פרופ' זהר איתן

ביה"ס למוזיקה בוכמן-מהטה סגל אקדמי בכיר
טלפון פנימי: 03-6408415
פקס: 03-6409174
משרד: בוכמן-מהטה, M-18

מידע כללי

קורות חיים

Education

1984-1991

Ph.D., Music Theory, University of Pennsylvania

1982-1983

M.M.A (summa cum laude), Music Composition, Tel-Aviv University.

1979

Music Composition, studies with György Ligeti, Centre Acanthes, Aix, France.

1982

Music Composition, private studies with Luciano Berio.

1977-1982

B.A., Music (theory & Composition), Philosophy.

   

Academic position

2007-

Associate Professor (music theory & analysis, music cognition), School of Music, Tel Aviv University.

2004

Visiting Scholar (music cognition), School of Music, Northwestern University, Evanston, Illinois (USA).

2003-2004

Visiting Scholar (music cognition), School of Music, Ohio State University, Columbus, Ohio (USA)

1997-2007

Senior Lecturer (music theory & analysis, music cognition), Musicology, Tel Aviv University.

 

Lecturer (music theory & analysis), Musicology, Tel Aviv University.

1991-1993

Guest lecturer (music theory & analysis), Musicology/Rubin Academy of Music, Tel Aviv University.

1990-1991

Instructor (music theory & analysis), Musicology, Tel Aviv University.

1986-1987

Instructor (music theory & analysis), College of General Studies, University of Pennsylvania, Philadelphia, USA.

1982-1984

Instructor, Music Theory, Dept. of Humanities (Music), The Open University of Israel.

1983-1984

Teaching assistant (music theory & analysis), Rubin Academy of Music, Tel Aviv University.

 

 

תחומי מחקר

Academic and Professional Awards
2010-2013     Yad Hanadiv (Rothschild Foundation), Humanities Innovation Grant (with M. Grover and D. Tanai); 3 years. Project: "Reconceived great works of music."

2009-2012     Israel Science Foundation, S.T.A.R.T (BIKURA) Research grants (PI1, With E. Chajut (Open U.) as PI2; 3 years). Project: "Implicit absolute pitch and exposure to musical keys: an unacknowledged effect of familiarity on the perception and evaluation of music."2009 Mannes Institute for Advanced Studies in Music, Mannes Institute Fellowship.

2006-2010     United States-Israel Binational Science Foundation, Jerusalem, Research Grants. (PI1, with With L. B. Marks (Yale) as PI2; 4 years). Project: “Interaction of auditory and visuospatial dimensions: Speeded discrimination experiments using dynamic stimuli.”

2005     Mannes Institute for Advanced Studies in Music, Mannes Institute Fellowship. 

2002-2007     Israel Science Foundation, Jerusalem, Israel, Research grants, Project: “Processes of categorization and the perception of thematic-motivic structure in music.” 1997-1998 Tel Aviv University, Basic Research

 

Foundation grant.
1993-1995     Tel Aviv University, Basic Research Foundation grant.
1991-1992     Israel Absorption Ministry, Jerusalem, research grant.
1988-1989;     University of Pennsylvania, Mellon Dissertation Fellowships.
1989-1990
1987-1988;     University of Pennsylvania, Dean's Fellowship.
1986-1987;
1986-1985
1984-1985     Rothschild Foundation, Rothschild Fellowship for Ph.D. candidates.
1984     Italian Ministry of Foreign Affairs, Rome, Travel grant to study composition with L. Berio (declined).
1983     USA - Israel Cultural Foundation, Tel Aviv, Artists and teachers grant.
1981     Rubin Academy of Music, Tel-Aviv University, First Prize in Composition. 
1979     Israeli Council for Arts and Culture, Travel grant to a composition workshop in France. 
1974-1981     USA-Israel Cultural Foundation, Tel Aviv, Israel, Sharet Educational Grants in music composition.

 

Membership in Professional Societies
1986-199019952005    Society for Music Theory (USA)
1998-1999    New England Society for Music Theory (USA)
199720012007-2008    Society for Music Perception and Cognition (USA)
1992-2002    Israel Musicological Society

 

Other Organizational and Editorial Activities
2010-    Associate Editor, Music Theory Spectrum.
2008     Associate Editor, Psychomusicology.
2009-2010    Member of the Programme Committee: ESCOM 2009, CIM10.
2004-2006    Chair, Department of Musicology, Tel Aviv University.
2006    Organized (with Yeshayahu Shen), the international conference “Seeing the Voices: Multidisciplinary view of Synesthesia and Cross-Modal Transfer".
2005-     Associate Editor Empirical Musicology Review.
2004    Initiated and chaired the symposium “Music and cross-modal interaction,” ICMPC8, Northwestern University, ICMPC.
2003-2005    Co-editor, Orbis Musicae, Tel Aviv University.
1999    Organized the International Conference “Rethinking interpretive traditions in musicology”, Tel Aviv University.

