Find Academic Supervisors

Christof Weiß is a Professor for Computational Humanities at the CAIDAS / Institute of Computer Science, Julius-Maximilians-Universität Würzburg (JMU), Germany. He serves as Head of the DFG-funded Emmy Noether group on Computational Analysis of Music Audio Recordings: A Cross-Version Approach. His academic journey includes previous positions as Visiting Researcher at University Télécom Paris (2021), Visiting Lecturer at Karlsruhe University of Music (2020, 2021), and Research Assistant at International Audio Laboratories Erlangen (2015-2022) and Fraunhofer Institute for Digital Media Technology (2012-2015). His educational background encompasses a PhD in Media Technology from University of Technology Ilmenau (2017), Concert Diploma in Composition from Würzburg University of Music (2012), Physics Diploma from University of Würzburg (2012), and Music Diploma in Composition from Würzburg University of Music (2011). This unique combination of technical and artistic training forms the foundation of his interdisciplinary research approach. Weiß's research operates at the critical intersection of computer science and musicology, developing novel computational methods for analyzing musical structures in audio recordings. His work bridges technical audio processing with musicological insights, creating methodologies for tonal analysis, key estimation, and cross-version comparison of musical performances. His approach combines deep learning techniques with music theory to extract meaningful patterns from large music corpora, enabling new forms of musicological corpus studies that were previously impossible. His recent publications reveal a clear research trajectory toward integrating advanced machine learning with fundamental musicological questions. The consistent theme across his work involves analyzing classical music structures through computational lenses, with particular emphasis on cross-version consistency in performances, tonal complexity measurement, and developing datasets that support computational musicology. His publications span both highly technical audio processing journals and musicology-focused venues, demonstrating his commitment to bridging these disciplines. Best paper award at the 4th conference on Computational Humanities Research (CHR), 2023 KlarText award for science communication of the Klaus Tschira Foundation, 2018 2nd prize at Festival Pablo Casals composition competition, Prades (France), 2013 Youth Cultural Advancement Award (Kulturförderpreis) of the city of Amberg, Germany, 2011 As principal investigator of the DFG Emmy Noether group, Weiß leads a multidisciplinary research team investigating computational analysis of music audio recordings through a cross-version approach. His research has secured significant funding including the prestigious Emmy Noether program, supporting doctoral and postdoctoral researchers working on various aspects of music information retrieval and computational humanities. His collaborative network spans institutions across Europe, including University Télécom Paris, Queen Mary University of London, and multiple German research centers. Weiß leads the Computational Humanities research group at CAIDAS, which focuses on developing computational methodologies for music analysis with particular emphasis on classical repertoire. The lab creates specialized datasets (including the Wagner Ring Dataset and Schubert Winterreise Dataset), develops algorithms for structural music analysis, and applies these tools to address musicological questions that require computational scale and precision. Their work bridges the gap between technical audio processing capabilities and humanities research questions, creating new pathways for understanding musical structure and evolution.

• Computational Humanities
• Music Information Retrieval
• Audio Analysis
• +7 more

Prof. Dr. Marc Godau serves as Professor and Head of the Institute for Talent Research in Music (IBFM) at the University of Paderborn, while also acting as Speaker for Empirical music education with special consideration of school and pop cultural contexts. His academic work bridges music pedagogy with digital cultural studies, focusing on how contemporary technologies reshape musical practices and education. Godau's research centers on post-digital music education , critically examining algorithmic influences on creative processes, platform-mediated music practices (particularly TikTok and Instagram), and the sociomaterial dimensions of informal learning. He challenges traditional 'liveness norms' in music education that marginalize digital and popular cultural forms, advocating for pedagogical approaches that embrace cultural diversity and technological innovation in both school and informal settings. Analysis of his publication trajectory reveals consistent focus on digital transformation in music education, with recent work exploring YouTube tutorials, app-based music creation, and platform musicianship. His scholarship demonstrates how social media algorithms reshape songwriting subjectivity while highlighting tensions between institutional music education frameworks and emerging digital practices. As Principal Investigator for the KuMuS-ProNeD project (Professional networks for digital innovations in teacher training for art, music and sports), Godau drives systemic change in educator development. His teaching portfolio includes forward-looking courses such as 'Making and learning music in (post)digital culture' and 'Musical & Educational Influencers – Music Education of the Future?', positioning him at the vanguard of reimagining music pedagogy for digital generations.

