A/Prof Emery Schubert
- Phone: +61 2 9385 6808
- Email: email@example.com
- Building: Robert Webster
- Room No: 101
Associate Professor and ARC Future Fellow
Music Psychology (Psychomusicology)
Empirical Musicology (http://empa.arts.unsw.edu.au/research-and-creative-practice/research-projects/empirical-musicology/)
Expressiveness & Emotion in Music (http://empa.arts.unsw.edu.au/research/em/express.html)
* Continuous Emotional Response
* Time Series Analysis
* Children's Emotional Responses to Music
Perception and Performance Measurement
* Kerning illusions
* Genres of expressiveness (romantic, baroque)
* Psychoacoustic and musical correlates of aesthetic behaviours
* Timbre Perception
* Harmony Perception
* Melodic Similarity
* Electronic Music
* Mental Representation and Originality
* Popular Music
* Measurement and Assessment
* Performance Anxiety
* Instrumental and Band Pedagogy
Software Solutions for Musicians and Musicologists
* Human computer interfacing
* Neural Networks
* Music Education Software Development
* Experiment Generation Software Development
Relationship between movement and music
MUSC3102 - Psychology of Music
GENT0508 - Music on My Mind: Psychology and music
MUSC2332 - Electronic Music
MUSC2113 - The Function of Music in Film (Dr John Peterson convenor)
MUSC5138 - Method and Techniques (no longer available)
University of New South Wales Orchestra
[selection. list of publications and citations via Google Scholar]
Fabian, D., Schubert, E. & Pulley, R. (2010). A Baroque Träumerei: The performance and perception of two violin renditions. Musicology Australia. 31(1), 25-42.
Lucas, B. J., Schubert, E., & Halpern, A. R. (2010). Perception of Emotion in Sounded and Imagined Music. Music Perception, 27(5), 399-412.
Garrido, S., & Schubert, E. (2010). Imagination, empathy and dissociation in individual response to negative emotions in music. Musica Humana, 2(1), 53-78.
Schubert, E. (2010). Affective, evaluative and collative responses to hated and loved music. Psychology of Aesthetics, Creativity, and the Arts, 4(1), 36-46.
Fabian, D. & Schubert, E. (in press, 2010). A new perspective on the performance of dotted rhythms. Early Music, 38(4).
Schubert, E. (2010). Continuous self-report methods. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of Music and Emotion: Theory, Research, Applications. (pp. 223-253). Oxford: OUP
Gunawan, D., & Schubert, E. (2010). Noteview: A computer program for the analysis of single-line musical performances. Acoustics Australia, 38(1), 25-30.
Schubert, E. (2009-2010). The Fundamental Function of Music. To appear in Musicae Scientiae, Special Issue 2009/10 ("Music and Evolution", eds. O. Vitouch & O. Ladinig), 63-81.
Fabian, D. and Schubert, E. (2009) Baroque Expressiveness and Stylishness in Three Recordings of the D minor Sarabanda for Solo Violin (BWV 1004) by J. S. Bach. Music Performance Research 3 — http://mpr-online.net.
Atkins, P., & Schubert, E. (2009). Music and the Experience of Spirituality: A Study of Religious People. Musica Humana, 1(2), 307-329.
Stevens, C. J., Schubert, E., Haszard Morris, R., Frear, M., Chen, J., Healey, S., Schoknecht, C., & Hansen, S. (2009). Cognition and the Temporal Arts: Investigating Audience Response to Dance Using PDAs that Record Continuous Data During Live Performance. International Journal of Human-Computer Studies, 67 (9), 800-813.
Stevens, C., Schubert, E., Wang, S., Kroos, C., & Halovic, S. (2009). Moving with and without music: scaling and lapsing in time in the performance of contemporary dance. Music Perception Special Issue, 26(5), 451-464.
Fabian, D & Schubert, E. (2008). Performance and perception of dotting in Variation 7 of J. S. Bach's Goldberg Variations (BWV 988): revisiting the dotting debate, Musicae Scientiae, 12(2), 177-206.
Kreutz, G., Schubert, E., & Mitchell, L. A. (2008). Cognitive styles of music listening. Music Perception, 26(1), 57-73.
Evans, P. & Schubert E. (2008). Relationships between felt and expressed emotions. Musicae Scientiae, Spring issue, XII-1, 75-99.
Schubert, E. (2007a). Locus of Emotion: The effect of task order and age on emotion perceived and emotion felt in response to music, Journal of Music Therapy, 44(4) 344-368.
Schubert, E. (2007b). The influence of emotion, locus of emotion and familiarity upon preference in music. Psychology of Music, 35(3), 499-515.
Schubert, E. (2007). Analysis of Emotional Dimensions in Music Using Time Series Techniques. Context: A Journal of Music Research, 31, 65-80.
Schubert, E. & Wolfe, J. (2006). Does timbral brightness scale with frequency and spectral centroid? Acustica Acustica united with Acustica 92(5), 820-825.
Schubert, E. & Stevens, C. (2006). The Effect of Implied Harmony, Contour and Musical Expertise on Judgments of Similarity of Familiar Melodies. Journal of New Music Research. 35(2), 161-174
Schubert, E. & Fabian, D. (2006). The dimensions of baroque music performance: A semantic differential study. Psychology of Music, 34, 573-587.
Schubert, E. & McPherson G. (2006). The perception of emotion in music. In G. McPherson (Ed), The child as musician: A handbook of musical development. (193-212). Oxford University Press.
Schubert E. & Fabian, D. (2005). An experimental investigation of emotional character portrayed by piano versus harpsichord performances of a J.S. Bach excerpt. In E. Mackinlay (Ed), Aesthetics and Experience in Music Performance. (77-94) Cambridge Scholars Press.
Schubert, E. (2004). Modeling perceived emotion with continuous musical features. Music Perception, 21(4), 561-585.
Fabian, D. & Schubert, E. (2004). Expressive devices and perceived musical character in 34 performances of Variation 7 from Bach’s Goldberg Variations. Musicae Scientiae, Special issue 2003-2004, 49-71.
McPherson, G. E. & Schubert, E. (2004). Measuring performance enhancement in music. In A. Williamon (Ed), Musical Excellence: Strategies and Techniques to Enhance Performance. (61-82) Oxford University Press.
Schubert, E. (2003). Update of Hevner’s Adjective Checklist. Perceptual and Motor Skills. 96, 1117-1122.
Schubert, E. (2002). Correlation Analysis of Continuous Emotional Response: Correcting for the effects of serial correlation. Musicae Scientiae, Special Issue 2001-2002, 213-236.
Schubert, E. & Fabian, D. (2001). Perception and preference of dotted 6/8 patterns by experienced and less experienced Baroque music listeners. Journal of Music Perception and Cognition. 7 (2), 113-132.
Schubert, E. (2001). Continuous Measurement of Self-Report Emotional Response to Music. In P. Juslin and J. Sloboda (Eds.), Music and Emotion: Theory and Research. (pp. 393-414) Oxford University Press.
Schubert, E. & Dunsmuir, W. (1999). Regression modelling continuous data in music psychology. In Suk Won Yi (Ed.), Music, Mind, and Science (pp. 298-352). Seoul National University Press.
Schubert, E. (1999). Measuring Emotion Continuously: Validity and Reliability of the Two Dimensional Emotion Space. Australian Journal of Psychology, 51, 154-165.
Schubert, E. (1996). Enjoyment of Negative Emotions in Music: An Associative Network Explanation. Psychology of Music, 24, 1996, 18-28.