Find Academic Supervisors

Sylvain BlasselView profile

Professor

• Classical Music Performance
• Instrumental Repertoire Expansion
• Musicology
• +3 more

Sylvain Blassel is a renowned harpist and conductor, holding the position of Professor of Harp at the Royal Conservatoire of The Hague and his alma mater, the Conservatoire National Supérieur de Musique de Lyon. His career has been marked by collaborations with leading figures such as Pierre Boulez, Claudio Abbado, and Sir Simon Rattle. He specializes in expanding the harp repertoire through transcriptions of classical piano works (e.g., Bach's Goldberg Variations, Beethoven's sonatas) and performs with period instruments from his extensive collection. His recording of the Goldberg Variations on a 1904 Erard harp received critical acclaim, praised for its architectural depth and expressiveness. Blassel is also active in musicology, editing works by JS Bach, Liszt, Wagner, and Debussy, among others. He frequently gives masterclasses globally and has served on prestigious competition juries, including the International Harp Contest in Israel and the USA International Harp Competition.

Frances KellyView profile

Professor

• Early Music
• Baroque Music
• Harp Performance
• +3 more

Frances Kelly is a Professor of Early Harp at the Royal Academy of Music (RAM) and holds a similar position at Trinity Laban Conservatoire of Music and Dance. She specializes in early harp performance, continuo playing, and historical repertoire spanning medieval to modern eras. Her career combines solo, chamber, and orchestral work with major ensembles like the Sixteen, Orchestra of the Age of Enlightenment, and Glyndebourne. Education: Junior Exhibitioner at the Royal College of Music; Music degree at Cambridge University (dissertation on single-action harps). Professional training included studies with Phia Berghout in Maastricht. Research interests focus on early harp techniques, improvisation in continuo, and the revival of period instruments. Notable performances include Britten's A Ceremony of Carols and period instrument renditions of Mozart and Handel concertos. Teaching spans institutions including RAM, Trinity Laban, Royal Welsh College of Music and Drama, and Junior Trinity. She emphasizes pedagogy for both early and pedal harps, hosting masterclasses globally.

Darren KusarView profile

Teaching Professor

• Early Modern Poetry
• Opera
• Voice Studies
• +3 more

Darren Kusar is a Teaching Professor in the Department of Romance Languages and Literatures at the University of Chicago. He holds a PhD in Romance Languages and Literatures from the University of Chicago (2024), focusing on early modern Italian musical theater and the intersection of demonology with sensory experience. His work bridges literary analysis, musicology, and historical phenomenology, with special attention to how the diabolical was staged in Counter-Reformation Italy. Education: PhD, University of Chicago (2024) His research interests span early modern opera, voice studies, Renaissance demonology, and wonder tales. He has published critical editions of Renaissance texts and contributed translations of contemporary Italian poetry. As a classically trained tenor, Kusar actively performs in Chicago-area ensembles, blending scholarly and performance expertise. Recent courses taught include Italian language instruction, Renaissance epic literature, and opera studies. His teaching emphasizes interdisciplinary connections between textual analysis and historical performance contexts.

Federico ReubenView profile

Senior Lecturer

• Composition
• Live Electronics
• Improvisation
• +5 more

Federico Reuben is a Senior Lecturer in the Department of Music at the University of York, UK. He holds a PhD from Brunel University and has held prior academic roles including Senior Lecturer and Course Leader in Creative Music Technology at Falmouth University. His research focuses on composition, live electronics, improvisation, sound art, and intersections between music, technology, and interdisciplinary collaboration. He co-founded squib-box , an artist-led organization promoting avant-garde music and performance. Education: PhD in Music, Brunel University (supervised by Richard Barrett and Christopher Fox) Studies in composition at The Royal Conservatoire, The Netherlands (with Louis Andriessen, Richard Ayres, Gilius van Bergeijk, and Martijn Padding) Advanced studies in human-computer interaction, digital signal processing, and algorithmic composition at the Institute of Sonology Research Interests: Studio-based composition, live electronic performance, improvisation techniques, music computing, cross-disciplinary collaboration, contemporary music aesthetics, and critical studies of digital sound culture. His work spans acoustic, electroacoustic, and mixed-media compositions, robotic sound installations, and internet-based art. Recent Articles: Focus on algorithmic creativity, telematic performance systems, and ethical challenges in AI-generated music. Notable works include Deep learning’s shallow gains (2023) and Measuring algorithmic originality (2022). Grants & Projects: Principal Investigator for Sounding Inaudible Voices (ongoing) Modularity, Immediacy, and Exchange in Laptop Improvisation (ongoing) Co-investigator for squib-box netlabel and performance network Labs/Teams: Active in the Online Orchestra Project (latency research), the Music, Science, and Technology Research Cluster at York, and the Alternative Histories of Electronic Music initiative.

