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CURRICULUM VITAE AND LIST OF PUBLICATIONS

PERSONAL DETAILS Name: Warren Brodsky

Date of Birth: June 19, 1957Place of Birth: Philadelphia, Pa., USA

Immigration to Israel: June 26, 1972Marital Status: Married (1980); two children (1984/1989)Army: Conscription; Bass-Guitarist for IDF Army Bands (1975-1978)

Reserves; Paramedic (1978-1992), Research Psychologist (1995-2003)Contact Addresses: Residence Work

Gizo #22 Department of the ArtsGizo, 99745 Room 211, The Diller Humanities Building

Ben-Gurion University of the Negev

POBox 653, Beer Sheva 84105, IsraelTelephone Numbers:: 02-9994168 08-6461443

Cell Phone: 0544-701811E-mail: [email protected]

EDUCATION

1978-1982 BMus - Bachelor of Music, PerformanceJerusalem Rubin Academy of Music and Dance, Israel

Mentor: Pamela Jones - Percussion

1978-1982 DipMusEd - Music Teachers Certificate, K-8

Jerusalem Rubin Academy of Music and Dance, IsraelMentors: Batya Strauss & Veronica Cohen - Preschool Music

1982-1984 MCAT - Master of Creative Arts Therapy, Music TherapyHahnemann Medical University, Philadelphia, Pa., USA

Thesis: “Blissongs - Augmentat ive Singing For The NonverbalMultihandicapped Child”

Thesis Committee: Cynthia A Briggs, Gary Lord, Elisa MatthesClinical Internship: Haverford State Hospital, Haverford, Pa., USA

Clinical Supervisor: JoEllyn Berky Beck

1992-1995 PhD - Doctor of Philosophy, PsychologyKeele University, Staffordshire, England

Dissertation: “Career Stress And Performance Anxiety In ProfessionalOrchestra Musicians: A Study Of Individual Differences And TheirImpact On Therapeutic Outcomes”

Supervisor, John A. Sloboda; External Examiner: Andrew Steptoe

POST-DOCTORAL FELLOWSHIPS1999-2001 Schillinger Fellow Of Music Science, Department of the Arts

Ben-Gurion University of the Negev, Beer Sheva, IsraelCollaborator: Haim Finkelstein

1996-1998 Post-Doctoral Fellow, Music Cognition, Department of Behavioral ScienceBen-Gurion University of the Negev, Beer Sheva, Israel

Collaborator, Avishai Henik


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EMPLOYMENT HISTORY

A. PRINCIPLE POSITIONS 2004-present Senior Lecturer, Ben-Gurion University of the Negev (Arts Department),

Beer-Sheva, Israel-Tenure: July 7 2005-Appointment: Coordinator, Division of Art and Music (2004)

2001-2004 Lecturer, Ben-Gurion University of the Negev (Arts Department),Beer-Sheva Israel

-Appointment: Administrator of General Music Studies (2003)1998-2000 Lecturer, Kay College of Education, Beer-Sheva Israel1990-present Lecturer, Seminar HaKibbutzim College, Tel Aviv Israel

1986-present Lecturer, Levinsky College of Education (Music), Tel Aviv Israel1980-1992 Music Therapist, Ministry of Education, Jerusalem Israel

B. SUBSIDIARY POSITIONS 1995-1997 Researcher (R&D), Levinsky College of Education, Tel Aviv, Israel

1995-1996 Adjunct Lecturer, Bar-Ilan University (Musicology), Ramat Gan, Israel1989-1996 Lecturer, National Music Educators' Summer Institute, Tel Aviv, Israel

1991-1992 Music Therapist, MTR Medical Service Center, Jerusalem, Israel1989-1990 Music Therapist, Shaare Zedek Hospital, Jerusalem, Israel1988-1991 Music Therapist, Eilot Regional Council, Arava, Israel

1987-1988 Music Therapist, AKIM, Jerusalem, Israel1986-1987 Music Therapist, Ministry of Defense, Department of Rehabilitation

1985-1986 Clinical Fieldwork Supervisor, Bar Ilan University, Ramat Gan, Israel1984-1985 Music Therapist, Talbieh State Hospital, Jerusalem, Israel

PROFESSIONAL ACTIVITIESA. EDITORIAL

2009-present Associate Editor, Quarterly Journal Of Experimental Psychology (QJEP), journal of the Experimental Psychology Society, Taylor & Frances UK

2007-present Consultant Editor, Psychology Of Music (POM), journal of the Society forEducation, Music and Psychology Research (SEMPRE), Sage UK

