Prof. Zohar Eitan

Emeritus in BUCHMANN-MEHTA SCHOOL OF MUSIC

ביה"ס למוזיקה בוכמן-מהטה אמריטוס

Email: zeitan@tauex.tau.ac.il

Phone: 03-6408415

Fax: 03-6409174

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Zohar Eitan's Google Scholar profile

Office: Buchmann-Mehta School of Music, M-18

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	9^th 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	4^th Annual Meeting, the New England Conference of Music Theorists, Waltham, Mass.	“Family Resemblance in Music”
1989	12^th annual meeting, Society for Music Theory, Austin, Texas	"Family Resemblance: Towards an Alternative Account of Coherence in Music.”
1995	18^th annual meeting, Society for Music Theory, New York, NY	“Beethoven’s Thematization of Musical Space: The Case of the Appassionata.”
1997	3^rd Triennial ESCOM Conference. Uppsala, Sweden	“Registral Direction and Melodic Expectancy: A Reexamination of Empirical Data.”
1997	3^rd Biannual Meeting, Society for Music Perception and Cognition (SMPC), Cambridge, Mass.	"Melodic Implication and Pitch Direction.”
1997	16^th 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	1^st 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	27^th 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	20^th Script conference, Nir Etzion, Israel	“Latent metaphors for auditory pitch.”
2006	3^rd 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	8^th Conference of the Society for Music Perception and Cognition (SMPC), Montreal, Canada.	Musical parameters and children's spatio-kinetic imagery. (with N. Tubul)
2007	8^th 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: 7^th 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	10^th 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	18^th 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	18^th 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, 1^st 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’ 2^nd 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 1^st 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).

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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. 9^th annual meeting, Society for Music Theory, Bloomington, Indiana, November 1986.

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

3. Z. Eitan. Family Resemblance in Music. 4^th 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. 18^th annual meeting, Society for Music Theory, New York, NY, November 1995.

5. Z. Eitan. Melodic Implication and Pitch Direction. 3^rd 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 28^th 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. 8^th 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. 8^th 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: 7^th 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).

Prof. Zohar Eitan

Zohar Eitan's CV

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

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

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

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

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

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

Experimental Psychology Society Meeting, April 2013

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

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

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

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

Israeli Society for Cognitive Psychology, Akko (February 2017)

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

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

STUDENTS SUPERVISED BY CANDIDATE

H. ORGANIZATIONAL AND EDITORIAL ACTIVITIES

Zohar Eitan's research interests

Zohar Eitan's Publications

LIST OF PUBLICATIONS

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

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