I am a music cognition researcher interested in music and emotion (particularly fear), music and vocal affective signals, affective neuroscience, applying topic theory to film music perception, expression of emotion in music performance, and music theory and string pedagogy.
I am currently on a maternity break from my career. This past academic year, I was a Teaching Fellow in the Department of Music at the University of Birmingham. I was also a member of the Language and Cognition at Birmingham (LACAB) research network. Before that position, I was 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 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
Trevor, C., Renner, M., & Fruehholz, S. (2023). Acoustic and structural differences between musically portrayed subtypes of fear. Journal of the Acoustical Society of America, 153(1), 384-399. (html) (pdf)
Conference Proceeding Articles
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)
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)
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)
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)
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)
Trevor, C. (2019, Spring/Summer). Methodological Considerations For Choreomusicology Influenced by Music Cognition. SEM Student News, 15(1), 14–17. (pdf)
Trevor, C., Fruehholz, S. (under review). Music as an evolved tool for socio-affective fiction. (preprint)
Trost, W., Trevor, C., Fernandez, N., Steiner, F., & Fruehholz, S. (under review). Live music stimulates the affective brain and emotionally entrains listeners in realtime.
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
Does scary music mimic biological voice signals of threat? (preregistration)
Ombra and tempesta topics in contemporary horror film music
Modulating musical consonance/dissonance with real-time neuro-feedback