Featured Work

Doug Bielmeier, Teaching Professor

“Even Better than the Real Thing: A Comparison of Traditional and Software-Emulated Distortion in the Contemporary Audio Production Workflow,” in Distortion in Music Production, ed. Gary Bromham and Austin Moore. London: Focal Press, 2023.

Anthony Paul De Ritis, Professor 

Anthony Paul De Ritis: Electroacoustic Music – In Memoriam: David Wessel. Albany Records TROY1710 CD, 2018. 

Pop Concerto. Boston Modern Orchestra Project, Gil Rose, conductor; Eliot Fisk, guitar; Patrick De Ritis, bassoon; Vicky Chow and Saskia Lankhoorn, pianists, BMOP/sound 1051 CD, 2017. 

De Ritis, Anthony P., and Si Si (Eds.). “Media and Entertainment Industry: The World and China.” [Special Issue]. Journal of Global Media and China, Issue 1, Volume 4, 2016. 

Selected Works for Pipa Composed by Anthony Paul De Ritis (Musical scores). Beijing, China: Central Conservatory of Music Press, 2016. 

Melissa Ferrick, Professor of the Practice

Black Dress. Worldwide release: Kill Rock Stars Records, 2023.

Podcast: Life is a Remix, created via Patreon.

Mike Frengel, Associate Academic Specialist 

The Unorthodox Guitar: A Guide to Alternative Performance Practice. New York, NY: Oxford University Press, 2017. 

James Gutierrez, Assistant Teaching Professor

“An Enactive Approach to Learning Music Theory? Obstacles and Openings.” Frontiers in Education 4, no. 133 (2019). https://doi.org/10.3389/feduc.2019.00133.

Rebecca Kleinberger, Assistant Professor

New York Times research feature https://www.nytimes.com/interactive/2023/04/21/science/parrots-video-chat-facetime.html, 2023.

Patent: Kleinberger, Rebecca, et al. “Methods and apparatus for reducing stuttering.” U.S. Patent No. 11,727,949, 2023.

Deirdre Loughridge, Associate Professor 

Sounding Human: Music and Machines, 1740/2020. Chicago: University of Chicago Press, 2023. 

“Timbre Before Timbre: Listening to the Effects of Organ Stops, Violin Mutes and Piano Pedals c. 1650-1800.” In Oxford Handbook on Timbre, ed. Emily Dolan and Alexander Rehding: Oxford University Press, 2018. 

“Piano Death and Life.” Keyboard Perspectives 10 (2017): 1-18. 

Haydn’s Sunrise, Beethoven’s Shadow: Audiovisual Culture and the Emergence of Musical Romanticism. Chicago: University of Chicago Press, 2016. 

“Muted Violins from Lully to Haydn.” Early Music 44, no. 3 (2016): 427-447. 

“Making, Collecting and Reading Music Facsimiles Before Photography.” Journal of the Royal Musical Association 141, no. 1 (2016): 27-59. 

Psyche Loui, Associate Professor 

Loui, Psyche. “New Music as Generalizable Tonal Predictions: Towards an Anti-Racist Framework.” Journal of Music Theory. In press (2024). https://doi.org/10.31234/osf.io/zqhu9.

Book Chapter: Kim, Y., Psyche Loui, and K. M. Lee. “Cultural and historical approach to music cognition research.” To appear in J. Vuoskoski, A. Schiavo, and Y. Kim (Ed.), Music and the Cognitive Humanities. Oxford University Press, 2024.

Kathios, N., A. D. Patel, and Psyche Loui. “Musical anhedonia, timbre, and the rewards of music listening.” Cognition 243, 105672 (2024). https://doi.org/10.1016/j.cognition.2023.105672.

Kathios, N., M. E. Sachs, E. Zhang, Y. Ou, and Psyche Loui. “Generating New Musical Preferences From Multilevel Mapping of Predictions to Reward.” Psychological Science 35, no. 1 (2024). https://doi.org/10.1177/09567976231214185.

Loui, Psychge and E. H. Margulis. “Knowledge Clustering and the Acquisition of Creative Expertise.” Physics of Life Reviews 47 (2023): 22-24. https://doi.org/10.1016/j.plrev.2023.08.004.