2002-2006 Book Reviews Editor, Psychology Of Music (POM) journal of the Societyfor Education, Music and Psychology Research (SEMPRE), Sage, UK

2001-present Consultant Editor, Musicæ Scientiæ (MusSci), journal of the European

Society for the Cognitive Sciences of Music (ESCOM), Sage UK2001-2007 Consultant Editor, Journal Of Music Therapy (JMT), journal of the

American Music Therapy Association (AMTA), Washington DC USA.1999-2002 Book Reviews Editor, High Ability Studies (HAS), journal of the European

Council for Higher Ability (ECHA), Taylor & Frances, UK

B. AD-HOC R EVIEWER

Journals: Music Science [1] Music Perception; [2] Psychomusicology Road Safety [1] Accident Analysis & Prevention; [2] Transportation Research, Part F:

Traffic Psychology and Behavior

Psychology [1] British Journal Of Psychology; [2] Cognitive Processes; [3] Journal OfOccupational and Organizational Psychology; [4] Journal Of Applied

Social Psychology; [5] Journal Of Mental Imagery; [6] Psychological Bulletin; [7] Psychological Reports: Perceptual & Motor Skills

Books: Medical and Neuroscience Division, Oxford University Press, UK


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C. MEMBERSHIPS

European Society For The Cognitive Sciences Of Music (ESCOM)Society For Education, Music And Psychology Research (SEMPRE)

D. R ESEARCH AFFILIATION 2006-2009 Research Associate, Center for Excellence in Teaching and Learning

Royal Northern College of Music (RNCM), Manchester, UK1996-2010 Research Associate, Unit for the Study of Musical Skill and Development,

Department of Psychology, Keele University, Staffordshire, UK

E. CHAIRMAN OF ORGANIZING COMMITTEES FOR CONFERENCES AND WORKSHOPS

2000 “Joseph Schillinger - His Life And Works As A Composer-Theoretician InThe Fields Of Performance, Education, And Music Science.” Day

Symposium, Ben-Gurion University Of The Negev, Beer-Sheva, Israel2000 “The Contribution Of Music Science To The Study Of Human Behavior.”

Symposium At The International Conference On Psychology: Psychology

After The Year 2000, University Of Haifa, Haifa, Israel

F. COMMUNITY SERVICE: SUMMER YOUTH PROGRAMS 1984 Music Director, Camp Ramah Day Camp, Jerusalem, Israel1983 Music Director, Camp Ramah Poconos, Pennsylvania PA., USA

1981 Music Director, Camp Ramah Wisconsin, Conover WI., USA1979 Music Counselor, Camp Ramah Wisconsin, Conover WI., USA

EDUCATIONAL ACTIVITIES

A. COURSES TAUGHT Levinsky College [LEV]; Kibbutzim College [SKB]; Kay College [KAY]; Ben-Gurion University of the Negev [BGU]

1. Music Coursesa.

American Popular Music (Between 1850 And 1980) [BGU] b. Assessing ‘Readiness For School’ Through Musical Activity [LEV; SKB] c. Creative Music Education [LEV; KAY]

d. Clinical Music Therapy Improvisation [LEV] e.

Diagnostic Assessment And Evaluation In Music Therapy [LEV]

f.

Foundations of Music: Music Theory For Non-Music Majors [BGU] g. Functional Guitar For Pre- And Elementary School Teachers [LEV] h. Introduction To Music As A Creative Arts Therapy [BGU]

i.

“Let’s Discover Our Inner Music”: Self Awareness Through Music [SKB; KAY] j.

Music History And Literature (From Antiquity Till The Classic Period) [BGU]

k.

Music In Special Education: Influence Of Music On Exceptional Children [LEV; SKB] l. Music Research Seminar [LEV] m. Music Therapy Group Dynamics [LEV]

n. Music Therapy: Introduction and Principle Theories [LEV] o.

Music Therapy Skills (Children And Adult) [LEV]

p.

Normal Musical Development (Pre-Natal Development To Age 8) [LEV; SKB; KAY] q. Orff-Schulwerk [LEV] r. Play, Activity, And Training Songs [LEV; SKB; KAY]

s. Power of Music: Introduction To Music Psychology [LEV; SKB; KAY; BGU] t.

Psychodynamic Meanings Of Music [LEV]

u.

Psychology And Physiology Of Music [LEV; SKB; KAY; BGU] v.

