 | PhD Candidate in聽Music Theory Areas of Interest: |
Education
--- 91社区, 2008-present
聽 聽 --聽Co-supervised by Professor Stephen McAdams and Professor William E. Caplin
聽 聽 --聽Recipient of the Quebec Merit Scholarship (2011鈥損resent) and the Richard H. Tomlinson Fellowship (2008-2011)
聽 聽 --聽Awarded the Grand Prize for Student Research at the 2011 National Conference of the Society for Music Perception and Cognition (SMPC)
---聽University of Arkansas, 2002-2008
聽 聽 --聽BAs Music (emphasis in Theory) and English (emphasis in Literature)
聽 聽 --聽Summa Cum Laude
聽 聽 --聽Research Thesis Title (2008): Processing Surprise in Tonal Melodies
聽 聽 --聽Supervised by Professor William E. Caplin
聽 聽 --聽Honors Thesis Title (2007): Conceptual Synaesthesia: Deconstructing Perceived Boundaries around Music and Literature聽
聽 聽 --聽Co-supervised by Elizabeth H. Margulis (Music) and Debra R. Cohen (English)
Refereed Publications
Sears, D. Forthcoming. 鈥淭he Perception of Cadential Closure.鈥 In What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire, edited by M. Neuwirth and P. Berg茅. Leuven: Leuven University Press.听
Sears, D., W. E. Caplin, and S. McAdams. Submitted. 鈥淧erceiving the Classical Cadence.鈥 Music Perception.听
Trochidis, K., D. Sears, D. L. Tr芒n, and S. McAdams. Forthcoming. 鈥淧sychophysiological Measures of Emotional Response to Romantic Orchestral Music and their Musical and Acoustic Correlates.鈥 In Proceedings of the 9th International Symposium on Computer Music Modeling and Retrieval, June 19-22, 2012. London: Springer-Verlag.听
Sears, D. 2011. 鈥淲hat is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire.鈥 Conference Report. Eighteenth Century Music 8 (2): 361鈥4.听
Sears, D., M. Ogg, M. Benovoy, D. L. Tr芒n, and S. McAdams. 2011. 鈥淧redicting the Psychophysiological Responses of Listeners with Musical Features.鈥 Psychophysiology. Special Issue: Society for Psychophysiological Research Abstracts for the Fifty-First Annual Meeting 48: S106.听
Sears, D., M. Ogg, M. Benovoy, G. Zilberstein, and S. McAdams. 2010. 鈥淎re Bodily Responses Pre- Musical? Psychophysiological Applications to Music Analysis.鈥 In Proceedings of the International Conference of Music Perception and Cognition 11. Peer-reviewed abstract, Seattle, University of Washington.听
Sears, D. 2008. 鈥淧rocessing Surprise in Tonal Melodies.鈥 Inquiry Research Journal, University of Arkansas, Fayetteville, AR: 16鈥23.
Congress Contributions
Sears, D. 2012. 鈥淓xploring the 鈥楽ound-box鈥 in Radiohead鈥檚 鈥楶aranoid Android.鈥欌 Paper presented at the Music Graduate Student Symposium (MGSS): Traditions, Progressions, Transgressions, Toronto, ON, May 4鈥5.听
Weigl, D. M., D. Sears, and J. A. Hockman. 2012. 鈥淓xploring Beat Salience through Perception, Synchronization, and Subjective Judgement tasks.鈥 Paper presented at the CIRMMT Workshop on Multi-Sensory Perception and Action, Montreal, QC, December 4.听
Sears D., D. M. Weigl, and J. A. Hockman. 2012. 鈥淚nvestigating Beat Salience: A Reaction-Time Approach.鈥 Poster presented at the Annual CIRMMT Student Symposium, Montreal, QC, May 23.听
Trochidis, K., D. Sears, D. L. Tr芒n, and S. McAdams. 鈥淧sychophysiological Measures of Emotional Response to Romantic Orchestral Music and their Musical and Acoustic Correlates.鈥 Paper presented at the 9th International Symposium on Computer Music Modeling and Retrieval, London, UK, June 19鈥22. CV: David Sears 3 January 27, 2013聽
Sears, D., M. Ogg, M. Benovoy, D. L. Tran, and S. McAdams. 2011. 鈥淧redicting the Psychophysiological Responses of Listeners with Musical Features.鈥 Poster presented at the 51st Annual Meeting of the Society for Psychophysiological Research (SPR), Boston, MA, September 14鈥18.听
Sears, D., W. Caplin, and S. McAdams. 2011. 鈥淭he Perception of Cadential Closure in Mozart's Keyboard Sonatas.鈥 Paper presented at the Society for Music Perception and Cognition (SMPC), Rochester, NY, August 11鈥14.听
Sears, D., W. Caplin, and S. McAdams. 2011. 鈥淭he Perception of Cadential Closure in Mozart's Keyboard Sonatas.鈥 Invited paper presented at What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire, Academia Belgica, Rome, January 17鈥19.听
Sears, D. 2010. 鈥淭he Effect of Performance Features and Formal Repetition on Measures of Physiological Arousal.鈥 Paper presented at the 3rd Meeting of the Northeastern Music Cognition Group, Boston, MA, October 23.听
Sears, D., M. Ogg, M. Benovoy, G. Zilberstein, and S. McAdams. 2010. 鈥淎re Bodily Responses Pre- Musical? Psychophysiological Applications to Music Analysis.鈥 Paper presented at the 11th International Conference of Music Perception and Cognition (ICMPC), Seattle, WA, August 23鈥27.听
Sears, D., M. Ogg, M. Benovoy, and S. McAdams. 2010. 鈥淭he Effect of Performance Features on the Psychophysiological Responses of Listeners.鈥 Poster presented at the BRAMS Annual Scientific Day, Montreal, QC, April 16.
Sears, D., and H. Egermann. 2010. 鈥淧sychological Mechanisms and Psychophysiological Measurements.鈥 Paper presented at the CIRMMT Workshop on Psychophysiological Measurement, Montreal, QC, April 23.听
Sears, D., A. Conard, and M. Vallieres. 2010. 鈥淢usical Materials in Time: Some Theoretical Approaches to Musical Form.鈥 Paper presented at the CIRMMT Workshop on Structural Analysis of Music, Montreal, QC, March 26.听
Sears, D. 2008. 鈥淧rocessing Surprise in Tonal Melodies.鈥 Paper presented at Confounding Expectation: Music and the Unexpected Outcome: Graduate Student Conference, Calgary, AB, April 25鈥26.