Lucía CaihuelaView profile

Professor

• Musicology
• Historical Performance Practice
• Opera Seria
• +3 more

Lucía Caihuela is Professor of Historical Singing at the Royal Conservatory of Music of Madrid and guest professor at Amsterdam University of the Arts, specializing in 18th-century vocal performance and musicological research. Education: Bachelor's and Master's degrees in Historicist Singing (summa cum laude), Amsterdam Conservatory Research Focus: Her work centers on Historical Performance Practice and Musicology, particularly analyzing compositional techniques for emotional expression in Metastasio's opera seria librettos through primary-source arias. Current projects bridge musicological research with recorded performance. Scientific Recognition: Leonardo 2024 Fellowship for "First Recordings of Metastasio's Opera Arias for Castrato" Artistic Collaborations: Active performer with Collegium 1704, Al Ayre Español, and La Grande Chapelle; debuted at Teatro Real (Madrid) in May 2024 as Doña Ana in Tomás Marco's "Tenorio" under José Antonio Montaño's La Madrileña Orchestra.

VK PrestonView profile

Associate Professor

• Cultural History
• Performance Studies
• Early Modern Archives
• +7 more

VK Preston is an Associate Professor of History at Concordia University, specializing in cultural history of performance, early modern archives, and intersectional historiography. They currently serve as Interim Director of the Honours History Program and co-direct LePARC (Performing Arts Research Cluster) at the Milieux Institute for Arts, Culture, and Technology. VK’s work bridges artistic practices with academic research, focusing on decolonial frameworks, climate crisis, and embodied knowledge. Educated at Stanford University (Ph.D., Theatre Arts and Performance Studies with minor in History) and Concordia University (undergraduate studies in Liberal Arts and Interdisciplinary Fine Arts), VK has held fellowships at the Camargo Foundation and Cité des Arts. Their research explores archives of French colonization in the Americas, danceways as cultural memory, and collaborative performance projects with scientists and artists. Recent awards include an honourable mention from the Canadian Association for Theatre Research for *Dancing the Kleptocene* (2023) and the Gertrude Lippincott Prize for *Baroque Relations* (2018). VK teaches interdisciplinary courses on performance history, material culture, and the Baroque era, while collaborating on projects like the New Frontiers in Research Fund initiative *The Sub-Measurable is Not Unreal*.

Elisabet Curbelo GonzálezView profile

Assistant Professor

• Electroacoustic Music
• Interdisciplinary Performance
• Music Technology
• +3 more

Elisabet Curbelo González is an Assistant Professor of Electroacoustic Composition and Music Theory at the University of Utah's School of Music. She holds a BM in Music Theory Pedagogy from the Real Conservatorio Superior de Música de Madrid, an MM in Composition from Istanbul Technical University, and a PhD in Music Composition from UC San Diego. Her work bridges music, technology, and social advocacy through interdisciplinary collaborations. Research focuses include gesture-controlled electronics using wearable tech, extended vocal techniques rooted in West Asian traditions, and creating art for social justice. She leads the U Electroacoustic Ensemble and co-founded Artivism4Earth, promoting ecological awareness through art. Teaching responsibilities span composition courses from undergraduate to PhD levels. Her creative works have been performed globally, with recent highlights including Canarian Bayram , Gurgles , and Aura film scores. Awards include multiple grants and commissions though specific names were not listed. Active in both academic and artistic communities, she balances pedagogy, performance, and technological innovation in her practice.

