Jenine Brown

About

Jenine Brown is an Associate Professor of Music Theory at The Peabody Conservatory of The Johns Hopkins University. She joined the music theory department in 2015 after earning a Ph.D. in music theory from the Eastman School of Music. She also holds degrees from the University of Michigan–Ann Arbor. Her courses include undergraduate ear training and graduate theory seminars that explore the intersection of music cognition and music analysis, guiding students in hearing musical structure. Brown's research primarily employs an empirical approach to studying listener expectation and musical knowledge acquisition, and she has published extensively on topics such as music perception, pre-compositional structure in post-tonal music, and aural skills pedagogy. She has received numerous awards and grants, including Johns Hopkins University’s Catalyst Award and the Peabody Conservatory CARES Award. Brown has presented her research at many national and international conferences and has served in various leadership roles within professional societies, including the Society for Music Theory and the Music Theory Society of the Mid-Atlantic.

Research topics

• Psychology
• Cognitive psychology
• Social psychology
• Mathematics
• Communication

Selected publications

• Qualitative and Quantitative Features of Music Reported to Support Peak Mystical Experiences during Psychedelic Therapy Sessions

  Frontiers in Psychology · 2017-07-25 · 59 citations

  articleOpen access

  Psilocybin is a classic (serotonergic) hallucinogen ("psychedelic" drug) that may occasion mystical experiences (characterized by a profound feeling of oneness or unity) during acute effects. Such experiences may have therapeutic value. Research and clinical applications of psychedelics usually include music listening during acute drug effects, based on the expectation that music will provide psychological support during the acute effects of psychedelic drugs, and may even facilitate the occurre…

  PublisherOA PDFDOI

• The Perceptual Attraction of Pre-Dominant Chords

  Music Perception An Interdisciplinary Journal · 2021-09-01 · 11 citations

  articleOpen access1st authorCorresponding

  Among the three primary tonal functions described in modern theory textbooks, the pre-dominant has the highest number of representative chords. We posit that one unifying feature of the pre-dominant function is its attraction to V, and the experiment reported here investigates factors that may contribute to this perception. Participants were junior/senior music majors, freshman music majors, and people from the general population recruited on Prolific.co. In each trial, four Shepard-tone sounds…

  PublisherOA PDFDOI

• The interaction of repetition and difficulty for working memory in melodic dictation tasks

  Research Studies in Music Education · 2019-04-22 · 10 citations

  articleSenior author

  This research examines the effect of repetition on melodic dictation tasks in an undergraduate ear-training class. A pilot group of freshman music majors ( n = 17) were asked to notate four melodies, of which two were slightly more difficult since they contained more melodic leaps. Participants heard two melodies repeated three times and two other melodies six times. An analysis of variance (ANOVA) suggests that the number of repetitions had a significant effect on participants’ dictation accura…

  PublisherDOI

• The Psychological Representation of Musical Intervals in a Twelve-Tone Context

  Music Perception An Interdisciplinary Journal · 2016-02-01 · 7 citations

  article1st authorCorresponding

  Previous studies of twelve-tone music suggest that participants can learn a twelve-tone row and identify it in a forced-choice test (Bigand, D’Adamo, & Poulin, 2003; Krumhansl, Sandell, & Sergeant, 1987). However, these findings invite speculation about the extent to which participants were attuning to intervals to complete the task. The present study builds upon these previous experiments by specifically investigating whether participants implicitly attune to repetitive interval pattern…

  PublisherDOI

• The Perception of Frozen Intervals in Anton Webern’s Concerto for Nine Instruments, Op. 24, Third Movement

  Music Theory Spectrum · 2019-08-19 · 3 citations

  article1st authorCorresponding

  Abstract Many have described twelve-tone music as difficult to aurally comprehend (e.g., Huron, 2006; Meyer, 1967). This study addresses such claims by investigating what listeners can implicitly learn when hearing a recording of a twelve-tone composition. Krumhansl (1990) has argued that listeners unfamiliar with a musical style attune to the distribution of pitch occurrences, with the most frequent pitch providing a reference point. However, in Anton Webern’s Concerto for Nine Instruments, Op.…

  PublisherDOI

Frequent coauthors

• Daphne Tan

  University of Toronto

  5 shared

• David John Baker

  4 shared

• Nathan B. Cornelius

  Johns Hopkins University

  2 shared

• Roland R. Griffiths

  Johns Hopkins University

  2 shared

• Frederick S. Barrett

  Johns Hopkins Medicine

  1 shared

• Michelle I. Lin

  1 shared

• Laura Carskadden

  1 shared

• David Smooke

  Johns Hopkins University

  1 shared

Education

• Ph.D., Department of Music Theory

  University of Rochester Eastman School of Music

  2014

Awards & honors

• Johns Hopkins University’s Catalyst Award (2023)
• COVID-19 Research Accelerator Grant (2021)
• Technology Fellowship from the Center for Educational Resour…
• Inaugural winner of the Peabody Conservatory CARES Award for…
• 2022–23 Visiting Fellow in Course and Exam Development at Co…

Similar researchers at Johns Hopkins University

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• Daniel H. Fosterh-47
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