• Music Education
• Digital Music Culture
• Social Media and Music
• +3 more

Federico Visi (he/they) serves as Guest Faculty in the Sound Studies and Sonic Arts Master's program at Berlin University of the Arts. Based in Berlin, Germany, Visi is a researcher, composer, and performer whose work bridges technology and artistic expression through innovative musical interfaces and performance systems. Visi completed doctoral research on instrumental music and body movement at the Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth, UK. They have held postdoctoral positions at Luleå University of Technology (Sweden) and Goldsmiths, University of London (UK), establishing a foundation for their interdisciplinary approach to music technology. Visi's research focuses on gesture in music, motion-sensing technologies, interactive machine learning, and embodied interaction. Their work explores how body movement and physiological signals can be harnessed in electronic music creation through both theoretical frameworks and practical implementations. They have developed novel instruments like the Sophtar and biosignal-based performance systems that translate physiological data into sound. Recent scholarly output reveals a trajectory toward increasingly sophisticated integration of machine learning in musical contexts, with significant contributions spanning computer music, psychology, and human-computer interaction domains. Visi's publications demonstrate how algorithmic processes can be embedded in musical instruments to create new forms of musical expression and co-creativity between humans and machines. As an active member of the research community, Visi co-edited a thematic issue of Organised Sound on 'Embedding Algorithms in Music and Sound Art' and organized the Embedding Algorithms Workshop at Berlin University of the Arts. They contribute to the Wilding AI collective that explores creative applications of AI in spatial audio environments. Visi releases music under the moniker AQAXA, combining conventional electronic music production with machine learning exploration of personal sonic memories. Their work has been supported by the European Research Council, Swedish Research Council, Boström Fund, and Helge Ax:son Johnsons foundation.

• gesture in music
• motion-sensing technologies
• interactive machine learning
• +4 more

Prof. Dr. Susanne Vollberg is an Associate Professor of Media and Communication Studies at Martin Luther University Halle-Wittenberg (MLU). Currently serving as Vice Dean of the Faculty of Philosophy II and Chair of the Doctoral Committee, her roles emphasize institutional leadership alongside academic research. She holds a habilitation in Media and Communication Studies (2010) and completed her doctorate in the DFG Collaborative Research Center at the University of Siegen. Her career includes research roles at Leipzig University and leadership in DFG-funded projects on GDR television history. In research, Prof. Vollberg focuses on science communication (especially Public Science and Foresight), sustainability communication, health communication, media literacy, and media history with specializations in GDR/BRD television programming and children’s media worlds. She actively contributes to citizen science initiatives via the Make Science Halle vessel and serves on science communication networks like science2public and the “Blue Ribbon of Science” steering committee. Recent publications explore film music analysis (e.g., Harold and Maude studies), health education through 20th-century German television, and digital media’s role in youth self-optimization. Her work bridges historical media studies with contemporary communication challenges, emphasizing interdisciplinary approaches. Lectures and presentations address topics like YouTube’s role in science education, digital sustainability pedagogy, and media competence in family dynamics. No formal awards are listed, though her extensive editorial and committee roles highlight peer recognition. Prof. Vollberg oversees doctoral candidates and collaborates across institutions, reflecting her commitment to advancing media studies through both scholarly and public engagement.

• Science Communication
• Media History
• Health Communication
• +3 more

Katja Rogers is a former Researcher and External PhD Candidate at the Department of Media Informatics, Ulm University. She earned her M.Sc. in Computer Science from Ulm University, completing a semester abroad at National Taiwan University and her master’s thesis at the University of St Andrews as a visiting scholar. Her academic career included research visits at the University of Waterloo’s HCI Games Group and the University of St Andrews’ SACHI research group. She obtained her PhD in March 2020 and pursued further academic work in Canada. Education: M.Sc. in Computer Science, Ulm University Master’s thesis: Visiting scholar at University of St Andrews (SACHI group) Semester abroad: National Taiwan University Research Interests: Rogers focuses on Human-Computer Interaction (HCI), serious games, virtual reality, ubiquitous computing, and audio in games. Her work combines educational technology with user experience design, exploring topics like procedural content generation, player behavior analysis, and adaptive game systems. Teaching: She taught courses such as Serious Games, Ubiquitous Computing, Game Design and Development, and Web Engineering at Ulm University. She also led seminars on Research Trends in Media Informatics. Projects: Key contributions include the 2084 Safe New World pervasive game (presented at CHI Play 2016), Bool the Miner (a Boolean algebra educational game), and the P.I.A.N.O. interactive piano learning system. These projects highlight her expertise in game-based learning and interactive technologies. Advising & Grants: Supervised multiple student theses on topics like procedural content generation, game AI, and sustainable textile production games. Collaborated on projects funded by grants supporting HCI and educational tech initiatives. Labs/Teams: Affiliated with the Institute of Media Informatics and collaborated with external groups like the HCI Games Group (University of Waterloo) and SACHI (University of St Andrews).