Loui, Psyche, B. Y. Kubit, Y. Ou, and E. H. Margulis. “Imaginings from an Unfamiliar World: Narrative Engagement with a New Musical System.” Psychology of Aesthetics, Creativity and the Arts. (2023) https://doi.org/10.1037/aca0000629.

Margulis, E. H., Psyche Loui, and Deirdre Loughridge (Editors). Science-Music Borderlands: Reckoning the Past and Imagining the Future. MIT Press, 2023.

Andrew Mall, Associate Professor 

God Rock, Inc.: The Business of Niche Music. University of California Press, 2021.

Studying Congregational Music: Key Issues, Methods, and Theoretical Perspectives. Routledge, 2021.

Matthew McDonald, Associate Professor 

“A Visual Guide to The Big Lebowski” (with Steven Braun). Interactive visualization and commentary, 2018. “Derived Row Geometries” (with Steven Braun). Data visualization, 2017.

Breaking Time’s Arrow: Experiment and Expression in the Music of Charles Ives (Bloomington: Indiana University Press, 2014).

Rebekah Moore, Assistant Professor 

“The Electric Guitar in Southeast Asia: A Serpentine Path.” In Cambridge Companion to the Electric Guitar. Steve Waksman and Jan Herbst, editors. Cambridge: Cambridge University Press (in press, 2024).

“Ecological Frictions and Borderless Futures: Art and Activism on a Sailing Ship.” In At the Crossroads of Music and Social Justice, 259-276. Edited by Brenda M. Romero, Susan M. Asai, David A. McDonald, Andrew G. Snyder, and Katelyn E. Best. Bloomington: Indiana University Press, 2023.

“The Vernacular Cosmopolitanism of an Indonesian Rock Band: Navicula’s Creative and Activist Pathways.” In Sounding Out the State of Indonesian Music, 133-150. Edited by Andy McGraw and Christopher J. Miller. Ithaca: Cornell University Press, 2022.

Hilary Poriss, Professor and Chair 

Gioachino Rossini’s The Barber of Seville. Oxford Keynotes Series. New York: Oxford University Press, 2021.

“Puccini’s Singers,” in Puccini in Context, ed. Alexandra Wilson. Cambridge: Cambridge University Press, 2023.

“Heroic Artists, Critical Abuse and the Death of Maria Malibran,” Journal of Musicology 40, no. 1 (2023): 103-130.

Alexandra Roberts, Professor

“A Poetics of Trademark Law,” Berkeley Technology Law Journal 38, no. 1 (2023). Winner of 2022 International Trademark Association Ladas Memorial Award for best scholarly paper, professional category.

Bruce Ronkin, Professor 

Deuxième Fantaisie Sur Un Thême Original for alto saxophone and piano by Jérôme Savari (1861), edited by Bruce Ronkin. Coatesville, Pennsylvania: Northeastern Music Publications, 2023. 

Pierre-Valery Tchetgen, Assistant Professor

Recording: The Akwerian Project (Live) EP.

Doug Bielmeier, Teaching Professor

New England Synthfest, Burlington, Massachusetts, 2023.

Katherine Chan, Associate Teaching Professor 

Guest Conductor, Massachusetts Music Educators Association Eastern Division Honor Choir, 2024.

Earthshot Prize 2022, presented by the Royal Foundation. MGM Music Hall Boston, Choir Director, for backing vocals to Ellie Goulding, 2022.

Guest Conductor, Bach Choir of Bethlehem, Bach @ Noon Series, Bethlehem, PA, 2022.

Clinician and Guest Conductor, All-State Soprano and Alto Honor Choir, Kansas Choral Directors Association Summer Convention, Topeka, KS, 2022.

Guest Conductor, Boston Landmarks Orchestra, Common Ground, 2022.

Anthony Paul De Ritis, Professor 

Premiere: Kamelle-On for Korean Saenghwang and 4-Speaker Audio, Gamin Kang, saengwhang, International Computer Music Conference (ICMC), Daegu, South Korea, 2018. 

