Madeline Huberth

PhD Candidate, Stanford University

Hi! I'm a PhD student researcher in the Neuromusic lab at Stanford. Specifically, my research includes how we process multiple simultaneous melodies, and how performers gestures reflect their thoughts about musical phrase structure. 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), action monitoring in performers in ensemble settings, and performer embodiment of musical structures.

Please see my full CV for my conference participation.

Master's Thesis

2014Huberth, M. The Influence of Arousal on Musical Memory. Masters Thesis, University of Cambridge.

Peer-reviewed Journal Articles

2017Huberth, M., Fujioka, T. (2017). Neural representation of a melodic motif: Effects of polyphonic contexts. Brain and Cognition, 111, 144-155.

2015Huberth, M., Chen, P., Tritz, J., McKay, T. (2015). Computer-tailored student support in introductory physics. PLoS ONE 10(9): e0137001. doi: 10.1371/journal.pone.0137001

Conference Proceedings

2016Wu, C., Huberth, M., Yeh, Y., & Wang, G. Evaluating the Audience’s Perception of Real-time Gestural Control and Mapping Mechanisms in Electroacoustic Vocal Performance. In Proceedings of the 16th International Conference on New Interfaces for Musical Expression, 2016.

2016Huberth, M. & Nanou, C. Notation for 3D Motion Tracking Controllers: A Gametrak Case Study. In Proceedings of the 16th International Conference on New Interfaces for Musical Expression, 2016.

2015Huberth, M. & Wang, G. The effects of descriptive imagery on emotional responses to electroacoustic music. In: R. Timmers, N. Dibben, Z. Eitan, R. Granot, T. Metcalfe, A. Schiavio, & V. Williamson (Eds.). Proceedings of ICMEM 2015. International Conference on the Multimodal Experience of Music. Sheffield: HRI Online Publications, 0000. ISBN 978-0-9571022-4-8.

Manuscripts in Preparation

Huberth, M., Fujioka, T. “Performers’ motions indicate their intention to express local or long melodic groupings.”

Other Publications

2014Huberth, M., Micholetti, N., McKay, T. “E2Coach: Tailoring Support for Students in Introductory STEM Courses.” EDUCAUSE Review Online.

2014Huberth, M. “E2Coach: Customized Support for Learning Success.” Next Generation Learning Challenge Blog.

Me and some of my 2014 SYO class!

Teaching Affiliate - Stanford University

Winter, 2017 --Psychophysics and Music Cognition.

Teaching Assistant - Stanford University

Department of Music

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, Spring 2017 --Ear Training. Beginning and Intermediate.

Spring, 2016 --Psychophysics and Music Cognition.

Department of Music and Department of Computer Science

Spring, 2015 --Stanford Laptop Orchestra: Composition, Coding, and Performance.

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.

Departmental/University Service

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.

Stanford University

April 2017 - December 2017-- Research Committee Member of Stanford University Office of the President’s Long-Term Planning Process. One of two graduate students to sit on a faculty-led steering committee, responsible for reading and curating proposals submitted by current Stanford University members on Stanford’s long-range vision. Selection by nomination.

Winter 2015 - Spring 2016-- 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 - Spring 2017-- SPICE Grant Team Leader ($3500, $4000, $4000). 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.

Community Involvement/Outreach

Poster for NoisePop and California Academy of Sciences
(presenter, February, 2015)

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.

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