• Human-Computer Interaction
• Game Design
• Virtual Reality
• +3 more

Felix Gerloff is a junior researcher at the Institute of Experimental Design and Media Cultures (Academy of Art and Design, University of Applied Sciences and Arts Northwestern Switzerland), specializing in programming as a cultural technique and computational thinking in human-machine collaborations. He is also a PhD candidate at Humboldt-University Berlin , where he earned his Masters in Cultural History and Theory in 2013. At the Max Planck Institute for the History of Science (MPIWG), he works as a visiting predoctoral fellow in the 'Epistemes of Modern Acoustics' group, focusing on the history of the decibel with Sebastian Schwesinger. Education: Magister Artium (MA), Cultural History & Theory, Humboldt-University Berlin (2013) PhD candidate, Humboldt-University Berlin Gerloff’s research bridges Sound Studies , Digital Cultures , and Media Theory , examining how sound functions as an epistemic tool in urban environments and software engineering. His work on the decibel explores intersections between auditory media, scientific instrumentation, and transnational knowledge exchange. He co-organizes the KlangDenken (Sonic Thinking) colloquium in Berlin since 2011. His publications analyze sonic reasoning , noise as a figure of thought , and creative coding in projects like Sonic Pi. He contributes to academic initiatives such as continent. and the Impact proceedings, emphasizing interdisciplinary and experimental research methods.

• Sound Studies
• Digital Cultures
• Media Theory
• +8 more

Prof. Dr. Martin Supper (born 1947) is an Adjunct Professor teaching Electroacoustic Music and Sonic Arts at the Faculty of Music, Berlin University of the Arts (UdK Berlin), where he also teaches in the postgraduate Sound Studies and Sonic Arts program. Since 2013, he has served as a regular guest professor for Sonic Arts at the Shanghai Conservatory of Music. Supper previously headed the UNI.K Studio for Sonic Arts and Sound Research from 1985 to 2017 and directed the postgraduate Sound Studies program from 2009 to 2015. Education: Training as radio and television technician Studies in Theoretical Computer Science, Linguistics and Systematic Musicology at Technical University of Berlin DAAD scholarship recipient (1980-82) at Instituut voor Sonologie, Rijksuniversiteit Utrecht Post-graduate degree in Computer Science PhD in Musicology under Helga de la Motte-Haber and Dieter Schnebel Supper's research focuses on the history and aesthetics of sound art, electroacoustic music, and computer music. His work explores questions about media-appropriate music and compositional strategies, particularly in the work of Iannis Xenakis. His scholarly approach bridges technical and artistic perspectives, examining how technological developments shape musical expression and perception, with special emphasis on spatial sound and the relationship between mathematical structures and musical form. His publications reveal a consistent focus on spatial sound phenomena, the theoretical foundations of electroacoustic music, and historical analyses of electronic music pioneers. Supper examines how sound interacts with physical space, the relationship between mathematical structures and musical expression, and historical developments in electronic music composition from both technical and aesthetic perspectives. Professional Recognition: DAAD scholarship recipient (1980-82) Contributing Editor of OPEN SPACE Magazine New York (2002-) Member of EARS consortium (ElectroAcoustic Resource Site project, UNESCO funded, 2005) Editorial Board member at Organized Sound, Cambridge University Press (2007-) MGG Advisory Board for Post-1950 US Music (1995-) Supper has extensive experience in academic leadership and organization. He founded and managed the Berlin studio CUE (1984-1989) and established the Studio for Electroacoustic Music & Sound Art at UdK Berlin in 1985. He has organized major international festivals including ICMC2000, SMC2008, and EMS2014. Supper has served on numerous prestigious juries including Ars Electronica Linz, Villa Aurora, and the DAAD Artists-in-Residence Programme. As a reviewer, he has evaluated submissions for major conferences and journals including ICMC, EMS, and Leonardo Music Journal. His artistic practice includes numerous compositions and sound installations, with notable works such as DH2 (1989), which was selected for the 1990 World Music Days in Oslo, and fragment (2003), which premiered in Florence as part of Tempo Reale Firenze. He has collaborated extensively with theater directors, actors, dancers, and filmmakers throughout his career.

