Topher Logan, PhD
Department of Psychology, Hartford Campus
Biography
Topher Logan is an instructor in the Department of Psychological Science at the University of Connecticut–Greater Hartford Campus, teaching Cognitive Psychology, Research Methods, Learning and Behavior, as well as introductory psychology courses. Dr. Logan’s current research interests include music cognition, performance, expert memory, automaticity, and motor theories of music perception.
Dr. Logan is also an active musician and teaches Trombone, Music Fundamentals, Aural Skills, and Brass Methods at Central Connecticut State University. He regularly performs with the Connecticut Virtuosi Orchestra, Connecticut Lyric Opera, New Britain Symphony, Goodspeed Musicals, and the Blue Lizard Brass Quintet. As a freelance musician Topher has performed with Aretha Franklin, the Hartford Symphony Orchestra, Eastern CT Symphony Orchestra, CT Opera, Salt Marsh Opera and the Waterbury Symphony. Topher has recorded on Ashmont Records and Word Records.
Education
| B.M. | Univesity of Connecticut, 1987 Major: Music Performance |
| M.M. | Baylor University, 1991 Trombone Performance |
| Ph.D. | University of Connecticut, 2014 Psychology |
Contact Information
Selected Peer Reviewed Publication
Logan, T., & Chaffin, R. (2020). Movement is part of the meaning of music notation: A musical Stroop effect for trombonists. Psychology of Music. https://doi.org/10.1177/0305735619900921
Demos, A. P., Chaffin, R., & Logan, T. (2018). Musicians body sway embodies musical structure and expression: A recurrence-based approach. Musicae Scientiae, 22(2), 244–263. https://doi.org/10.1177/1029864916685928
Chaffin, R., Lisboa, T., Logan, T., & Begosh, K.T. (2010). Preparing for Memorized Cello Performance: The Role of Performance Cues. Psychology of music, 38, 3-30.
Chaffin, R. & Logan, T. (2006). Practicing perfection: How concert soloists prepare for performance. Advances in Cognitive Psychology, 2, 113-130.
Book Chapters
Lisboa, T., Chaffin, R. & Logan, T. (in press). An account of deliberate practice: Thoughts, behaviour and the self in learning Bach’s Prelude 6 for cello solo. In A. Cervino, M. Lettberg, C. Laws & T. Lisboa (Eds.) Practice of Practising (pp. 9-30). Orpheus Research Centre in Music: Leuven, Belgium.
Chaffin, R., Logan, T.R., & Begosh, K.T. (2009). Performing from memory. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford Handbook of Music Psychology (pp. 352-363). Oxford: Oxford University Press.
Conference Proceedings & Posters
Lisboa, T., Chaffin, R., & Logan, T. (2009, December). How memory fades: Very-long-term recall of Bach. Paper to be presented at the International Symposium on Performance Science, Aukland, New Zealand.
Lisboa, T., Chaffin, R., & Logan, T. (2009, December). Memory for music performance: Comparing played and written recall. In R. Chaffin (Chair), Resolving the dissonance between arts and science: Why musicology needs practice based research. Symposium to be conducted at the Second International Conference on Music Communication Science, Sydney, Australia.
Logan, T., Demos, A. P., Chaffin, R. (2009, August). A Method for Studying Music Practice: SYMP (Study Your Music Practice). Poster presented at the Society for Music Perception and Cognition (SMPC), Indianapolis.
Memorizing for Cello Performance.