I completed my doctoral studies in music theory at the Graduate Center of the City University of New York (CUNY). My Ph.D. dissertation “Toward a General Theory of Polymeter: Polymetric Potential and Realization in Elliott Carter’s Solo and Chamber Instrumental Works After 1980” presented a conceptual framework for the analysis of polymetric structures and explored issues of performance and perception. During my studies at The Graduate Center, I also received an Elebash Dissertation Award to conduct research on music in New York, including a series of interviews with expert performers. Two grants from the Graduate Research Grants Program funded a listening experiment that used a polymetric texture from Carter’s 90+ for piano (1994) and sketch studies at the Paul Sacher Foundation in Basel, Switzerland.

My previous teaching appointments in music theory were at Hunter College (2003-2006) and then at Yale University (2008-2015). I have taught courses on the music of Elliott Carter, rhythm in twentieth-century music, the cognition of musical rhythm, and Schenkerian analysis. I have also collaborated with Bruno Repp at Haskins Laboratories on a series of experiments aimed at tackling issues in the perception of polymeter, in particular how highly trained musicians track the competing beats in a polymetric structure. I am one of the co-founders of the Northeast Music Cognition Group (NEMCOG), a group created to facilitate interaction among researchers and students interested in all areas of music cognition, to discuss research in the field, and to identify topics of joint interest and areas for potential collaboration. On-going projects include research on polymeter in contemporary musical practices and further studies in the perception and cognition of complex rhythmic structures, in particular questions pertaining to expertise.

I also hold a B.A./M.A. in music (piano/composition) from Hunter College of CUNY as well as a Diplôme d’Études Collégiales in classical music (piano performance) from the Collège Lionel-Groulx (Québec).

Lead PI, Rhythm Research Cluster

Music theory; Theories of rhythm and meter, with a special emphasis on temporal multiplicity and twentieth-century music; Music cognition, especially rhythm, expertise, and cross-cultural issues; and Schenkerian analysis

“The Influence of Rate and Accentuation on Subjective Rhythmization”
Author: Poudrier, Ève
Publication details: Music Perception: An Interdisciplinary Journal (2020) 38 (1): 27–45.

Tapping to Carter: Mensural Determinacy in Complex Rhythmic Sequences
Author: Poudrier, Ève
Publication details: Empirical Musicology Review 12, no. 3-4 (2018): 277-315.

The influence of grouping and tempo on subjective metricization
Author: Ève Poudrier
Publication details: Presented at theAuditory Perception, Cognition, and Action Meeting (APCAM) in Vancouver, British Columbia, Canada.

Defining temporal multiplicity in American popular music, 1950-2000: A case study in macroanalysis using multiple bibliographic databases
Author: Poudrier, Ève and Castonguay, Rémi
Presentation details: Current Musicology 50th Anniversary Conference, Columbia University, New York City, New York, 29 March 2015

The influence of tempo on subjective metricization
Author: Poudrier, Ève<
Presentation details: New England Sequencing and Timing (NEST), University of Massachusetts, Amherst, Massachusetts, 7 March 2015

Defining temporal multiplicity: Models, challenges, and prospects
Author: Poudrier, Ève
Presentation details: Doctoral Colloquium Series, Schulich School of Music, McGill University, Montreal, Québec, 20 March 2015<

Can musicians track two different beats simultaneously?
Author: Poudrier, Ève, Repp, B.H.
Publication details: Music Perception: An Interdisciplinary Journal 30, no. 4 (2013): 369-90.

Copy of Multiple temporalities: Speeds, beat cues, and beat tracking in Carter’s instrumental music
Author: Poudrier, Ève
Presentation details: New York University – Abu Dhabi Institute, “Musical Rhythm: Cross-Disciplinary and Multi-Cultural Perspectives,” Abu Dhabi (AUE), 21 March 2013

Detecting perturbations in polyrhythms: Effects of complexity and attentional strategies
Author: Fidali, B. C., Poudrier, Ève, Repp, B. H.
Publication details: Psychological Research 77, no. 2 (2011): 183-95.

Potentiel polymétrique et réalisation dans l’œuvre d’Elliott Carter: Ébauche d’une approche analytique multivalente
Author: Poudrier, Ève<
Publication details:  Hommage à Elliott Carter, edited by Max Noubel, 147-174. France: Editions Delatour, 2013.

Multiple temporalities: Speeds, beat cues, and beat tracking in Carter’s instrumental music
Author: Poudrier, Ève
Presentation details: Joint Conference of the American Musicological Society (AMS), Society for Music Theory (SMT), and Society for Ethnomusicology (SEM), New Orleans (LA), 3 November 2012.

Using tapping data to study listeners’ perception of rhythmic structures
Author: Poudrier, Ève
Publication details: Joint Conference of the American Musicological Society (AMS), Society for Music Theory (SMT), and Society for Ethnomusicology (SEM), New Orleans (LA), 3 November 2012

Polymeter as ‘perceptual paradox’ and the realization of multiple temporalities: A case study and some prospects
Author: Poudrier, Ève<
Presentation details: Theory & Historical Colloquium Series, Columbia University, New York (NY), 12 October 2012.

Tracking the beat in Carter
Author: Poudrier, Ève
Presentation details: Eleventh International Conference on Music Perception and Cognition (ICMPC), University of Washington, Seattle (WA), 26 August 2010.

Local polymetric structures in Elliott Carter’s 90+ for piano (1994)
Author: Poudrier, Ève
Publication details: Modernist legacy: Essays on new music. Ed. Björn Heile. Aldershot, England: Ashgate, 2009. Pp. 205-233

Vincent d’Indy’s theory of rhythm in the Cours de composition musicale (1902-1950): Sources, Reception, and Legacy
Author: Poudrier, Ève
Presentation details: Joint Conference of the American Musicological Society (AMS) and Society for Music Theory (SMT), Nashville (TN), 7 November 2008

Elliott Carter: A centennial portrait in letters and documents
Author: Poudrier, Ève
Publication details: Journal of the Society for American Music (2010) Volume 4, Number 1. Pp. 104–110
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