• Electroacoustic Music
• Sonic Arts
• Sound Art
• +6 more

Jonathan Aldrich is a Professor at Carnegie Mellon University's School of Computer Science, with joint appointments in the Software and Societal Systems Department and Computer Science Department. He directs the Master of Software Engineering program (as of July 2025) and previously led the Software Engineering Ph.D. program. Aldrich teaches courses in programming languages, software engineering, and program analysis. Education: Ph.D. in Computer Science and Engineering, University of Washington (2003) M.S. in Computer Science and Engineering, University of Washington (1999) B.S. in Engineering and Applied Science (Computer Science), Caltech (1997) Research Focus: Aldrich's work bridges programming languages and software engineering to improve software quality and productivity. His research explores how structural and behavioral design aspects can be expressed in source code, enabling better tooling and error reduction. Key innovations include gradual verification systems, typestate-oriented programming, and ownership models for security. His projects span blockchain safety (Obsidian), concurrency (AEminium), and visualization (Penrose). Publication Trends: Aldrich's 15 most recent articles reflect a strong emphasis on language-based security, formal verification (especially gradual verification techniques), and human-centered language design. His work increasingly integrates empirical studies to evaluate usability in advanced type systems. Awards: NSF CAREER Award (2006) Dahl-Nygaard Junior Prize (2007) ICSE Most Influential Paper Award (2012) DARPA Computer Science Study Group (2007) William Chan Memorial Dissertation Award (2003) Leadership & Service: Aldrich directs graduate programs, co-authored the textbook 'Programming Language Pragmatics,' and serves on the ACM Publications Board. As CTO of Noteful, he develops educational music technology. He has chaired program committees for OOPSLA, ECOOP, and SPLASH conferences.

• Programming Languages
• Software Engineering
• Verification
• +3 more

Paul Hauptmeier is a researcher and sound artist affiliated with the Burg Giebichenstein University of Art and Design Halle, where he collaborates with the ZiMMT Center for Immersive Media Art, Music, and Technology in Leipzig. He holds a dual focus on spatial audio research and interdisciplinary art, co-founding the artist duo Hauptmeier | Recker. His work explores hyperobjects, environmental soundscapes, and long-term processes beyond human perception. Key projects include The Echoing Silences of Metal and Skin (Venice Biennale Special Mention 2024), DECAY (radiation-driven sound sculpture), and 237 (1 million-year sound installation). He is also a technical director for large-scale installations globally. Education: Studies in composition at Franz Liszt Music Academy Weimar, UC San Diego (Miller Puckette), and Sibelius Academy Helsinki Research: Spatial audio systems and acoustic sculpture Board member of ZiMMT Center His awards include recognition at the Venice Biennale for work addressing industrial labor and environmental soundscapes. Ongoing projects investigate material decay, infrasound, and long-term art forms requiring centuries of engagement.

• Sound Art
• Spatial Audio
• Multimedia Installations
• +3 more

Prof. Dr.-Ing. Guido Kramann is a faculty member at Brandenburg University of Technology in the Department of Technology. His academic work bridges mechatronics and computational music, emphasizing innovative intersections between engineering and artistic practice. Affiliation: Brandenburg University of Technology Department: Technology Location: Engineering Science Center (IWZ), Room 403, Brandenburg an der Havel, Germany Guido's research spans mechatronics, algorithmic music generation, and human-computer interaction. He explores arithmetic-based grammars and evolutionary processes for real-time musical composition, focusing on accessibility for laypeople and phenomenological efficacy in technical systems. His publications reflect a recurring interest in: Ubiquitous music and interactive soundscapes Phenomenological approaches to user interfaces Evolutionary algorithms for creative applications Harmonic unification in computational counterpoint He has contributed to conferences like CMMR, UbiMus, and EvoMUSART, though no scientific awards are documented here.

