These conferences are updated regularly. If no detail is provided on submission opportunities then the conference invitation has either not yet opened or has closed.


Milestones in Music Cognition: A Quarter-Century Celebration of Books by Bregman, Krumhansl and Narmour (BKN25)

Schulich School of Music of McGill University in Montreal July 7-8, 2014.

In 1990, three major books were published that were to become transformative pillars in the field of music cognition research and beyond:
1) Albert Bregman’s Auditory Scene Analysis: The Perceptual Organization of Sound, MIT Press.
2) Carol Lynne Krumhansl’s The Cognitive Foundations of Musical Pitch, Oxford University Press, and
3) Eugene Narmour’s The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model. The University of Chicago Press.

The symposium will be composed of opening and closing keynote addresses, three sessions with invited speakers reflecting upon the impact of the honorees’ work on the fields of music psychology, music theory, cognitive neuroscience and engineering, and a contributed poster session. Musical interludes will be provided by the students and faculty of the Schulich School of Music. The invited talks include:

Opening introduction: Lola Cuddy, Queen’s University
Opening keynote: Caroline Palmer, McGill University
Session in honor of Albert Bregman (chaired by Stephen McAdams, McGill University)
Claude Alain, Rotman Research Institute and University of Toronto
Dan Ellis, Columbia University
David Huron, Ohio State University
Albert Bregman, McGill University (discussant)
Session in honor of Carol Lynne Krumhansl (chaired by David Temperley, Eastman School of Music)
Elaine Chew, Queen Mary University of London
Fred Lerdahl, Columbia University
William Forde Thompson, Macquarie University
Carol Lynne Krumhansl, Cornell University (discussant)

Session in honor of Eugene Narmour (chaired by Alexander Rozin, West Chester University)
Justin London, Carleton College
Frank Russo, Ryerson University
Zohar Eitan, Tel Aviv University
Eugene Narmour, University of Pennsylvania (discussant)

Closing keynote: Robert Gjerdingen, Northwestern University
Poster session (open to submissions) Participants who wish to present their own work in the poster session may submit abstracts to the email address ( by March 1, 2014. The posters should present current research that relates in a direct way to the work of one or more of the honorees. Abstracts should be no more than 200 words. A
selection committee will examine the submissions and authors will be informed of the outcome by April 1, 2014.

A special issue of Music Perception to honor these three books will be organized by guest editors David Temperley, Alexander Rozin and Stephen McAdams, targeting
the June 2015 issue.

We hope the music cognition community will join us in celebrating our colleagues both at the symposium and through their submissions to the special issue. Further
information concerning registration and lodging possibilities for the symposium will be available in the near future on the symposium website: But mark this momentous event in your calendar now!


ICMPC13-APSCOM5 (August 4-8th, 2014, Seoul, South Korea)

The International Conference on Music Perception and Cognition returns to the Asia-Pacific area. The meeting of 2014 is the third joint conference of ICMPC and APSCOM. The meeting will be co-hosted by Yonsei University, the Korean Society for Music Theory (KSMT), and Korean Society for Music Perception and Cognition (KSMPC). Professor Moo Kyoung Song at Yonsei University will be the chair of the conference.

Download PDF with conference details.


Bias in Auditory Perception 18-19-20 September 2014

The Interacting Minds Centre (Aarhus University, Denmark)

Human perception is biased by previous experiences, beliefs, knowledge, and presuppositions. Research on perceptional bias is approached from different angles, e.g. cross-modal perception, the influence of social categorization, the role of stereotypes, (socio-) linguistic context, the influence of emotions, or the contribution of different sorts of information. Much experimental investigation has been carried out in order to get more insight into biased perception. However, relatively few of these studies concentrate on auditory perception.

Currently, we observe an increasing interest in bias in speech perception, showing that identification of speech sounds can be influenced by the information the listener has at her disposal (which might be justified or not).

Among the factors that play a role in biased speech perception may be: age, gender, the overall dialect or ethnolect, sexual orientation, and ethnic background of the speaker. Growing evidence shows that also professional linguists are susceptible to speech bias, which potentially has important impact on linguistics analyses (for instance in dialectology and fieldwork). Moreover, auditory bias may lead to misjudgement by evaluators in speech therapy, second language evaluation, or asylum requests, which may have a serious impact on the speaker who is evaluated.

Abstract submission

Abstracts can be submitted before July 1, 2014. Notification of acceptance follows on July 15, 2014. Abstracts should not exceed 200 words excluding references and should be submitted as PDF. Please use EasyAbs to upload your abstract. Speakers will be allotted 20 minutes plus 5 minutes discussion. We have the intention to select papers for a peer-reviewed special issue on auditory bias.

Please submit your abstract to EasyAbs here

Registration opens Tue 15 Apr 08:00, Registration closes Mon 01 Sep 12:00 Register

More information click here


CogMIR 2014 -

October 4, 2014
Ryerson University, Toronto

The fourth annual seminar on cognitively based music informatics research (CogMIR) will take place on October 4, 2014 at Ryerson University in Toronto, Canada. In addition to invited keynote presentations by Carol Krumhansl (Cornell University) and Douglas Eck (Google Research), we are pleased to invite the submission of abstracts for spoken or poster presentations.

