I'm a musician who studies how we understand and are moved by music. Specifically, my research includes how we process multiple simultaneous melodies, and how performance gestures shape our musical experience. By drawing on my experiences as a cellist and a pianist, and more recently a performer of electronic music, I hope to answer questions fundamental to many musical domains.
My research interests include how well listeners process multiple simultaneous melodies, or 'polyphony' (investigated through the use of EEG at the NeuroMusic Lab at CCRMA), the effect of visual narrative imagery on emotions induced by music, and how our emotional impressions while listening to music for the first time affect how well we remember it.
Please see my full CV for my conference participation.
2014Huberth, M. The Influence of Arousal on Musical Memory. Masters Thesis, University of Cambridge.
Peer-reviewed Journal Articles
2015Huberth, M., Chen, P., Tritz, J., McKay, T. (submitted). “Computer-tailored Student Support in Introductory Physics” PLOS One.
2015Huberth, M., Wang, G. “Effects of Descriptive Imagery on Emotional Responses to Electroacoustic Music.” Proceedings of the International Conference on the Multimodal Experiences of Music.
Manuscripts in Preparation
Huberth, M., Fujioka, T., “Encoding of Polyphonic Musical Motives: Effects of Time-Offset on Mismatch Negativity (MMN).”
Huberth, M., Hawkins, S., Cross, I. “Arousal Mediates Recognition of Unfamiliar Music.”
2014Huberth, M., Micholetti, N., McKay, T. “E2Coach: Tailoring Support for Students in Introductory STEM Courses.” EDUCAUSE Review Online.
Teaching Assistant - Stanford University
Fall, 2014, 2015 -- Fundamentals of Computer-Generated Sound. Responsible for core course redesign in Summer, 2015, with a SCORE: Strengthening the Core grant.
Winter, 2015 --Ear Training. Beginning and Intermediate.
Instructor - Stanford Youth Orchestra
Summer, 2014, 2015 -- Music Cognition. Primary instructor for ~30 high school students. Designed and taught all aspects of 3-week course with biweekly lectures.
I'm interested in increasing departmental effectiveness to better equipping graduate and undergraduate students for their professional lives. At CCRMA, students spend much of their curricular life inside the academic department, so to the extent we can better the internal climate and create opportunities for scholarly exchange among students, the more rewarding (both in present and in future) the department will be.
Winter 2015 - present-- CCRMA Colloquium Chair and Curator. Expansion of the CCRMA colloquium to involve frequent student presentations, of conference-length format and of 'quick-byte' format for rapid feedback on concepts and projects (see the internal CCRMA colloquium schedule for a sampling of student and faculty presentations). Additionally handle scheduling of external speakers.
Spring 2015-- SPICE Grant Team Leader ($3500). Procured university funding for a CCRMA journal club, a writing club, and the CCRMA colloquium.
Spring 2015-- SCORE - Strengthening the Core Grant ($5000). Targeted at a redesign of Music 220A: Fundamentals of Computer-Generated Sound. Along with Prof. Chris Chafe, responsible for syllabus and course content design, including homework assignments, content choices, and course structure.
February 2015-- California Academy of Sciences - Noisepop Nightlife. Understanding auditory grouping processing using EEG. San Francisco, CA.
November 2014 -- Los Altos High School STEM Week. Sound, Music, Emotion: Stories of How and Why Music Moves Us. Los Altos, CA. Led subsequent tours (read here) and met with students from Los Altos High School individually for consultation on their senior projects.
May 2012 -- TEDxUofM. The Cello and the Group. Ann Arbor, MI.
Hello! I'm a PhD student at CCRMA, the Center for Computer Research in Music and Acoustics, at Stanford University. The ways we connect with music are many and varied, and my research interests include understanding the nature of musically-induced emotions and how this shapes our musical experiences, and how we perceive timbre.
My recent research topics include how well listeners process polyphony (investigated through the use of EEG and the Neuromusic Lab at CCRMA), the effect of visual imagery on emotions induced by music, and the intersection of music, emotion, and memory, and how our emotional impressions while listening to music for the first time affect how well we remember it. I am also involved in the Stanford Laptop Orchestra (SLOrk), and a new ensemble: SideLObe, whose mission as a year-round ensemble is to further the bounds of laptop performance and develop the laptop orchestra repertoire canon.
Before coming to CCRMA, I earned a master's in music at the Center for Music and Science at the University of Cambridge, and before that, a B.S. in physics and a B.M. in cello performance, from the University of Michigan, where I studied with Richard Aaron and worked closely in the physics department with Timothy A. McKay on a project involving how timbre is effected by changes in auditory feedback. I worked further with Prof. McKay as a web designer/developer, data analyst, and early-stage team member on an online learning personalization platform, E2Coach.
I began my professional career as a cellist, performing as a soloist and in orchestras nationally and internationally. My solo appearances with orchestra include performances with the Albany Symphony, the Hudson Valley Philharmonic, and the Manhattan School of Music Precollege Philharmonic, among others. Festival appearances include the International Piatigorsky Cello Festival in a masterclass for Lynn Harrell; Music Academy of the West in Santa Barbara, CA; ENCORE School for Strings; Soundfest Chamber Music Festival; Boston University Tanglewood Institute; and Piano Summer in New Paltz, where I studied piano with Vladimir Feltsman. In March of 2011, I was voted into the second installment of the YouTube Symphony Orchestra at the Sydney Opera House.