Quincy Jones: A Musical Biography [BGU]w. Workshop: Music Science Research [BGU]


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2. Education, Special Education, And Psychology Courses

a. Applied Social Psychology [LEV] b.

Developmental Psychology [LEV]

c. Emotional Development Of Exceptional Populations [LEV; SKB; KAY] d. Introduction To Psychology [LEV] e. Methods Of Therapy [LEV; SKB]

f.

Personality Theories [LEV] g. Psychological Aspects Of Creativity And Giftedness [LEV; SKB; KAY]

h.

Research Seminar On High Ability [LEV; SKB; KAY] i.

Special Child In The Regular Classroom [LEV; SKB; KAY]

B. R ESEARCH SUPERVISION 2010-2012 MA, “Singing In Everyday Life”

Student: Mrs. Rona Poles-Cahn2009-2014 PhD, “The Effects Of Parenting Style On Playing Experience And The

Intention Of Classical Musicians To Peruse Or Drop Out Playing After

Graduating High School.”Student: Mrs. Michal Turner

2007-2009 Post-Doctoral Project, “Positive Aging Among Orchestra Musicians”Research Fellow: Dr. Donna Abecasis

2003-2009 PhD, “Learning Effects Of Children’s Hand-Clapping Songs”

Student: Mrs. Idit Sulkin

AWARDS AND FELLOWSHIPS1999-2001 Post-Doctoral Research Fellowship at Ben-Gurion University of the Negev,

funded by the Estate of Frances Schillinger-Shaw ($70,000)

1996-1998 Post-Doctoral Research Fellowship at Ben-Gurion University of the Negev,funded by the VaTat Committee of the Commission on HigherEducation, Ministry of Education, State of Israel ($33,500)

1994 Alice G. Brandfonbrener Young Investigator Award for Outstanding

Research, awarded by Performing Arts Medicine Association ($2,500)1992-1994 Overseas Research Students (ORS) Award, funded by the Committee of

Vice-Chancellors and Principals (CVCP), United Kingdom (£7,000)1984 Graduate School Day Honorary Master's Research Project, awarded by the

Dean of Mental Health Sciences of Hahnemann Medical University

1981 Jack Grubert Scholarship For Academic Achievement, awarded by theHeadmaster, Jerusalem Rubin Academy of Music and Dance ($1,500)

SCIENTIFIC PUBLICATIONS

A. AUTHORED BOOKS AND MONOGRAPHS 1.

Brodsky, W. (1983) Blissongs: Augmentative Singing For The Non-Verbal Multi-Handicapped

Client . Philadelphia, Pa.: Author.2. Brodsky, W. (Commissioned, to be published 2013) Seasoned Musicians: Playing Beyond The Fifth

Decade. Medical & Neuroscience Division, Oxford University Press, London, UK

B. EDITED BOOKS: CHAPTERS AND CONFERENCE PROCEEDINGS

1.

Brodsky, W. (1990) Group improvisation within music therapy: a medium for intervention andchange. In E. Chigier (ed) Youth And Disability, pp. 247-255. London: Freund Publishing House


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2. Brodsky, W. (1997) Auditivity - a cognitive and psychological orientation based on sensory

preferences for audition. In A. Gabrielson (ed) Proceedings Of The Third Triennial ESCOMConference (European Society for the Cognitive Sciences of Music), pp. 317-322. Sweden:

Department of Psychology Uppsala University.3. Brodsky, W. and Sloboda, J. A. (1997) The effects of whole-body acoustic stimulation on subjective

relaxation, verbalization, and visual imagery among professional orchestra musicians. In A.

Gabrielson (ed) Proceedings Of The Third Triennial ESCOM Conference (European Society for theCognitive Sciences of Music), pp. 323-328. Sweden: Department of Psychology Uppsala University.

4.

Brodsky, W., Henik, A., Rubinstein, B. and Zorman, M. (1998) Demonstrating inner hearing amonghighly-trained expert musicians. Proceedings of the 5 th ICMPC (International Congress of theInternational Conference on Music Perception and Cognition), pp. 237-242. Seoul, Korea: Western

Music Research Institute.5.

Brodsky, W., Henik, A., Rubinstein, B. and Zorman, M. (1999) Inner hearing among symphony

orchestra musicians: intersectional differences of string-players versus wind-players. In Suk Won Yi(ed) Music, Mind, And Science. Chap. 20, pp. 374-396. Seoul, Korea: Seoul National University.

C. R EFEREED ARTICLES I N SCIENTIFIC JOURNALS

1.