פרסומים

BOOKS & MONOGRAPHS

Z. Eitan. Highpoints: A Study of Melodic Peaks.  Philadelphia: University of Pennsylvania Press, 1997 (187 pp.)

 

ARTICLES

Z. Eitan & I. Rothschild. How Music Touches: Musical Parameters and Listeners’ Audiotactile Metaphorical Mappings. Psychology of Music(forthcoming).

R. Y. Granot & Z. Eitan. Musical tension and the interaction of dynamic auditory parameters. Music Perception. (forthcoming)

Z. Eitan & N. Tubul.  Musical parameters and children’s images of motion. Musicae Scientiae. (forthcoming)

Z. Eitan and & R. Timmers. Beethoven’s last piano sonata and those who follow crocodiles: Cross-domain mappings of auditory pitch in a musical context. Cognition 114, 2010 (pp. 405–422).

Z. Eitan & R. Y. Granot. Primary versus secondary musical parameters and the classification of melodic motives. Musicae Scientiae, Discussion forum 4b, 2009 (pp. 139-179).

Z. Eitan. Commentary on “The happy xylophone: acoustics affordances restrict an emotional palate” by Michael Schutz, David Huron, Kristopher Keeton, & Greg Loewer. Empirical Musicology Review, 3, 2008 (pp. 136-139).

Z. Eitan. Leonard Meyer, referentialist (Invited tribute article). Music Perception, vol. 25, 2008 (pp. 479-481).

Z. Eitan & R. Y. Granot. Growing oranges on Mozart’s apple tree: “Inner form” and aesthetic judgment. Music Perception, vol. 25, 2008 (pp. 397-418).

Z. Eitan. Intensity contours and cross-dimensional interaction in music: Recent research and its implications for performance studies.  Orbis Musicae, vol. 14,  2007 (pp. 141-166).

N. Ziv. & Z. Eitan, Perceiving thematic structure: Similarity judgments versus categorization tasks. Musicae Scientiae, Discussion forum 4a, 2007 (pp. 99-133)

Z. Eitan & R. Y. Granot. Intensity changes and perceived similarity: Inter-parametric analogies. Musicae Scientiae, Discussion forum 4a, 2007 (pp. 39-75).

Z. Eitan & R. Y. Granot. How music moves: musical parameters and images of motion. Music Perception, vol. 23, 2006 (pp. 221-247).

Z. Eitan & R. Y. Granot. Parametri Musicali E Immagini Cinetiche. Rivista di Analisi e Teoria Musicale, vol 10, 2004 (pp. 15-33).

Z. Eitan. Thematic gestures: Theoretical preliminaries and an analysis.Orbis Musicae, vol. 13, 2003 (pp. 213-236).

Z. Eitan. Associative convergence and structure in Chopin’sRevolutionary Etude. Israel Studies in Musicology, vol.  6, 1996 (pp. 153-178)

Z. Eitan. Beethoven’s thematization of musical space: The case of theAppassionata.  Sonusvol. 16, 1995 (pp. 22-55).

Z. Eitan. Functionality within cluster harmony: Cadences and primary tones in the first movement of Ligeti’s Double ConcertoOrbis Musicae, 1994, vol. 11 (pp. 92-123.)

Z. Eitan. Melodic contour and musical style: A quantitative study.Musikometrika, vol.5, 1993 (pp. 1-68).

 

CHAPTERS IN BOOKS

Z. Eitan. Cross-modal interactions and the meanings of music. In M. Tsur & Y. Kaduri (Eds.) The Oxford Handbook of Music and the Visual. Oxford University Press. (due 2011; approximately 25 pp.).

Z. Eitan. How old is middle C? Cross-modal pitch mappings and musical meaning. In S. L. Tan & S. Lipscomb (Eds.). Music and Multimedia (due 2011; approximately 25 pp.).