Mücke PanjaView profile

Professor

• Music History
• Performance Practice
• Theatre Music
• +3 more

Professor Mücke Panja serves as Vice President for Research and Teaching at the University of Music and Performing Arts Mannheim, where she has held the full professorship in Historical Musicology since 2015. Previously, she served as Director of the Institute for Music Research (2017–2019) and held adjunct professorships across German universities, including a one-year term at the University of Vienna (2012/13). She earned her PhD in 2000 (awarded the Marburg University Dissertation Prize) and habilitation in 2008 at Philipps University Marburg. Her research focuses on 18th-century opera, 20th-century theatre/film music, and European court music cultures. She is president of the German Musicological Society (GfM) and co-director of the Hof | Music | City Research Center in Schwetzingen. Panja has authored/co-authored six edited volumes, over 50 articles, and serves on editorial boards for major musicological journals. Education: PhD (2000), Habilitation (2008) from Philipps University Marburg Awards: 2002 Marburg University Dissertation Prize Leadership roles: Vice President (2019–present), President of GfM (2021–present) Key research areas: Opera history, performance practice, music-medial intersections Her recent publications explore topics like Händel's operas, Puccini's late works, and the role of programme sheets in Mannheim opera production. Panja actively engages in academic governance, serving on committees for digitalization, cultural heritage, and diversity in music.

Angelica ArteltView profile

Lecturer

• Classical Guitar Performance
• Music Education
• Suzuki Guitar Method
• +3 more

Angelica Artelt is a faculty member at the San Francisco Conservatory of Music (SFCM), serving in both the Pre-College Division and Continuing Education Programs. She specializes in classical guitar performance and pedagogy, with certifications in the Suzuki Guitar Method. Her roles include teaching, mentoring, and preparing students for competitions and workshops. Education: M.A. Music History and Literature, San Francisco State University B.A. Music in Classical Guitar Performance, Sonoma State University Research/Teaching Focus: Angelica’s work emphasizes accessible music education and historical performance practices, particularly through her thesis on composer Agustín Barrios. She prioritizes student engagement and community outreach, having coached participants in national and international competitions like the Guitar Foundation of America International Youth Competition. Advising & Grants: While no formal grants are noted, Angelica has guided students to success in prestigious events, reflecting her dedication to mentorship. She maintains active involvement in SFCM’s Summer@SFCM workshops and masterclasses. Labs/Teams: Integral to SFCM’s Pre-College and Continuing Education divisions, she collaborates with faculty to foster young musicians’ growth.

• Cello Pedagogy
• Classical Music Performance
• Chamber Music
• +3 more

Randolph Fromme is a Professor and cello instructor at the San Francisco Conservatory of Music (SFCM), specializing in Pre-College and Continuing Education programs. He holds an Artist Certificate from SFCM, M.A. from the University of Minnesota, and B.A. from the University of Wisconsin. His teaching focuses on practice strategies for musical and technical independence, emphasizing standard repertoire and etudes. Prior affiliations include former faculty roles at UC-Santa Cruz and Nueva School. He is a member of the Fromme Duo with pianist Shu Li, and former member of Oberon and Del Sol quartets. Collaborative performances include work with Frederica von Stade and the Weilerstein siblings. He actively performs in festivals like Other Minds and Sandpoint. Fromme developed the 'Cello Playing' pedagogy channel on YouTube, and currently accepts students at all proficiency levels. His career bridges performance excellence with innovative educational methodologies.

Servanne WoodwardView profile

Professor

• 18th-Century French Literature
• French Visual Arts
• Literature and Film Adaptation
• +5 more

Servanne Woodward is a Full-Time Professor in the Department of French Studies at Western University. She holds PhDs from the University of Wisconsin-Madison (1989) and Université Paris-Ouest Nanterre La Défense (1987), alongside advanced degrees from Aix-en-Provence and the University of Michigan. Her research spans 18th-century French literature, Francophone African/Caribbean cinema, and innovative pedagogical methods. She actively explores intersections between literature and visual arts, particularly in Rococo-to-Neoclassical transitions and Enlightenment-era animal studies. Recent work includes analyses of Voltaire’s letters, Diderot’s encyclopedic entries, and Marivaux’s theatrical seduction narratives. Woodward also contributes to educational reform, authoring Exercices d’Apprentissage pour la Traduction (2022), which addresses AI-driven language learning. She has been featured on Radio Western discussing adaptive teaching strategies and has appeared in media discussions on animal rights and neuralink technology. Her editorial roles include contributions to Diderot Studies and a 2024 preface for a volume on Francophone translation practices. Education: PhDs (French Literature), MA (French & English), BA (French) Key Research Projects: Rococo/Neoclassical Art Transitions, Francophone Cinema, Gender in 18th-Century Texts, Pedagogical Innovation Media Engagement: Lily's Pad Radio (2023), COMPASS Interview (2023) Her scholarship bridges historical analysis and modern applications, emphasizing interdisciplinary approaches to literature, visual arts, and education. Current projects focus on animal representations in Enlightenment texts and postcolonial Francophone narratives.

