Caitlyn Trevor

I am a Postdoctoral Researcher working with Sascha Frühholz at the Cognitive and Affective Neuroscience Laboratory in the Department of Psychology at the University of Zurich.

I am a music cognition researcher interested in music and emotion (particularly fear), music and vocal affective cues, affective neuroscience, applying topic theory to film music perception, expression of emotion in music performance, and music theory and string pedagogy.

I received my PhD from Ohio State University (OSU) (December 2018). While there, I worked with David Huron as part of the Cognitive and Systematic Musicology Laboratory and taught undergraduate music theory and aural skills. Previously, I completed a Masters of Music in Cello Performance (August 2018) and a Masters of the Arts in Music Theory (May 2016) from OSU, as well as a Bachelors of Arts in Music (May 2014) from Illinois Wesleyan University.

I managed small private cello lesson studios in Chicago and Columbus. I also composed for film and theater and performed electroacoustic works as part of the OSU Sonic Arts Ensemble. See my Media page for audio and film clips of some of my work.

Peer-reviewed Journal Articles

  1. Trevor, C. & Yackley A. (2021). Aural skills for upper position playing on low strings. American String Teacher, 71(4), 45-50. (html) (pdf)

  2. Trevor, C., Arnal, L., & Fruehholz, S. (2020). Terrifying film music mimics alarming acoustic feature of human screams. JASA Express Letters, 147( 6), EL540-EL545. (html) (pdf)

  3. Trevor, C. & Huron, D. (2018). Animated performance: 'Better' music means larger movements. Music Theory Online, 24(4), 6. (html) (pdf)

  4. Trevor, C. & Huron, D. (2018). Are humoresques humorous? On the similarity between laughter and staccato. Empirical Musicology Review, 13(1–2), 66–77. (html) (pdf)

  5. Huron, D. & Trevor C. (2016). Are stopped strings preferred in sad music? Empirical Musicology Review, 11(2), 261–269. (html) (pdf)

Conference Proceeding Articles

  1. Trevor, C., Arnal, L., & Fruehholz, S. (2020). Scary music mimics alarming acoustic feature of human screams. Proceedings of the 2nd International Conference on Timbre (Timbre 2020), Thessaloniki (online), Greece, 14–16. (pdf)

  2. Trevor, C. & Huron, D. (2016). Animated performance: ‘better’ music means larger movements. Proceedings for the International Conference for Music Perception and Cognition, San Francisco, California, USA, 420–423. (pdf)

  3. Trevor, C. & Huron, D. (2016). Are stopped strings preferred in sad music? Proceedings for the International Conference for Music Perception and Cognition, San Francisco, California, USA, 578–581. (pdf)

  4. Trevor, C. & Plazak J. (2016). Imprinting emotion on music: transferring affective information from sight to sound. Proceedings for the International Conference for Music Perception and Cognition, San Francisco, California, USA, 265–268. (pdf)

Non-peer-reviewed Publications

  1. Trevor, C. & Fruehholz, S. (2021). The evolutionary benefit of less-credible affective musical signals for emotion induction during storytelling. Behavioral and Brain Sciences, 44, E118. doi:10.1017/S0140525X20001004. (html)

  2. Trevor, C. (2020). Methods of Measuring Musical Tension: Commentary on Teo (2020). Empirical Musicology Review, 15(1–2), 105-107. (html) (pdf)

  3. Trevor, C. (2019, Spring/Summer). Methodological Considerations For Choreomusicology Influenced by Music Cognition. SEM Student News, 15(1), 14–17. (pdf)

Working Papers

  1. Trevor, C., Devaney, J., & Huron, D. (resubmitted to Music Perception). Musicians can reliably discriminate between string register locations on the violoncello. (preprint)

  2. Trevor, C., Fruehholz, S. (under review at Psychological Review). Music as an evolved tool for socio-affective fiction. (preprint)

Book Review

  1. Trevor, C. (2021). Review of the book Music, Analysis, and the Body: Experiments, Explorations, and Embodiments, edited by N. Reyland & R. Thumpston. Music Theory Spectrum, 43(1), 172-180. (html) (pdf)

Research In Progress

  1. Does scary music mimic biological voice signals of threat? (preregistration)

  2. Differentiating terror and anxiety in fearful musical stimuli for emotion research (preregistration)

  3. Ombra and tempesta topics in contemporary horror film music

  4. Emotions expressed in real‑time musical performances influence amygdala activity

  5. Modulating musical consonance/dissonance with real-time neuro-feedback