Brodsky, W. and Niedorf, H. (1986) "Songs from the Heart": new paths to greater maturity. The Arts

In Psychotherapy, 13, 333-341.2. Brodsky, W. (1987-88). Music therapy as a supportive modality for maladjusted new immigrant

children. AMHAI Newsletter , 7, 8-14. Highland Park, IL.: AMHAI (Association for Mental Health

Affiliation with Israel)3.

Brodsky, W. (1987/1988) Music therapy as a supportive modality for maladjusted new immigrant

children. AMHAI Newsletter , 7, 8-14. Association for Mental Health Affiliated with Israel.4. Brodsky, W. (1989) Music therapy as an intervention for children with cancer in isolation rooms.

Music Therapy, 8, 17-34.

5. Brodsky, W. (1990) Disassociative ego functions of the creative musician: the "schizophonic realm."

The Creative Child And Adult Quarterly, 15, 183-188.6.

Brodsky, W. (1991) A personal perspective of the power of music and mass communication, prior toand during the Gulf War crisis in Israel: implications for music therapy. Music Therapy, 10, 99-113.

7. Brodsky, W., Sloboda J. A. and Waterman, M. G. (1994) An exploratory investigation into auditory

style as a correlate and predictor of music performance anxiety. Medical Problems Of Performing Artists, 9, 101-112.

8.

Brodsky, W. (1996) Music performance anxiety reconceptualised: a critique of current research practices and findings. Medical Problems Of Performing Artists, 11, 88-98.

9. Brodsky, W. and Sloboda, J. A. (1997) Clinical trial of a music generated vibrotactile therapeutic

environment for musicians : main effects and outcome differences between therapy subgroups. Journal Of Music Therapy, 34, 2-32.

10.

Brodsky, W. (1999) Auffuhrungsangste bei Musikern als musikbezogenes Phanomen: Ein neuesKonzept (Reconceptualizing music performance anxiety as a music-related phenomenon).

Musikphysologie und Musikermedzin, 6, 14-18 [German language Journal of Music Physiology and

Music Medicine]11.

Brodsky, W. (2000) Post-exposure effects of music-generated vibration and whole-body acoustic

stimulation among symphony orchestra musicians. Psychology Of Music, 28, 98-115.12. Brodsky, W. (2002) The effects of music tempo on simulated driving performance and vehicular

control. Transportation Research, Part F: Traffic Psychology and Behaviour , 4, 219-241.

13. Brodsky, W. (2003) Joseph Schillinger (1895-1943): Music science promethean. American Music,21, 45-73

14.

Brodsky, W., Henik, A., Rubinstein, B. and Zorman, M. (2003) Auditory imagery from musicalnotation in expert musicians. Perception & Psychophysics, 65, 602-612.


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15. Brodsky, W. (2004). Developing The Keele Assessment Of Auditory Style (KAAS): A Factor-

Analytic Study Of Cognitive Trait Predisposition For Audition. Musicæ Scientiæ, 8, 83-108.16.

Brodsky, W. (2005). The effects of metronomic pendular adjustment versus tap-tempo input on the

stability and accuracy of tempo perception. Cognitive Processing , 6, 117-127.17. Brodsky, W. (2006). In the wings of British orchestras: a multi-episode interview study of symphony

players. Journal of Occupational and Organizational Psychology, 79, 673-690.

18.

Cohen Kadosh, R., Brodsky, W., Levin, M., & Henik, A. (2008). Mental representation: What can pitch tell us about the distance effect? Cortex, 44, 470-477.

19.

Brodsky, W., Kessler, Y., Rubinstein, B. S., Ginsborg, J., and Henik, A. (2008). The mentalrepresentation of music notation: notational audiation. Journal Of Experimental Psychology: Human

Perception & Performance, 34(2), 427-445.

20. Brodsky, W. (2009) Commentary on “The Effects of Musical Fit On Choice Between CompetingPairs of Cultural Products” by Joanne P. S. Yeoh & Adrian C. North (2009). Empirical

Musicological Review, 4(4), 146-150.21. Brodsky, W. and Sulkin, I. (2011). Handclapping songs: a spontaneous platform for cognitive

development among children 5-10 years old. Early Child Development And Care, 181(8), 1111-36.

22.

Brodsky, W. (2011). Developing a functional method to apply music in branding: design languagegenerated music. Psychology Of Music, 39(2); 261-283.

23.

Brodsky, W. (2011). Rationale behind investigating positive aging among symphony orchestramusicians: A call for a new arena of empirical study. Musicæ Scientiæ,15(1), 3-15.