Devolution for DJ and Symphony Orchestra. Hong Kong Philharmonic, Jung-Ho Pak, conductor; featuring Paul D. Miller aka DJ Spooky That Subliminal Kid, Grand Hall, Lee Shau Kee Lecture Centre, University of Hong Kong, Hong Kong, China, 2017. 

Premiere: The Legend of Cowherd and Weaver Girl, Concerto for Percussion and Orchestra, Boston Modern Orchestra Project, Gil Rose, conductor, Wang Beibei, Chinese and Western percussion, Jordan Hall, New England Conservatory, Boston, Massachusetts, 2018. 

Pop Concerto for Guitar and Orchestra. Boston Modern Orchestra Project, Gil Rose, conductor, Eliot Fisk, guitar, Jordan Hall, New England Conservatory, Boston, Massachusetts, 2014. 

Riflessioni for Bassoon, Orchestra and Electronics. Boston Modern Orchestra Project, Gil Rose, conductor, Patrick De Ritis, bassoon, Jordan Hall, New England Conservatory, Boston, Massachusetts, 2014. 

Premiere: At the River for Soprano and Orchestra. Boston Landmarks Orchestra, Christopher Wilkins, conductor, Myran Parker-Brass, soprano, Hatch Shell, Boston, Massachusetts, 2013. 

Janie’s Song – A Concert Presentation and Excerpts from Janie’s Song: A musical adaptation of The Taking of Miss Janie. Performed by Serial Underground, Jed Distler, artistic director; Demetrius Spaneas, guest curator and host; Bill Lowe, musical director, Cornelia Street Cafe, New York, New York, 2013. 

Melissa Ferrick, Professor of the Practice

City Winery Tour: New York City, Boston, Philadelphia, Nashville, Chicago.

Americana Festival: Nashville.

Eddie’s Attic, Atlanta GA., Jamie Java, Vienna VA, The Parlor Room and Bombay, Northampton MA, The Bitter End, New York NY, Fruitlands Museum; Trustees of Reservations, Harvard MA, Earth Day: Millerton NY, AS220, Providence RI, Cafe Lena, Saratoga Springs NY, The Colony and Graveside Variety, Woodstock NY, The Word Barn, Exeter NH, The Art House, Provincetown MA, One Longfellow Square, Portland ME, The Ark, Ann Arbor MI.

Mike Frengel, Associate Academic Specialist 

Sarteano, L’estate, for 8-channel sound projection, International Computer Music Conference, Daegu, South Korea, 2018. 

Country Roads, for electric guitar and electronics, New York City Electroacoustic Music Festival, New York, New York, 2018. 

Like a fruit basket, for tenor saxophone and electronics, SPLICE Festival, Kalamazoo, Michigan, 2018. 

Peanootz, for 7 instruments, Emerging Composers Concert Series, Boston Conservatory, MA, Performed by Boston Musica Viva, Boston, Massachusetts, 2017. 

Daniel Strong Godfrey, Professor 

String Quartet No. 2, Cuarteto Latinoamericano, Teatro Carlo Felice, Genoa, Italy, 2018. 

Glas for piano solo, Gloria Cheng, piano, Barge Music, New York, New York, 2018. 

Premiere: Paginula for violin and piano, Music for Food, Williams Hall, New England Conservatory of Music, Boston, Massachusetts, 2018. 

Premiere: Ad Concordiam for oboe, string trio and piano, Boston Chamber Music Society 35th anniversary commission, Sanders Theater, Harvard University, Cambridge, Massachusetts, 2018. 

Luna Rugosa for flute, clarinet, cello and piano, Back Cove Contemporary Music Ensemble, Mechanics Hall, Portland, Maine, 2018. 

Premieres: Glas for piano solo, Gloria Cheng, piano, Brown University (Providence, RI), Tenri Institute (New York, NY) and the Cooperage (Honesdale, PA), 2017. 

Premiere: Caprices and Interludes for organ. Okola Owalabi, organist, School of Music, Theater and Dance, University of Michigan, Ann Arbor, Michigan, 2017. 

Juliet at her Window for soprano and Pierrot ensemble, Collage New Music, David Hoose, conductor, Longy School of Music, Boston, Massachusetts, 2017. 

Intermedio for string quartet. Cassatt String Quartet, venues in Greenwich, Connecticut and Belfast, Portland and Vinalhaven, Maine, 2017. 

