I am primarily interested in how musical pitch is represented in the brain. Several well developed psychological and music theoretic models of musical pitch perception exist. In this work I am interested in testing these models against brain imaging data. For example, it has been claimed that musical notes that differ by a perfect fifth or an octave sound more similar to notes separated by some other interval. Using brain imagining techniques such as representational similarity analysis it may be possible to examine whether the brain activity mirrors these relationships. In past work I have examined questions relating to auditory scene analysis and the basis of musical evoked emotion. (Recent collaborators: Bill Thompson, Thomas Carlson)