24. Brodsky, W. and Kizner, M. (2012). Investigating an alternative in-car music background designed

for driver safety. Transportation Research, Part F: Traffic Psychology and Behaviour , 15(3), 162-73.

D. R EVIEWS ANDCOMMENTARIES I N R EFEREED JOURNALS 1. Brodsky, W. (1998) Conference Update: SMPC '97. Conference of the Society for Music

Perception and Cognition, July 31- August 2 1997, The Media Laboratory, Massachusetts

Institute Of Technology (MIT), Cambridge, Mass., USA. Psychomusicology, 15.

2.

Brodsky, W. (1998) Book Review: ‘The Musical Temperament: Psychology and Personality ofMusicians’ by Anthony E. Kemp, Oxford University Press, 1996. High Ability Studies, 9, 128-131.

3. Brodsky, W. (1999) Book Review: ‘Understanding Those Who Create (2nd edition)’ by Jane

Piirto, Gifted Psychology Press, Scottsdale, Az., 1998. High Ability Studies, 10, 244-246.4.

Brodsky, W. (2001) Book Review: ‘Illusions of Immortality: A Psychology of Fame and

Celebrity’ by David Giles, Macmillan Press, Hampshire UK., 2000. High Ability Studies, 12,137-139.

5. Brodsky, W. and Persson, R. (2002) Book Review: ‘Encyclopedia of Creativity’ by Mark Runco and

Steven Pritzker, Academic Press, San Diego, CA., 1999. High Ability Studies, 13, 86-90.6.

Brodsky, W. (2003) Book Review: ‘Musical Identities’ by R. MacDonald and David Hargreaves,

Oxford University Press, Oxford, UK., 2002. Psychology Of Music, 31, 434-437.7. Brodsky, W. (2004) CD Review: ‘Music From The Ether: Original Works For Theremin’ by Lydia

Kavina, Mode Records 76 (7-64593-00742-5), 1999. American Music, 22, 192-197.

8. Brodsky, W. (2005) Book Review: ‘Foundations of Cognitive Psychology: Core Readings’ by D. J.Levitin, The MIT Press (A Bradford Book), Cambridge, Mass., 2001. Psychology Of Music, 32, 117-

119.

E. OTHER SCIENTIFIC PUBLICATIONS

1. Brodsky, W. (2007). “Joseph Schillinger: Music Sciences or Musical Science Fiction” [Par t I & II],The Schillinger Symposium – Media Links, The Schillinger School of Music. Permanently displayed

at: www.theschillingerschoolofmusic.org/schedule.php supported and hosted by OXFORDMUSIC.NET

http://www.theschillingerschoolofmusic.org/schedule.phphttp://www.theschillingerschoolofmusic.org/schedule.phphttp://www.theschillingerschoolofmusic.org/schedule.phphttp://www.theschillingerschoolofmusic.org/schedule.php


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SCIENTIFIC PRESENTATIONS

A. K EY NOTE SPEAKER 1.

Aspen, USA (7/94): Performing Arts Medicine Association 12 th Annual Symposium on Medical

Problems of Musicians & Dancers; “An Exploratory Investigation Into Auditory Style As A CorrelateAnd Predictor Of Music Performance Anxiety” [1994 Alice G. Brandfonbrenner Young InvestigatorAward]

2.

Berlin, Germany (10/98): 6th European Congress on Performing Arts Medicine and Physiology ofMusic; “Reconceptualizing Music Performance Anxiety As A Music-Related Phenomenon”

3.

Freiburg, Germany (10/03): Interdisciplinary Approaches In Music Psychology, Musicology, andMusic Education; “Notational Audiation: The Mental Representation Of Music Notation”

4. Hertfordshire, UK (9/07): 1st International Symposium on The Schillinger System Of Musical

Composition; “Joseph Schillinger: Music Sciences or Musical Science Fiction.”

B. I NVITED PAPERS 1. Staffordshire, UK (6/95): Summer Conference of the British Association for Performing Arts

Medicine at Keele University; “Clinica l Trial Of A Music Generated Vibrotactile Therapeutic

Environment For Musicians” 2.

Lyon, France (10/96): Congres International Des Arts Et De La Medicine (International Conference

On The Arts & Medicine) organized by Medart France and Bio Amadeus; “Music Per formanceAnxiety Reconceptualised: A Critique Of Current Research Practices And Findings” presentationwithin the round table panel on Performance Anxiety (with R. J. Lederman, G. Y. De Nelsky and J.

Mouret)3.