Z. Eitan and R. Y. Granot. "Thematic coherence and listeners’ aesthetic judgments.” In Barbieri, D., Marconi, L., & Spampinato, F. (Eds.),L’ascolto Musicale: Condotte, Pratiche, Grammatiche (pp. 141-154). Lucca: Libreria Musicale Italiana, 2008.

 

PAPERS PRESENTED IN SCIENTIFIC MEETINGS AND PUBLISHED IN PROCEEDINGS

D. Kohn & Z. Eitan. Musical Parameters and Children’s Movement ResponsesInJ. Louhivuori, T. Eerola, S. Saarikallio, T. Himberg, & P. S. Eerola (Eds.). Proceedings of the 7th Triennial Conference of European Society for the Cognitive Sciences of Music (ESCOM 2009), Jyväskylä, Finland (pp. 233-241).

Granot, R. Y. & Z. Eitan. Dynamic Auditory Parameters and Perceived Musical Tension. Proceedings of the 10th International Conference on Music Perception & Cognition. Adelaide: Causal Productions, 2008. (9 pp).

I. Rothschild & Z. Eitan. How music touches: The Effects of Pitch, Loudness, Timbre and Vibrato on Listeners’ Audiotactile Metaphorical Mappings. Proceedings of the 10th International Conference on Music Perception & Cognition. Adelaide: Causal Productions, 2008 (8 pp).

Eitan,Z. Schupak,A., &  MarksL. E. Louder is higher: Cross-modal interaction of loudness change and vertical motion in speeded classification.Proceedings of the 10th International Conference on Music Perception & Cognition. Adelaide: Causal Productions, 2008 (10 pp).

Z. Eitan and & R. Timmers. Beethoven’s last piano sonata and those who follow crocodiles: Cross-domain mappings of auditory pitch in a musical context. In M. Baroni, A. R. Addessi, R. Caterina, & M. Costa (eds.).Proceedings of the 9th International Conference on Music Perception & Cognition. Bologna, 2006 (pp. 875-882).

Z. Eitan and R. Y. Granot.  Growing oranges on Mozart’s apple tree: ‘Inner form’ and aesthetic judgment. In M. Baroni, A. R. Addessi, R. Caterina, & M. Costa (eds.). Proceedings of the 9th International Conference on Music Perception & Cognition. Bologna, 2006.

Z. Eitan and R. Y. Granot. Musical parameters and spatio-kinetic imagery. In S. Lipscomb, R. Ashley, R. Gjerdingen, and P. Webster (eds.). Proceedings of the 8th International Conference on Music Perception & Cognition. Adelaide: Causal Productions, 2004 (pp. 57-63).

Z. Eitan. Introduction: Music and cross-modal interaction. In S. Lipscomb, R. Ashley, R. Gjerdingen, and P. Webster (eds.). Proceedings of the 8th International Conference on Music Perception & Cognition. Adelaide: Causal Productions, 2004 (pp. 55-56).

Z. Eitan and R. Y. Granot. Musical parameters and images of motion. In R. Parncott, A. Kessler, & F. Zimmer (eds.), Proceedings of the Conference on Interdisciplinary Musicology (CIM04).  Graz, 2004.

Z. Eitan and R. Y. Granot. Inter-parametric analogy and the perception of similarity in music. In R. Kopiez, A. C. Lehmann, I. Wolther & C. Wolf (Eds.), Proceedings of the 5th Triennial ESCOM Conference. Hanover, Germany: Hanover University of Music and Drama, 2003 (pp. 116-119).

Z. Eitan, & N. Ziv. Perceiving thematic structure: similarity perception versus explicit categorization tasks. In C. Stevens, D. Burnham, G. McPherson, E. Schubert, & J. Renwick (eds.), Proceedings of the 7th international conference on music perception & cognition. Adelaide: Causal Productions, 2002.

Z. Eitan. Musical gesture, analysis, and listening. C. Woods, G. Luck, R. Brochard, F. Seddon, & J. A. Sloboda (Eds.) Proceedings of the Sixth International Conference on Music Perception and Cognition. Keele, UK: Keele University, Department of Psychology, 2000.

Z. Eitan. Pitch Direction and Melodic Expectancy: A Reexamination of Empirical Studies. In Gabrielsson, A. (Ed.), Third Triennial ESCOM Conference: Proceedings. Uppsala:   Uppsala University Press, 1997 (PP. 275-81).

 

EDITORIAL WORK

Music Theory Spectrum. Associate Editor (2010-2012).

Psychomusicology. Associate Editor (2009-)

Empirical Musicology Journal. Columbus, Ohio: Ohio University Press, 2005-present. (Associate Editor).

