitally and early blind. 10th Conference on  Interdisciplinary Musicology, Sheffield, England, July 24-25, 2010.

21. S. Ben Haim, Z. Eitan, & E. Chajut.  Common and rare musical keys are absolutely different: implicit absolute pitch, exposure effects, and pitch processing. 11th International Conference on Music Perception & Cognition (ICMPC11), Seattle, WA (August 2010).

22. Z. Eitan, A.  Katz,  & Y. Shen.  Effects of pitch register, loudness and tempo on children's use of metaphors for music (poster presentation). 11th International Conference on Music Perception & Cognition (ICMPC11), Seattle, WA (August 2010).

23. Z. Eitan and L. E. Marks. Garner's paradigm and audiovisual correspondence in dynamic stimuli: pitch and vertical direction. International Multisensory Forum 2012 (IMRF 2012), Oxford, England, June 2012. Abstract published in Seeing and Perceiving, 25 (2012), 70-71.

24. Z. Eitan, M. S. Ben-Haim, & E. Chajut. Rare pitch-classes are larger and stronger: Implicit absolute pitch, exposure effect, and qualia of harmonic intervals. 12th International Conference on Music Perception & Cognition (ICMPC12), Thessaloniki, Greece (July 2012).

25. E. Margulis & Z. Eitan.  Tonality and  affective experience: What the probe tone method reveals (poster presentation). 12th International Conference on Music Perception & Cognition (ICMPC12), Thessaloniki, Greece (July 2012).

26. D. Kohn & Z. Eitan. Seeing sound moving: Congruence of pitch and loudness with human movement and visual shape. 12th International Conference on Music Perception & Cognition (ICMPC12), Thessaloniki, Greece (July 2012).

27. Z. Eitan, Music and sound symbolism: Prospects and challenges of empirical research. Empirical Psychology Society, Lancaster, GB (April, 2013).

28. I. Solomon & Z. Eitan. Love at first sound? Effects of presentation order and exposure rate on the evaluation of musical performance. 13th International Conference on Music Perception & Cognition (ICMPC13), Seoul, South Korea, (August 2014).

29. N. Cohen-Shani & Z. Eitan. Between Peaks and Troughs: Local and Global Aspects of Contour and the Perception of Melodic Direction. 13th International Conference on Music Perception & Cognition (ICMPC13), Seoul, South Korea, (August 2014).

Miscellaneous publications

28. C. Czernowin & Z. Eitan. Six Miniatures and a SImultaneous Song. Vienna:  Schott, 1998.  (musical score;  text by Zohar Eitan).

29. C. Czernowin & Z. Eitan. Shu Hai Practices Javelin. Vienna:  Schott, 1998.  (musical score;  text by Zohar Eitan).

30. C. Czernowin & Z. Eitan. Shu Hai in an Orchestral Setting.  Vienna:  Schott, 2002.  (musical score;  text by Zohar Eitan).

31. Z. Eitan. Twittering Machine, for recorder quartet.  Tel Aviv: Israel Music Institute, 1987. (musical score)

32. Z. Eitan. Likro keshir (reading [a text] as a poem; in Hebrew) In A. Or & Z. Eitan. (eds.), Helikon 33:  Shirproza, 1998 (pp. 3-6). (An essay on prose poetry and music).

33. C. Czernowin & Z. Eitan. Shu Hai Practices Javelin: Music to Texts by Zohar Eitan.  Vienna:  Mode Records, 2002. (Mode CD 117). 

34. Z. Eitan. Mapping musical space and motion.  TAU Trends in Research, 2006 (p. 7).

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