Hannover, Germany (10/98): Institut fur Musikphysiologie und Musiker-Medizin, Hochschule fur

Musik und Theater Hannover; “Demonstrating Inner Hearing Among Highly-Trained ExpertMusicians” (with A. Henik)

4. Freiburg, Germany (10/98): Freiburg Music Academy, Department of Music Education;

“Demonstrating Inner Hearing Among Highly-Trained Expert Musicians” (with A. Henik)

5.

Tel Aviv, Israel (5/00): ‘Does Mozart Need An Effect’ Symposium at the Levinsky College OfEducation; “The Mozart Effect - A Review Of The Major Research Findings

6. Beer Sheva, Israel (5/02): ‘The Humorous Face of Israeli Society’ Symposium at the Beer -ShevaMunicipal Theatre; “Music in Humor and Musical Humor”

7. Tel Aviv, Israel (6/04): ‘Informatics: The Key To Saving Lives’ Symposium of the Authority ForPrevention of Accidents and Road safety, Ministry of Transportation; “Audiophile Drivers: How

Listening To Music Affects Driving” 8. Manchester, UK (2/06): Royal Northern College Of Music, CETL / Research Centre For The

Vocational Training Of Musicians, Research Seminars On Music Psychology, Pedagogy And

Performance; “Becoming A Musician Can Save Your Life! The Benefits Of Advanced Music TrainingAnd Music Performance Skills On Driving Performance And Vehicular Control.”

9.

Paderborn, Germany (09/12): Musical Ability, Giftedness and Aging, The 20 th Year AnniversaryConference of the Institute For Research On Musical Ability:

C. PRESENTATIONS AT SCIENTIFIC CONFERENCES 1.

New Orleans, USA (11/83): 34th Annual Conference of the National Association for Music Therapy;

“Blissongs - Augmentive Singing For The Non-Verbal Multi-Handicapped Client” 2. New York, USA (3/84): Thirteenth Annual Conference of the American Association for Music

Therapy; “Blissongs: Augmentat ive Singing For The Nonverbal Multihandicapped Client”

3. Jerusalem, Israel (6/85): International Symposium on Youth and Disability; “Group ImprovisationWithin Music Therapy: A Medium For Intervention And Change”

4.

Jerusalem, Israel (6/85): International Symposium on Youth and Disability; “Songs From The Heart: New Paths To Greater Maturity” (with H. Niedorf)


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5. Jerusalem, Israel (5/86): 11th World Congress of the International Association of Workers for

Maladjusted Children; “Music Therapy As A Supportive Modality For Maladjusted New ImmigrantChildren”

6. Jerusalem, Israel (5/86): 11th World Congress of the International Association of Workers forMaladjusted Children; “The Role Of The Private Music Therapist In The Treatment Of MaladjustedChildren”

7.

Jerusalem, Israel (9/87): First International Paediatric Oncology Nursing Meeting at the 9 th Meetingof the International Society of Paediatric Oncology; “Music Therapy With Children In Isolation

Rooms” 8.

London, UK (9/93): Second International Conference on Psychology and Performing Arts at theInstitute of Psychiatry University of London; “The Assessment Of Auditory Style As A Primary

Mode Of Psychological Development And Orientation: Implications Or Treating PerformingMusicians”

9.

Staffordshire, UK (6/95): Summer Conference of the British Association for Performing ArtsMedicine at Keele University; “Auditory Style As A Correlate And Predictor Of Music PerformanceAnxiety”

10.

Staffordshire, UK (6/95): Summer Conference of the British Association for Performing ArtsMedicine at Keele University; “Career Stress And Performance Anxiety Amongst Orchestral

Musicians: Diagnostic Criteria And Research Based Epidemology” 11. Lyon, France (10/96): Congres International Des Arts Et De La Medicine (International Conference

on the Arts and Medicine) organized by Medart France and Bio Amadeus; “An Exploratory

Investigation Of Auditivity And Auditory Styles As Correlates And Predictors Of Music PerformanceAnxiety”

12.

Lyon, France (19/96): Congres International Des Arts Et De La Medicine (International Conferenceon the Arts and Medicine) organized by Medart France and Bio Amadeus; “Clinical Trial Of AMusic-Generated Vibrotactile Therapeutic Environment For Performance Anxiety Among

Professional Symphony Orchestra Musicians”

13.