Sarah McCleaveView profile

Senior Lecturer

• Dance History
• Musicology
• Theatre Studies
• +6 more

Dr. Sarah McCleave is a Senior Lecturer in Musicology & Composition at the School of Arts, English and Languages, Queen's University Belfast. She supervises student projects across undergraduate, MA, and doctoral levels and accepts PhD applications in areas including G.F. Handel, Thomas Moore, London theatre history (c.1725-1825), Music in Ireland (c.1750-1850), and the 19th-century book trade. Current project: 'Fame and the Female Dancer' (2020-present) Former project: 'Europe's Reception of the Irish Melodies and National Airs: Thomas Moore in Europe' (ERIN, 2015-2017) Her research explores the transmission of dance and song between 1720-1860, spanning source studies, reception history, gender studies, and biography. Key themes include: Professionalisation of theatre dance (female performers) Reciprocal relations between London theatre genres Thomas Moore's publishing impact Handel's extra-musical influences Recent publications focus on dancer networks, portraiture, and Moore's cultural legacy. Awards include the Howard D. Rothschild Fellowship (2020), Anthony Denning Award (2012), and 'Music and Letters' Award (2005). She served as Deputy Editor for Theatre Notebook (2010-2018) and collaborates extensively with European repositories.

• Early Music
• Baroque Music
• 17th-Century Music
• +4 more

Maksym Zajączkiewicz is a lecturer at the Stanisław Moniuszko Academy of Music in Gdańsk, specializing in harpsichord performance, basso continuo, and early music. He holds a PhD (2023) on Gdańsk's harpsichord music history and teaches performance practices, improvisation, and historical score reading. His research focuses on 17th-century music, Gdańsk composers, and free forms like stylus fantasticus. He collaborates with ensembles like Baltic Opera and the Polish Baltic Philharmonic. Education: Harpsichord studies under Dr. Małgorzata Skotnicka (BA, MA, PhD). Awards: Multiple national harpsichord competition victories, including the Wanda Landowska Competition and reaching the Leipzig Bach Competition's second round at age 20. Performance interests span early music, Kashubian folk traditions, and flamenco. He has premiered chamber works and co-authored recordings with artists like Sigiswald Kuijken and George Tchitchinadze.

• Opera Studies
• Music History
• Stage Direction
• +4 more

Assoc. Prof. Tomáš Surý, ArtD., holds positions at the Faculty of Music and Dance (Department of Singing) and the Faculty of Theatre (Department of Scenography) at the Academy of Performing Arts in Bratislava. He habilitated in 2019 in opera directing, specializing in 17th–19th century opera and contemporary stagings. His work includes collaborations with composer Ľuboš Bernáth, producing operas like Margita a Besná and sacred works such as the Christmas Cantata Pole pastierov . Surý is the author of two monographs on medieval iconography and regional art history, as well as editor-in-chief of the online journal Theatrica . He teaches at multiple institutions, including the University of the Third Age and leads international excursions. His research focuses on opera history, stage direction, and interdisciplinary collaborations. Notable achievements include international festival participations and academic roles such as habilitation in opera directing. His teaching spans over 15 years, emphasizing practical and theoretical arts education.

• Dutch Literature
• Medieval Studies
• Renaissance Literature
• +4 more

Prof. dr. Bart Ramakers is a Professor of Historical Dutch Literature at the Faculty of Arts, University of Groningen. He holds roles as Chair of the Cluster Board 3, Director of the Dutch Studies Programme, and member of multiple advisory boards including the Netherlands Yearbook for History of Art. His research focuses on Dutch literature up to 1800, with specialties in medieval and rhetoricians' period studies. Education: Studied Dutch Language and Literature at Radboud University Nijmegen (1980–1987), Medieval Studies at University of Toronto (1987–1988). PhD from Radboud University (1989–1996), supervised by Wim Hummelen and Herman Pleij. Postdoctoral work at VU Amsterdam (1998–2001) before joining Groningen in 2002. Research Interests: Medieval/Renaissance literature, early modern cultural history, performance studies, and the intersection of art and death. Recent work explores moral discernment in baroque theater, iconography of Dutch colonial art, and interactive media in pre-modern texts. Active in collaborative projects like Cities of Readers (2015–2019) on religious literacies in 15th-century urban contexts. Leadership: Organized major events such as the De Stad als Klooster conference (2018) and chairs the Consortium Noordergraf. Engages in public scholarship through exhibits like Het Land van Belofte game project.