Orbis Musicae 13. Tel Aviv: David and Yolanda Katz Faculty of the Arts, 2003 (Co-Editor).

 

OTHER PUBLICATIONS

M. Marcus & Z. Eitan. Children’s cross-modal mappings of dynamic pitch stimuli. 7th Triennial Conference of European Society for the Cognitive Sciences of Music (ESCOM 2009), Jyväskylä, Finland, August 2009.

Z. Eitan & R. Y. Granot. Musical Parameters and the Classification of Melodic Motives. 10th International Conference on Music Perception & Cognition, Sapporo, 2008.

Z. Eitan. Metaphors for high and low auditory pitch: A cognitive basis for cross-linguistic variation. Association for Linguistic Typology: 7th Biannual Meeting (ALT-7), Paris, France, August 2007.

Z. Eitan & H. Tamir. Higher is faster, but for whom? Pitch register, tempo preferences, musical training. 8th Conference of the Society for Music Perception and Cognition (SMPC), Montreal, Canada.

Z. Eitan & N. Tubul. Musical parameters and children’s spatio-kinetic imagery. 8th Conference of the Society for Music Perception and Cognition (SMPC), Montreal, Canada, July 2007.

Z. Eitan & R. Timmers. Cross-domain mappings of pitch in musical contexts.  Music and Language as Cognitive Systems" Conference, Cambridge, UK, May 2007.

Z. Eitan & M. Adler. Music perception and metaphorical transfer. Annual SCRIPT Workshop, "Metaphors: Linguistic and Non-linguistic Aspects." Tel Aviv University, December 2006.

Z. Eitan. Intensity across musical parameters: recent empirical studies and their implications for perception and performance. Paper presented at the study day “Musical Performance and Musical Research,” Tel Aviv University, February 28, 2005.

Z. Eitan. Latent metaphors for auditory pitch. Script conference, Israel, July 6-7, 2005.

Z. Eitan. & R. Y. Granot. Imagining musical space and motion. Paper presented at the 28th annual meeting of the Society for Music Theory, Seattle, Washington, November 11-14, 2004.

Z. Eitan. Registral direction and melodic implication. In Greer, D. (Ed.),Musicology and Sister Disciplines: Past, Present, Future. Oxford: Oxford University Press, 2001 (pp. 399-400).

Z. Eitan. (Re)constituting musical motives. Annual Meeting of the Society for Music Perception and Cognition (SMPC), Queen’s University, Kingston, Ontario,Canada, August 9-11, 2001.

Z. Eitan. Thematic Gestures in Beethoven’s Piano Sonatas. Biennial 19th-Century Music Conference, Egham, England, June/July 2000.

Z. Eitan. Melodic Implication and Pitch Direction. 3rd Biannual Meeting, Society for Music Perception and Cognition (SMPC), Cambridge, Mass., July 1997.

Z. Eitan. Beethoven’s Thematization of Musical Space: The Case of theAppassionata. 18th annual meeting, Society for Music Theory, New York, NY, November 1995.

Z. Eitan. Family Resemblance in Music. 4th Annual Meeting, The New England Conference of Music Theorists, Waltham, Mass., April 1989.

Z. Eitan. Family Resemblance: Towards an Alternative Account of Coherence in Music 12th annual meeting, Society for Music Theory, Austin, Texas, October 1989.

Z. Eitan. Functionality Within Cluster Harmony: Primary Notes and Cadences in the First Movement of Ligeti’s Double Concerto. 9th annual meeting, Society for Music Theory, Bloomington, Indiana, November 1986.

 

MISCELLANEOUS PUBLICATIONS

Z. Eitan. Mapping musical space and motion. TAU Trends in Research,2006 (p. 7).

C. Czernowin & Z. Eitan. Shu Hai Practices Javelin: Music to Texts by Zohar Eitan. Vienna: Mode Records, 2002. (Mode CD 117).

Z. Eitan. Likro keshir (reading [a text] as a poem; in Hebrew) In A. Or & Z. Eitan. (eds.), Helikon 33: Shirproza, 1998 (pp. 3-6). (An essay on prose poetry and music).

C. Czernowin & Z. Eitan. Shu Hai Practices Javelin. Vienna: Schott, 1998. (musical score; text by Zohar Eitan).

Z. Eitan. Twittering Machine, for recorder quartet. Tel Aviv: Israel Music Institute, 1987. (musical score)

 

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