Tel Aviv, Israel (2/97): Israel Musicological Society ‘97 Symposium on Music Education at theLevinsky College of Education; ‘Elementary School Music Teachers - Evaluating Training ProgramsAnd Core Curriculum As Contributing Factors To Successful Teaching, and Assessment Of AttitudesRegarding The Music Teaching Profession: Preliminary Results”

14. Uppsala, Sweden (6/97): Third Triennial Conference of The European Society for the CognitiveSciences of Music at Uppsala University; “Auditivity - A Cognitive Style And Psychological

Orientation Based On Sensory Preferences For Audition” 15. Uppsala, Sweden (6/97): Third Triennial Conference of the European Society for the Cognitive

Sciences of Music at Uppsala University; “Demonstrating Inner Hearing Among Musicians” (with A.

Henik)16.

Uppsala, Sweden (6/97): Third Triennial Conference of the European Society for the Cognitive

Sciences of Music at Uppsala University; “The Effects Of Whole-Body Acoustic Stimulation OnSubjective Relaxation, Verbalization, And Visual Imagery Among Professional Orchestra Musicians”(with J. A. Sloboda)

17. Cambridge, USA (8/97): The ’97 Conference of the Society f or Music Perception and Cognition atthe Media Laboratory of the Massachusetts Institute of Technology; “Demonstrating Inner Hearing

Among Musicians” (with A. Henik) 18. Cambridge, USA (8/97): The ’97 Conference of the Society for Music Perception and Cognitio n at

the Media Laboratory of the Massachusetts Institute of Technology; “The Effects Of Whole-Body

Acoustic Stimulation On Subjective Relaxation, Verbalizat ion, And Visual Imagery AmongProfessional Orchestra Musicians (with J. A. Sloboda)

19.

Tel Aviv, Israel (2/98): Israel Musicological Society ‘98 Symposium on Music Education at Bar -IlanUniversity; “Inner Hearing Among Highly-Trained Musicians” (with A. Henik)


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20. Seoul, Korea (8/98): 5th International Congress of the International Conference on Music Perception

and Cognition at the Western Music Research Institute of Seoul University; “Demonstrating InnerHearing Among Highly-Trained Expert Musicians” (with A. Henik)

21. Jerusalem, Israel (9/98): XI Congress of the European Society for Cognitive Psychology;“Demonstrating Inner Hearing Among Highly-Trained Expert Musicians” (with A. Henik)

22. Haifa, Israel (6/00): The Contribution of Music Science to the Study of Human Behavior, Symposium

at the International Conference On Psychology; “The ‘Mind’s Ear’: Inner Hearing Of Notated Music”(with A. Henik, B. Rubinstein, and M. Zorman)

23.

Staffordshire, UK (8/00): 6th International Conference on Music Perception and Cognition at KeeleUniversity; “The ‘Mind’s Ear’: Inner Hearing Of Notated Music” (with A. Henik, B. Rubinstein, andM. Zorman)

24. Kingston, Canada (8/01): 2001 Meeting Of The Society for Music Perception and Cognition (SMPC)At Queen’s University, “Joseph Schillinger - Music Science Promethean.”

25.

Kingston, Canada (8/01): 2001 Meeting Of The Society for Music Perception and Cognition (SMPC)At Queen’s University, “The Effects Of Music Tempo On Driving Performance.”

26. San Servolo Island, Venice Italy (10/02): The Neurosciences and Music: Mutual Interactions and

Implications on Developmental Functions, “Stability And Accuracy Of Tempo Perspicacity AmongEveryday Ordinary Listeners: Metronomic Adjustment Versus Motor Responses.”

27.

Hanover, Germany (09/03): 5th Triennial Conference of the European Society for the CognitiveSciences of Music, at Hanover University of Music and Drama, “Audiophile Drivers: How ListeningTo Music Affects Driving.”

28. Hanover, Germany (09/03): 5th Triennial Conference of the European Society for the CognitiveSciences of Music, at Hanover University of Music and Drama, “Pendular Calibration Versus Tap-

Tempo Input: Stability-Accuracy.” 29. Hanover, Germany (09/03): 5th Triennial Conference of the European Society for the Cognitive

Sciences of Music, at Hanover University of Music and Drama, “Another Side Of The Orchestra: An

Interview Study.”

30.

Leipzig, Germany (05/05): Neurosciences and Music II: From Perception to Performance,“Notational Audiation: Perceiving the Mind’s Voice” (with A. Henik and B. Rubinstein).

31. Porto, Portugal (09/05): Performance Matters! International Conference On Practical, Psychological,Philosophical And Educational Issues In Musical Performance, “Hand-Clapping Songs: A Natural

Ecological Medium For Pre-Instrumental Training” (with I. Sulkin). 32.

