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Dr. Joshua Albrecht

Associate Professor
Music Department
Music Theory
Office: Presser 313
UMHB Mail Box:UMHB Box 8012900 College St, Box 8012BeltonTX76513
Phone: (254) 295-4685(254) 295-4685
Subjects Taught: Music Theory, Music Psychology, Music Technology, Music Appreciation
Degrees Earned: B.M., M.M., Ph.D.

Dr. Joshua Albrecht is the Professor of Music Theory and Technology at the University of Mary Hardin-Baylor. His undergraduate degree is a BM in Music History/Theory with a minor in Philosophy from the University of Wisconsin-Whitewater and he graduated with a MM in Music Theory with an emphasis in Composition from the University of Texas at Austin. He holds a PhD in Music Theory, Music Cognition, and Systematic Musicology from Ohio State University, with an Interdisciplinary Specialization in Teaching.

Selected Publications
Journal Articles:

Albrecht, J. & Huron, D. (2014). A statistical approach to tracing the historical development of major and minor pitch distributions, 1400-1750. Music Perception: An Interdisciplinary Journal. Vol.  31 (3): 223-243.

Albrecht, J., & Shanahan, D. (2013). The use of large corpora to train a new type of key-finding algorithm: An improved treatment of the minor mode. Music Perception: An Interdisciplinary Journal. Vol. 31 (1): 59-67.

Albrecht, J. (accepted). Expressive meaning and the empirical analysis of musical gesture: The progressive exposure method and the second movement of Beethoven's Pathétique sonata. Music Theory Online.

Shanahan, D., & Albrecht, J. (accepted). Increasing cadential pentatonicism in the oral transmission of folksongs. Music Perception: An Interdisciplinary Journal.

Proceedings Publications:

Albrecht, J. (in press). Brawlers, Bawlers, and Bastards: Vocal timbre as a marker of recurring archetypal characters in the music of Tom Waits. Proceedings of the ICMPC-ESCOM 2018 Joint Conference. Graz, Austria.

Martens, P., & J. Albrecht. (in press). “Roll Over Beethoven: Uniform information density in rock music, folk, and German art song.” Proceedings of the ICMPC-ESCOM 2018 Joint Conference. Graz, Austria.

Martens, P., & J. Albrecht. (in press). “Pitch and rhythmic succession in German folksong, 19th-century art song, and classic rock melodies.” Proceedings of the ICMPC-ESCOM 2018 Joint Conference. Graz, Austria.

Almond, B., & J. Albrecht. (in press). “The sound of leadership: Effective public speaking draws on ethological signals associated with authority.” Proceedings of the ICMPC-ESCOM 2018 Joint Conference. Graz, Austria.


Albrecht, J. & Shanahan, D. (2016). Can I have the keys?: Key validation using a MIDI database. Proceedings of the ICMPC-SMPC 2016 Joint Conference. San Francisco, CA.

Ash, S. & Albrecht, J. (2016). Picking up good vibrations: The effect of collaborative music making on social bonding and enjoyment. Proceedings of the ICMPC-SMPC 2016 Joint Conference. San Francisco, CA.

Dula, T., Griesemer, P. & Albrecht, J. (2016). A machine-learned model of perceived musical affect. Proceedings of the ICMPC-SMPC 2016 Joint Conference. San Francisco, CA.

Albrecht, J. & Shanahan, D. (2015). The song remains the same? The effect of oral transmissionon folk melodies. American Musicological Society Southwest Chapter Conference Proceedings. Ed. Sheryl K. Murphy-Manley. Vol. 5 (Spring 2015). 

Albrecht, J. (2014). Naming the abstract: Building a repertoire-appropriate taxonomy of affective expression. Proceedings of the ICMPC-APSCOM 2014 Joint Conference. Ed. Moo Kyoung Song. Seoul, South Korea: College of Music, Yonsei Univeristy, pp. 128-135.

Albrecht, J.  (2012). A model of perceived musical affect accurately predicts self-reported affect ratings. Proceedings of the 12th International Conference of Music Perception and Cognition. Thessaloniki, Greece: ICMPC. 

Albrecht, J., & Huron, D. (2012). On the emergence of the major-minor system: Cluster analysis suggests the late 16th century collapse of the Dorian and Aeolian modes. Proceedings of  the 12th International Conference of Music Perception and Cognition. Thessaloniki, Greece:  ICMPC. 

Albrecht, J., & Huron, D. (2011). An analysis of affective content in the second movement ofBeethoven’s Pathétique using an acoustic ethological model. Proceedings of the 11th International Conference of Music Perception and Cognition. Seattle, WA: ICMPC.

Published Reviews

Albrecht, J. (2016). Modeling musical complexity: Commentary on Eerola, Empirical Musicology Review. Vol 11 (1).

Albrecht, J. (2014). Book review: On Repeat: How Music Plays the Mind. Music Theory Online. Vol. 20 (4).

Albrecht, J. (2013). Book review: The Origins of Music. Music Perception: An Interdisciplinary Journal. Vol. 30 (5): 534-537.

Research Interests

Dr. Albrecht's primary research interests lie in the areas of musical expression and emotion, topic theory, style change, music cognition and perception, and research in the digital humanities, including computational musicology. Recent projects include a new method of affective analysis called the progressive exposure method, using Beethoven's Pathétique sonata as a case study. In this study, he links topic theory and the theory of musical gesture to the analysis of perceived affect, and builds a model exploring relationships between musical surface gestures and affect. In another recent project, he has examined the effect of oral transmission on the structure of folk melodies. Other recent projects include proposing and testing a new key-finding algorithm, empirically investigating the development of the major and minor system from the earlier system of modes using a large corpus of music spanning 1400-1750, and using statistical modeling to propose new pedagogical guidelines for writing musically pertinent fugue answers.

In the past few years, Dr. Albrecht has published four peer-reviewed articles, fourteen proceedings articles, and three reviews in Music Theory OnlineMusic Perception, the International Conference for Music Perception and Cognition Proceedings Journal, and the American Musicological Society Southwest Chapter Conference Proceedings. He also has four book chapters forthcoming. Additionally, he has given 20 invited talks, and 25 presentations and 10 poster presentations at various international, national, and regional conferences, including the International Conference for Music Perception and Cognition, the National Society for Music Perception and Cognition Conference, the Society for Music Theory, the American Musicological Society's Southwest Chapter, and the Southeast Music Library Association Conference. He belongs to the Society for Music Theory and the Society for Music Perception and Cognition.