Ricordanza-Speranza for string quartet and piano. Society for New Music, St. Paul’s Episcopal Church, Syracuse, New York, 2017. 

From a Dream of Russia for clarinet, violin and piano, Taos Chamber Music Group, Arthur Bell Auditorium, Harwood Museum of Art, Taos, New Mexico, 2016. 

From a Dream of Russia for clarinet, violin and piano. Finger Lakes Chamber Ensemble, salon performance, Ithaca, New York, 2016. 

Arietta for cello and piano. River City Chamber Players, Austin Texas, 2015. 

Dark and Quiet for solo cello. Caroline Stinson, cello, Tenri Institute, New York, New York, 2015 

Luna Rugosa for flute, clarinet, cello and piano. Bridgehampton Music Festival, Bridgehampton Presbyterian Church, Bridgehampton, New York, 2015. 

Jig for wind ensemble. Indiana University Symphonic Band, Eric M. Smedley, conductor, Indiana University, Bloomington, Indiana, 2015. 

To Mourn, To Dance for string quartet and cello II. Cassatt String Quartet, Chamber Music America Showcase, Bryant Park, New York, New York, 2015. 

Premiere: Towards the Sun for orchestra and two narrators, with words by Nelson Mandela. Symphoria, Michael Lankester, conductor, Crouse-Hinds Auditorium, Syracuse, New York, 2015. 

Hubert Ho, Associate Teaching Professor 

Solo Performance: Littoral for solo piano by Reynold Tharp, New Music Gathering, Portland State University, Portland, Oregon, 2023.

Artistic Director, Producer: “The Asian American Avant-Garde,” Dinosaur Annex Music Ensemble Season 49 Concert 1, Pao Arts Center, Boston, 2023.

Junauro Landgrebe, Lecturer & Lessons and Ensembles Coordinator

Member of “Beantown,” one of Boston’s top-ranked professional groups, over fifty performances per year.

Cambridge Jazz Festival, 2021.

Pierre-Valery Tchetgen, Assistant Professor

Featured Poet at the Lizard Lounge Poetry Jam with the Blake Newman Trio, Cambridge, Mass., 2023.

Victor Zappi, Assistant Professor

Real-time Live! ACM SIGGRAPH Conference, Vancouver, British Columbia, 2022.

Katherine Chan, Associate Teaching Professor 

“First-Year Teaching Tips for the Collegiate Choral Conductor,” Women in Higher Choral Education, 2023.

Adjudicator and Clinician: Massachusetts Instrumental and Choral Conductors Association Choral Festival 2023, 2023.

Keynote Presenter: Plenary Session, “Getting Creative: Repertoire & Staging,” Kansas Choral Directors Association Summer Convention, Topeka, KS, 2022.

Keynote Presenter, “On Choral Belonging – A Place for All: Exploring communities of people often missing from our choirs,” (hosted by VocalEssence Singers of This Age), Minnesota Choral Directors Association State Conference, Mahtomedi, MN, 2022.

Adjudicator and Clinician: Massachusetts Instrumental and Choral Conductors Association Choral Festival, 2022.

Guest Conductor: Minnesota ACDA (American Choral Director Association) Fall Convention, High School Honor Choir with SOTA, 2022.

Anthony Paul De Ritis, Professor 

Panelist: “Expanding the Bounds of Creative Expression.” International Computer Music Conference 2018, Art Factory, Daegu, South Korea, 2018. 

Melissa Ferrick, Professor of the Practice

Featured Teacher: Dar Williams Songwriting Retreat, 2023.

James Gutierrez, Assistant Teaching Professor

Guest Lecture: “Paradoxes in Harmony: Toward a Pedagogy of Mutual Transformation.” Harvard University, Society for Mind, Brain, Behavior, 2023.

“Resilience, Personality, and Musical Reward.” International Conference on Music Perception and Cognition. Tokyo, Japan, 2023.

“The Role of Music in Mood Regulation During the COVID-19 Pandemic.” Conference for the Society of Music Perception and Cognition. Portland, Oregon, 2022.