Porto, Portugal (09/05): Performance Matters! International Conference On Practical, Psychological,

Philosophical And Educational Issues In Musical Performance, “Music & Health; Music Medicine.”33. East Sussex, UK (8/07): Summer Workshop on Music, Language and Movement, “Hand-Clapping

Songs: A Natural Ecological Medium For Child’s Movement Performance And Development” (with

I. Sulkin).34.

Tel Aviv, Israel (12/10): Inaugural Meeting of the Israel Music Cognition Group, “Applying Design-

Language Generated Music In Branding.” 35. Gothenburg, Sweden (09/11): 2nd International Conference On Driver Distraction and Inattention, “A

Viable Alternative Music background As Mediated Intervention For Increased Drivers Safety” (with

M. Kizner).36.

Thessaloniki, Greece (07/12): 12th International Conference on Music Perception and Cognition

(ICMPC) & 8th Triennial Conference of the European Society for the Cognitive Sciences of Music(ESCOM), “A Viable Alternative Music background As Mediated Intervention For Increased DriversSafety” (with M. Kizner).

37. Thessaloniki, Greece (07/12): 12th International Conference on Music Perception and Cognition(ICMPC) & 8th Triennial Conference of the European Society for the Cognitive Sciences of Music

(ESCOM), “Background Music As A Risk Factor For Distraction Among Young Drivers: And IVDRStudy” (with Z. Slor).


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38. Groningen, The Netherlands (08/12): 5th International Conference on Traffic and Transport

Psychology, “A Viable Alternative Music background As Mediated Intervention For IncreasedDrivers Safety” (with M. Kizner).

39. Groningen, The Netherlands (08/12): 5th International Conference on Traffic and TransportPsychology, “Background Music As A Risk Factor For Distraction Among Young Drivers: AndIVDR Study” (with Z. Slor).

40.

Groningen, The Netherlands (08/12): 5th International Conference on Traffic and TransportPsychology, “Effects of music and sensation-seeking on direct and indirect measures of driving

behavior ” (with Y. Gidron).

RESEARCH GRANTS2010-2012 Israel National Road Safety Authority: “Background Music as a Risk

Factor for Distraction Among Young Drivers: An IVDR Study” [$70,000] 2010-2011 Tel Aviv-Jaffa Municipality, Family Health Clinics (Tipat Halav): “Music

Preferences of Mothers: Classical Versus Baby-Toddler Directed Music”

(with I. Sulkin) [$5,000]2008-2009 General Motors Corporation, Vehicle Development Research Lab, Work

Systems, Human Machine Interface (HMI), R&D and Planning:“Brand Expression Through Sound And Music” [$30,000]

2008-2009 GM Foundation (USA) with UMI Technology (Israel): “Music Psychology

of Driving: The Effect of Music On Drivers” [$30,000] 2006-2007 Ben-Gurion University Support Grant [$2,350]

2003-2004 Israel Science Foundation, Israel Academy of Sciences and Humanities,Grant #765/03 “Notational Audiation: The Mental Representation Of Musical Notation” [$30,000]

2022-2004 Ben-Gurion University Support Grant [$5,000]

CLINICAL QUALIFICATIONSA. LICENSURE

Creative and Expressive Therapist, License #6368, Ministry of Health, Department of MedicalProfessions, Israel (1991)

B. Registration / CertificationRegistered Music Therapist (RMT), National Association For Music Therapy, USA (1984-1998)

Certified Music Therapist (CMT), American Association For Music Therapy, USA (1985-1998)Music Therapist-Board Certified (MT-BC), Certification Board For Music Therapy, USA (1984-2000)

Registered Music Therapist (RMTh), Association Of Professional Music Therapists, UK (1992-1995)

C. CLINICAL PRACTICE (ISRAEL)

1. Special Education Schools And Vocational Centers (N=7): Cerebral Palsy; Multi-Handicapped;Hearing Impaired; Emotionally and Socially Maladjusted; Juvenile Delinquency; Mental Retardation;

and Learning Disabilities2. Hospitals And Medical Centers (N=6): Pediatric, Oncology, Geriatric, and Psychiatric Departments at

Hadassah Ein Kerem; Hadassah Mt. Scopus; Shaare Tzedek; Ezrath Nashim; Talbeah Hospitals; and

MTR Medical Center in Jerusalem3.

Mental Health Clinics (N=2): Mental Health Center Eilot; Mother and Child Clinic Seminar

Kibbutzim

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