Lindsey Reymore
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Mail code: 0405Campus: Tempe
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Lindsey Reymore is an assistant professor of music theory at Arizona State University. She is an active member (and previous postdoctoral fellow) of the ACTOR Partnership (Analysis, Creation, and Teaching of Orchestration, https://www.actorproject.org/), a global network of musicians and scientists working on projects related to musical timbre and orchestration. Reymore’s research investigates the roles of timbre in musical experience, particularly with respect to meaning, cognition and formal structure. She applies interdisciplinary methodologies, using approaches from behavioral psychology and data analytics in combination with musical analysis.
Her research has been published in interdisciplinary journals including Psychomusicology, Musicae Scientiae, Frontiers in Psychology, PLOS One, and Human Technology and has been presented at national and international conferences. She was awarded the 2018 first prize Early Career Researcher Award by the European Society for the Cognitive Sciences in Music for work on timbre semantics.
- PhD. Music Theory, Ohio State University, 2020
- MMus. Oboe Performance, The University of Texas at Austin, 2014
- BMus. Oboe Performance, Vanderbilt University, 2012
timbre, orchestration, form, music perception/cognition, semantics, orchestral music, popular music, instrument-specific absolute pitch
Articles
In press. Reymore, L. Variations in timbre qualia with register and dynamics in the oboe and French horn. Empirical Musicology Review.
2022. Reymore, L., Beauvais-Lacasse, E., Smith, B.K., & McAdams, S. Modeling noise-related timbre semantic categories of orchestral instrument sounds with audio features, pitch register, and instrument family. Frontiers in Psychology. 13:796422. https://doi.org/10.3389/fpsyg.2022.796422
2021. Reymore, L. Characterizing prototypical musical instrument timbres with Timbre Trait Profiles. Musicae Scientiae. https://doi.org/10.1177/10298649211001523
2021. Hansen, N.C. & Reymore, L. Articulatory motor planning and timbral idiosyncrasies as underlying mechanisms of instrument-specific absolute pitch in expert musicians. PLOS ONE. https://doi.org/10.1371/journal.pone.0247136
2020. Reymore, L. & Hansen, N.C. A Theory of Instrument-Specific Absolute Pitch. Frontiers in Psychology. 11:560877. https://doi.org/10.3389/fpsyg.2020.560877
2020. Reymore, L. & Huron, D. Mapping the cognitive linguistic dimensions of musical instrument timbre. Psychomusicology, 30(3), 124–144. https://doi.org/10.1037/pmu0000263
2020. Warrenburg, L., Reymore, L., & Shanahan, D. The communication of melancholy, grief, and fear in dance with and without music. Human Technology, 16(3), 283–309. https://doi.org/10.17011/ht/urn.202011256766
Conference Proceedings
2021. Albrecht, J., Warrenburg, L., Reymore, L., & Shanahan, D. (Eds.). Proceedings of Future Directions of Music Cognition. Ohio State University Libraries. https://doi.org/10.18061/FDMC.2021.0000
2021. Reymore, L., Beauvais-Lacasse, E., Smith, B.K., & McAdams, S. Navigating noise: Modeling perceptual correlates of noise-related semantic timbre categories with audio features. Proceedings of the 22nd International Society for Music Information Retrieval Conference. https://archives.ismir.net/ismir2021/paper/000069.pdf
2020. Reymore, L. Timbre Trait Analysis: The semantics of instrumentation. In A. Zacharakis, C. Saitis, & K. Siedenburg (eds.), Proceedings of the 2nd International Conference on Timbre (Timbre 2020). Online conference (Thessaloniki, Greece). pp. 38–41.
2018. Reymore, L. & Huron, D. Identifying the perceptual dimensions of musical instrument timbre. In R. Parncutt & S. Sattmann (eds.), Proceedings of the 15th International Conference on Music Perception and Cognition. Graz, Austria: Centre for Systematic Musicology, University of Graz. pp. 372–377.
2018. Reymore, L. Musical affect and embodiment: Fear, threat, and danger in the music of The Lord of the Rings. In R. Parncutt & S. Sattmann (eds.), Proceedings of the 15th International Conference on Music Perception and Cognition. Graz, Austria: Centre for Systematic Musicology, University of Graz. pp. 378–383.
Courses
2024 Spring
Course Number | Course Title |
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MTC 492 | Honors Directed Study |
MTC 493 | Honors Thesis |
MTC 221 | Music Theory II |
MTC 584 | Internship |
MTC 790 | Reading and Conference |
MTC 500 | Research Methods |
PSY 598 | Special Topics |
MTC 591 | Seminar |
MTC 499 | Individualized Instruction |
MTC 590 | Reading and Conference |
MTC 484 | Internship |
2023 Fall
Course Number | Course Title |
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MTC 790 | Reading and Conference |
MTC 499 | Individualized Instruction |
MTC 520 | Analytical Techniques |
MTC 584 | Internship |
MTC 598 | Special Topics |
MTC 496 | Theory Project |
MTC 590 | Reading and Conference |
2023 Spring
Course Number | Course Title |
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MTC 496 | Theory Project |
MTC 221 | Music Theory: 18th Century |
MTC 790 | Reading and Conference |
MTC 591 | Seminar |
MTC 499 | Individualized Instruction |
2022 Fall
Course Number | Course Title |
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MTC 222 | Music Theory: 19th Century |
MTC 327 | Intermediate Form and Analysis |
MTC 584 | Internship |