Hubert Ho, Associate Teaching Professor 

“Score- and performance-based analytical insights into musique concrète instrumentale through an understanding of embodied cognition.” Music, Body, and Embodiment: New Approaches in Musicology, Centro Studi Opera Omnia Luigi Boccherini, Lucca, Italy, 2023.

Poster Presentation: “How embodiment theory can help musicians perform pieces requiring electroacoustic fixed media.” International Conference for Music Perception and Cognition, Concordia University, Montreal, Quebec, Canada, 2018.

Poster Presentation: “Collaborative performative learning assists in the acquisition of core music-theoretic concepts.” Society of Music Perception and Cognition Conference, San Diego, California, 2017.

“Using embodiment ideals to mediate the acoustic and electronic in a work for solo instrument and fixed media: an experiment in auto-choreography.” MuSA 2016, Seventh International Symposium on Music and Sound Art: Practices and Theories, Middlesex University London and Institute for Musicology and Music Informatics, Hochschule für Musik, Karlsruhe, Germany, 2016.

Francesca Inglese, Assistant Professor 

“Youth, Heritage, and Ethnic Entrepreneurialism in Cape Town’s Klopse,” Society for Ethnomusicology Annual Meeting, Denver, Colorado, 2017. 

“The Neighbor Down the Road: Perspectives on Music in Cape Town,” with Kathleen Tagg, Brown Arts Initiative at Brown University, 2016. 

Rebecca Kleinberger, Assistant Professor

Panelist: “Integrating AI in Music Education.” Audio Engineering Society National Convention. New York, 2023.

TED-featured talk: “Why you don’t like the sound of your own voice,” 2017.

TEDxBoston talk: “The surprising origins of talking with your hands,” 2021.

Panelist: “Voice Biometrics: Security Implications of Voice as the New Keyboard,” RSA CyberSecurity Convention, San Francisco, 2022.

Deirdre Loughridge, Associate Professor 

“Listening for (Non)human Agency, c.1770/Today,” Annual Meeting of the American Musicological Society, San Antonio, 2018. 

“On Sounding (Not) Like a Person in 2016,” Pop Conference, Museum of Pop Culture, Seattle, 2018. 

“Rousseau’s Singing Savage, Diderot’s Human Harpsichord: Listing to (Non)Human Agency in the French Enlightenment,” American Society for Eighteenth-Century Studies, Minneapolis, 2017. 

Psyche Loui, Associate Professor

Boston Landmarks Orchestra. Invited Lecture. Music and Memory. Boston Public Library, Roxbury Branch. Boston, 2023.

Invited Keynote. McMaster University. Neuroscience and Music Conference. “Prediction, Reward Expectation, and Musical Anhedonia,” Hamilton, Ontario, Canada, 2023.

Invited Keynote. Society for Psychophysiological Research. “Why Does Music Moves Us? New Directions in Music-Based Interventions. New Orleans, 2023.

Invited Symposium. International Conference for Music Perception and Cognition – Asia-Pacific Society for the Cognitive Sciences of Music. “Predictions in Music: Neurocognitive Insights and Computational Approaches.” Toyko, Japan, 2023.

Music & Science Lab at Durham University. MIND Lab. Durham, UK, 2023.

Department of Psychology Seminar. “Why Music Moves Us: New Directions in Music for Brain Health.” Union College, Schenectady, 2023.

Thinking About Music seminar. “Generating New Predictions: New Directions in Music for Brain Health.” University of Cincinnati, College-Conservatory of Music (CCM). Cincinnati, 2023.

Andrew Mall, Associate Professor 

Panel Moderator: “‘As for me and my house’: Nashville, the Home of Christian Music.” International Association for the Study of Popular Music, United States branch annual conference. Nashville, Tennessee, 2018. 

Matthew McDonald, Associate Professor 

“Herrmann’s Vertigo Prelude as Paradigmatic Metaphor.” Special session, “Modernism in Herrmann’s Film Music: Vertigo as Case Study.” Society for Music Theory, annual conference, San Antonio, Texas, 2018. 

“Stop Playing It, Sam: Musical Interruption in Film.” American Musicological Society, annual conference, Rochester, New York, 2017. 