• Mechatronics
• Music Technology
• Computational Music
• +3 more

Professor Axel Berndt is a faculty member at the University of Paderborn, where he is affiliated with the Musicology Seminar Detmold/Paderborn, the Center for Music, Edition, Media (ZenMEM), and the KreativInstitut.OWL. His expertise lies at the intersection of computer science and music, with a focus on music informatics and digital media applications. University of Paderborn Musicology Seminar Detmold/Paderborn Center for Music, Edition, Media (ZenMEM) KreativInstitut.OWL Dr. Berndt studied computer science with a minor in music at Otto-von-Guericke University in Magdeburg. He conducted research and teaching in music informatics at the Department of Simulation and Graphics, earning his PhD in 2011. From 2012 to 2015, he worked at the Faculty of Computer Science at Technische Universität Dresden. From 2015 to 2023, he was a member of the Center for Music and Film Informatics in Detmold. Since 2023, he has been with the University of Paderborn. Professor Berndt's research focuses on the innovative potential of music informatics, exploring how digital tools and data formats enrich creative work with sound and music. His work bridges disciplines including human-technology interaction, musicology, and application domains such as the games industry, organ building, and museum technology. He investigates how digital media enable new approaches to sound and music, even for non-experts, with particular interest in interactive systems, music performance analysis, and digital music editions. His research emphasizes the practical application of theoretical concepts through immediate interdisciplinary exchange. His recent publications demonstrate a strong focus on music technology applications, with particular emphasis on music performance markup, interactive music systems, and digital tools for musicians. A recurring theme across his work is the intersection of traditional musicology with modern computational approaches, especially in the areas of music notation, performance analysis, and digital music editions. His research spans from practical implementations like the Detmold musical Instrument Timbre Explorer (DmITE) to theoretical explorations of music performance description. Digitale Interpretationsedition project Interactive Digital Scores in Music Theatre KreativInstitut.OWL Professor Berndt is actively involved in teaching individual BA/MA projects focused on sound and music in various media contexts and application domains. His approach emphasizes hands-on experience and collaboration with institutions like the Technische Hochschule OWL and the Hochschule für Musik Detmold, as well as partnerships with industry and application domains. His work demonstrates a commitment to translating research into practical applications through immediate interdisciplinary exchange. He maintains active research collaborations that bridge academic disciplines and application domains, ensuring his work remains relevant to both theoretical advancements and practical implementations in music technology and informatics.

• Music Informatics
• Human-Technology Interaction
• Sound Processing
• +7 more

Emilio Jesús Gallego Arias is a non-tenured Research Fellow at the French National Center for Scientific Research (CNRS), hosted at the Institute of Fundamental Computer Research (IRIF) of CNRS and University of Paris Cité. He is also a member of the PiCube Inria team. Previously, he held postdoctoral positions at the University of Pennsylvania (2012–2014) and MINES ParisTech (2014–2019). His research spans mechanically-verified functional and logic programming , with a focus on the Coq proof assistant and the Mathematical Components Library . He develops tools like coq-lsp (language-server for Coq IDEs) and jsCoq (web interface), replacing earlier projects like SerAPI . His work bridges programming language theory , digital signal processing , and formal verification , particularly in the ANR FEEVER project for verifying Faust programs. His 15 most recent works (2014–2024) address type systems , differential privacy , and formal verification in domains like audio processing and mechanism design . Publications span journals (e.g., Journal of Privacy and Confidentiality), conferences (ICML, POPL, FARM), and workshops (CoqPL, UITP). He contributes to open-source projects (GitHub), including DFuzz (linear dependent types), DualQuery (privacy algorithms), and RAM (relational machine). He uses formal methods in collaborative development platforms (Gitter, GitLab) and advocates for free software and accessible audio technology .