Abstracts submissions concerning research on the following topics are especially welcome:
-Computational modeling of music similarity
-Computational modeling of music emotion
-Cognitively based approaches to music information retrieval
-Cognitively based approaches to music analysis
-Cognitively based approaches to music generation
-Cognitively based approaches to music in hearing aids
-Music cognition with implications for music informatics

Abstracts of no longer than 200 words should describe the motivation, methodology, results and conclusions of research. Do not send abstracts as an attachment. Please type the abstract directly into the body of your email with a complete list of authors and their affiliations. Please indicate preference for poster or paper presentation.

Abstract submissions should be emailed to:

New Scholar Prizes:
Google Research has generously provided funds for this meeting that will enable us to support three prizes for new scholars (students/post docs). One prize, valued at $500, will be awarded for the best paper presentation. Two additional prizes, valued at $250 each, will be awarded for the best poster presentations.

Important Dates:
Deadline for abstract submission: July 31, 2014
Notification of acceptance: by August 15, 2014
Deadline for early registration: September 4, 2014
One-day Seminar: October 4, 2014, 9 am – 5 pm

Please feel free to send any questions about the Seminar to the Organizers: Naresh Vempala ( and Frank Russo (


International Conference on the Multimodal Experience of Music (ICMEM)

Humanities Research Institute, University of Sheffield, UK, 23-25 March 2015

In live and virtual situations, music listening and performing are multimodal experiences: Sounds may be experienced tactically, music evokes visual images or is accompanied by visual presentations, and both generate vivid cross-modal associations in terms of force, size, physical location, fluency and regularity, among others.

ICMEM aims to bring together researchers from various disciplines who investigate the multimodality of musical experiences from different perspectives. Disciplines may include audiology, cognition, computer science, music performance and theory, neuroscience, philosophy, and psychology. Presentation formats include papers, symposia, demonstrations and posters.Investigations may include but are not necessarily confined to the following areas:

-Cross-modal correspondences with musical parameters
-Visual influences on the perception of music
-Role of the body and motor knowledge in the perception and interpretation of music
-Cross-modal interaction in multimedia, including music in film and games
-Uses of cross-modal correspondences to compensate for hearing or visual impairment
-Strong and weak synaesthesia
-Brain-structures related to cross-modal associations
-Phenomenology of cross-modal experiences
-Technological and commercial applications of cross-modal associations
-Creative and pedagogical uses of cross-modality in music

Proposals are invited for papers, symposia, demonstrations and posters on investigations of the multimodal experience of music.

Further information:

Submission deadline: 6 October 2014 by e-mail to

This conference is supported by ESCOM and SEMPRE, who offer bursaries to student attendees.


2nd International Conference on Music and Consciousness

Faculty of Music, University of Oxford, UK, 14th-17th April 2015.

Organised jointly by the Faculty of Music, University of Oxford, and the University of Newcastle’s International Centre for Music Studies.

There have been rapid multidisciplinary advances in scholarly understanding of musical experience over the last fifteen years or so. It is increasingly accepted that musical experiences are multi-faceted, fluctuating, and dynamic; complex composites of cognitive, perceptual, embodied and affective components. One response to the acknowledged phenomenological complexity of musical engagement has been a growing interest in the relationship between music and consciousness.

Following on from the success of the first International Conference on Music and Consciousness (Sheffield, 2006), and the edited volume Music and Consciousness to which this led, this second conference is again intended as a forum for the exchange of perspectives from a broad range of disciplines, including but not restricted to:  neuroscience, psychology, phenomenology, philosophy, sociology, musicology, performance studies, ethnomusicology, music therapy, evolutionary psychology, cognitive archaeology, and cultural history.

The conference will consist entirely of plenary sessions, enabling wide-ranging participation, with significant time set aside for discussion. It will include keynote presentations, papers, short communications, and musical performances.

The conference committee welcomes submissions addressing a broad range of themes, including but not limited to the following:

•       Music and Unconsciousness
•       Neural substrates of musical consciousness
•       Consciousness and musical performance
•       Music and trance, flow, absorption, dissociation, and altered states of consciousness (ASC).
•       Theorising musical consciousness – across disciplines, across cultures, across history
•       Consciousness and musical creativity
•       Modes of musical consciousness, modes of musical subjectivity
•       Music and collective consciousness

Proposals will be accepted on the basis of their relevance to the conference themes, significance, originality and rigour.

A formal call for papers will be issued in January 2014, with a deadline for proposals of July 2014.


9th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM)

17–23 August 2015 Manchester, U.K.:
Royal Northern College of Music, Manchester, U.K.
Organisers: Jane Ginsborg (chair), Alexandra Lamont (co-chair)


Society for Music Perception & Cognition 2015

The SMPC Board is pleased to announce that SMPC 2015 will be hosted at Vanderbilt University. Dr. Elizabeth Dykens has agreed to serve as conference chair, with Dr. Reyna Gordon serving as conference co-chair. More details will be forthcoming as the conference chairs make further arrangements.

The tentative dates for the conference are August 6-10, 2015, so factor that into your advance plans!


If you hear of any conferences that may be interesting for music psychologists then please forward details to me: v.williamson- at-

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