“Vicious Cycles: Sonic Structure in the Coen Brothers’ Blood Simple.” Music and the Moving Image XI, New York University, 2016. 

“Behind the Whirring Machinery: Narrative Levels in the Films of the Coen Brothers.” Society for Cinema and Media Studies, annual conference, Atlanta, Georgia, 2016. 

Rebekah Moore, Assistant Professor

“Collaborative Research Methodologies in Sound, Art, and Health.” Roundtable sponsored by the Medical Ethnomusicology Special Interest Group and Crossroads Section for Difference and Representation. Annual Meeting of the Society for Ethnomusicology, Ottawa, California, 2023.

Hilary Poriss, Professor and Chair 

“Beauty and the Barber: Pauline Viardot, Performance, Transformation,” Rossini 2017 – Convegno Internazionale – Pesaro, 2017 and Rey M. Longyear Lecture Series, University of Kentucky, 2016. 

Alexandra Roberts, Professor

Panelist: “Section Two Small: Exploring the New Constitutional Limits on Trademark Law,” University of New Hampshire School of Law, 2023.

Opening Plenary Panel: “Multi-Level Lies,” Intellectual Property Scholars Conference, Cardozo School of Law, 2023.

Panelist: “Generative AI and IP Law,” Dartmouth Lawyers Association, 2023).

Bruce Ronkin, Professor 

“Publishing Without Perishing: Tips and Tricks to Survive the Research Process,” with Christopher Reali (Ramapo College of New Jersey) and Kim Wangler (Appalachian State University). Music and Entertainment Industry Educators Association, 2023. 

“Tenure, Promotion, and Research,” International Summit of the Music and Entertainment Industry Educators Association, 2022. 

Victor Zappi, Assistant Professor

Panelist: “Education Research for Audio/Musical Interface Design.” Audio Engineering Society Convention, New York, 2022.

Katherine Chan, Associate Teaching Professor and Director of Choral Activities

Grant: Choral Arts New England (CANE) Board Chair Grant, Boston Choral Ensemble, Katherine Chan Artistic Director, 2023.

Third Place (National), The American Prize Ernst Bacon Memorial Award for Performance of American Music, College/University Ensemble and Conductor Division, 2023.

Top 6 Finalist: Romano Gandolfi International Choral Conducting Competition, Parma, Italy, 2023.

Anthony Paul De Ritis, Professor 

MacDowell Colony Fellowship, 2018. 

Rebecca Kleinberger, Assistant Professor

Best Paper Award at CHI 2023 conference, 2023.

Deirdre Loughridge, Associate Professor 

2017 Kenshur Prize for outstanding monograph in 18th-century studies from the Center for Eighteenth-Century Studies at Indiana University, for Haydn’s Sunrise, Beethoven’s Shadow (University of Chicago Press, 2016). 

Psyche Loui, Associate Professor 

Grant: Sony Foundation Faculty Innovation Award. “Automated Adaptive Amplitude Modulation for Music as Brain Stimulation.” $100,000. Role: PI, 2024.

Grant: National Science Foundation NSF-BCS 2240330. “Reward Prediction in Creative Perception and Production.” $527,350. Role: Co-PI, 2023-2026.

Grant: National Institutes of Health R21AG075232. “Multimodal Musical Stimulation for Healthy Neurocognitive Aging.” $434,094. Role: PI, 2023-2025.

Grant: National Institutes of Health R01AG078376. “Gamma-Music Based Intervention for Mild Alzheimer’s Disease.” $2,722,093. Role: PI, 2022-2027.

Andrew Mall, Associate Professor

Grant: “Amplifying Resilience: Digital Sustainability in DIY Music Communities.” Collaborative Seed Grant Program between Northeastern University ($25,196) and University College Dublin (€22,498), 2024.

Grant: Collaborative, team-based ethnographic fieldwork at Furnace Fest, Birmingham, Alabama, 2021 – present. Funded by grants from the Music and Entertainment Industry Educators Association, Mercer University, and Northeastern University.

Alexandra Roberts, Professor

Best Paper Award: Winner of 2022 International Trademark Association Ladas Memorial Award for best scholarly paper, professional category. “A Poetics of Trademark Law,” Berkeley Technology Law Journal 38, no. 1.