• Theorem Proving
• Functional Programming
• Computer Music
• +7 more

Fabian Ostermann is a researcher at the Chair 11: ALGORITHM ENGINEERING within the Department of Computer Science at Technical University of Dortmund. His work focuses on the intersection of artificial intelligence and music technology, with particular expertise in algorithmic composition and evolutionary approaches to music generation. His primary research interests include: Artificial Intelligence for Music Applications Computer Music and Algorithmic Composition Reinforcement Learning and Evolutionary Algorithms Neuroevolution and Procedural Content Generation Music Information Retrieval Systems Ostermann's research output demonstrates a strong focus on applying AI techniques to music creation and analysis. His recent work explores the use of large language models in evolutionary music generation, adaptive video game music systems, and novel approaches to instrument recognition in polyphonic audio. He has developed significant resources for the research community including the AAM dataset of artificial audio multitracks, which contains 3,000 algorithmically generated music tracks with rich annotations. His scientific contributions have been recognized through invitations to serve on program committees for major conferences including EvoMUSART (2024, 2025) and IJCAI's Special Track on AI, the Arts, & Creativity. He has also contributed to journals such as Computer Music Journal and Transactions of the International Society for Music Information Retrieval. Ostermann has supervised numerous student theses on topics ranging from transformer-based music generation to evolutionary approaches for recreating vector graphics. His teaching portfolio includes courses on practical optimization, music informatics, and digital entertainment technologies across multiple semesters from WS20/21 through SS25.

• Artificial Intelligence
• Computer Music
• Algorithmic Music Composition
• +5 more

Anindita Ghosh is a fourth-year Ph.D. student in Computer Science at Saarland University, Germany, under the supervision of Prof. Philipp Slusallek and Prof. Christian Theobalt. She holds the role of AI Researcher at the German Research Center for Artificial Intelligence (DFKI) since August 2021. Her research focuses on advanced deep learning models for 3D human motion synthesis, multi-agent interaction, and generative AI techniques, with applications in computer vision and text-driven motion generation. Education includes a M.Sc. in Visual Computing (Saarland University, 2018-2021), M.Sc. in Computer Science (St. Xavier's College, Kolkata, 2014-2016), and B.Sc. in Computer Science (St. Xavier's College, 2011-2014). Notable achievements include the Best Master's Project Award (2016) and Vidyasagar Scholarship (2009). Key research contributions include DuetGen (SIGGRAPH 2025), ReMoS (ECCV 2024), and IMoS (Eurographics 2023). Her work addresses challenges in motion prediction, multi-agent systems, and text-based generation, with codebases released for public use. Collaborations include Snap Research, Google, and Purdue University. Professional experience includes research internships at Snap Research (2024), Google (2023), and DFKI. Teaching assistant roles and conference reviewing (CVPR, ECCV, AAAI) further highlight her academic engagement. Her lab contributions focus on generative AI and human motion modeling.

• Generative AI
• Computer Vision
• Deep Learning
• +5 more

Prof. Dr. Johannes Voit is Professor of Music Education and Music Communication at the University of Bielefeld's Faculty of Linguistics and Literature, where he also directs the Music Education Research Facility. His academic appointment was expanded in 2022 from 'Music Education' to include 'Music Communication,' reflecting the growing scope of his work. He maintains additional affiliation with Hochschule für Musik Detmold through co-optation and has held teaching appointments at University of Cologne, Dresden University of Music, and the KOMPÄD continuing education program. University of Bielefeld, Faculty of Linguistics and Literature (2018-present) Pädagogische Hochschule Karlsruhe and Max-Reger-Institut (2015-2018) Kölner Philharmonie (2012-2015) Staatsschauspiel Dresden (musical assistant) Gerhard-Hauptmann-Theater Görlitz (opera chorus singer) Voit's research focuses on empirical studies of group composition processes in music education, cultural mediation projects at the intersection of cultural and educational institutions, development of teacher training concepts for 'Music Education in the Digital Transformation,' and ontological examinations of the relationship between 'Music and Silence.' His work demonstrates strong connections to the university's Socio-Technical World research area through applications of cognitive interaction technology in music education contexts. His publications include the award-winning 'Listening Lab' (2015) and he co-edits the 'Forum Musikvermittlung – Perspektiven aus Forschung und Praxis' series with Constanze Wimmer. His research output spans empirical studies, theoretical examinations, and practical educational resources that bridge academic research with classroom application. Fellowship for Innovations in Digital Higher Education Teaching (2018) JUNGE OHREN PREIS (2015) Music Edition Award 'BEST EDITION' (2015) Music Teacher Award for Excellence (2015) Körber Masterclass on Music Education (2010) Paul Sacher Stiftung Research Fellowship (2010) Voit actively contributes to teacher training through regular professional development workshops for educators and music mediation practitioners. His experience spans all school types through numerous school projects, which informs his approach to developing practical teaching resources. He serves on various university committees including the Habilitation Committee, Faculty Conference, and Commission for Research and Young Academics.

• Music Education
• Music Communication
• Musicology
• +5 more