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Louise Drewett is a British composer and Lecturer in Composition at the Royal Academy of Music. She co-directs Sing Healthy Choirs, a charity running community choirs in Berkshire, and acts as Artistic Director of the New London Chamber Choir. Her work blends choral music with community engagement, informed by her collaborations with poets like Clare Shaw and theatre companies like Arbonauts. Education: Drewett holds a PhD in Composition from the Royal Academy of Music, supported by scholarships and awards including the Manson Fellowship (2021–2022), the Charles Lucas Composition Prizes (2018, 2019), and grants from the Countess of Munster Musical Trust and the RVW Trust. She studied under composers Philip Cashian, Hans Abrahamsen, and Oliver Knussen. Research interests focus on communal music-making, vocal textures, and interdisciplinary projects. Her works, praised for 'shimmering textures' (The Times), span orchestral pieces (e.g., with LSO/LPO) and community operas like Daylighting , which earned an Ivor Novello nomination. She also creates educational music for ABRSM's syllabuses. Awards: Ivor Novello Award Nominee (2022) Charles Lucas Composition Prizes (2018, 2019) Countess of Munster Musical Trust Award Advising & Grants: Long-term collaborations with Arbonauts and Young People’s Puppet Theatre highlight her commitment to accessible, participatory art. Her Manson Fellowship supported research into vocal ensemble techniques. Labs/Teams: Leadership roles in Sing Healthy Choirs and the New London Chamber Choir reflect her dedication to fostering community through music.

• Choral Music Composition
• Community Music Projects
• Contemporary Classical Composition
• +3 more

Professor Andrew Kirkman holds the Peyton and Barber Chair of Music at the University of Birmingham's Department of Music. He leads the Centre for Early Music Performance and Research, directing the University Chamber Orchestra and professional ensemble The Binchois Consort. His roles include teaching Renaissance music, 1960s music studies, and supervising PhD topics ranging from post-communist Poland to late medieval music historiography. Research focuses on fifteenth-century sacred music’s cultural context, particularly the Mass Ordinary in late medieval Europe. His 2010 book The Cultural Life of the Early Polyphonic Mass and 2020 monograph on Saint-Omer’s music culture exemplify this. Recent work explores music-alabaster intersections and late-medieval liturgical practices. His recordings with The Binchois Consort earned Gramophone awards, including the 2017 'Early Music Recording of the Year.' Notable performances include Music for the Hundred Years' War (2017) and collaborations with pianist Clipper Erickson. Awards reflect both scholarly and performative excellence. Advising emphasizes late medieval/renaissance music, while grants supported research on Saint-Omer’s musical legacy. He co-founded The Binchois Consort in 1995, producing Hyperion recordings that revive rarely performed repertoires. His work bridges performance, scholarship, and interdisciplinary cultural studies.

• Medieval Music
• Renaissance Music
• Sacred Music
• +3 more

Edward Nesbit is Senior Lecturer in Composition at King's College London's Department of Music within the Faculty of Arts & Humanities. He studied at Cambridge University, Guildhall School of Music and Drama, and King's College London under Julian Anderson and George Benjamin. His compositions are regularly performed by major ensembles including the London Sinfonietta, BBC Symphony Orchestra, and Philharmonia Orchestra at venues like Wigmore Hall and Royal Festival Hall. Research interests focus on: Contemporary choral and vocal composition techniques Integration of literary and dramatic elements in musical works Collaborative performance practices Community music engagement methodologies Recent compositions demonstrate diverse approaches to narrative storytelling through music, with frequent exploration of biblical/historical themes and nature-inspired programmatic elements. His work includes collaborations with the Choir of King's College London, resulting in commercial recordings on the Delphian label. Nesbit has secured funding including an AHRC Impact Acceleration Award for community music projects. He leads the 'Singing for Wellbeing' initiative developing choral repertoire for community engagement and directs composition studies at undergraduate/postgraduate levels.

• Musical Composition
• Choral Music
• Vocal Music
• +2 more

Professor Owen Rees holds positions as Professor of Music at the University of Oxford, Fellow and Tutor at The Queen’s College, and Senior Research Fellow at Somerville College. Born in 1964, he earned his PhD in Music at the University of Cambridge (1991). His research bridges scholarship and performance, focusing on music from 1450–1650 in Spain, Portugal, and England. He has edited works by Portuguese composers like Manuel Cardoso and studied Spanish composers such as Cristóbal de Morales and Francisco Guerrero. His performances with groups like Contrapunctus and The Queen’s College Choir highlight his dual expertise. He directs music at Queen’s College chapel and has released recordings on Hyperion and other labels. His teaching spans Renaissance music, performance practice, and choral conducting at Oxford, covering topics like Reformation-era music and Iberian musical traditions. Supervising postgraduate work on Renaissance/Baroque topics, he emphasizes historical context and stylistic analysis. Research awards and grants are not explicitly listed, but his extensive publications and performances reflect sustained academic and artistic engagement. He leads vocal ensembles in festivals worldwide, including Oslo and York. His edited sources and monographs, such as Polyphony in Portugal c. 1530–c. 1620 , establish him as a leading scholar in early Iberian music studies.

• Renaissance Music
• Early Music
• Iberian Music
• +3 more

Charlotte Baskerville is a postgraduate researcher at the University of York (School of Arts and Creative Technologies) and Head of Choral Music at Warwick School. Her PhD research explores placemaking through composition, focusing on community engagement and shared musical identity. She holds a BA from Christ’s College, Cambridge (2015) and a master’s thesis on music cognition under Prof. Ian Cross. Her work bridges composition, choral performance, and community projects with groups like dementia care groups and schools. A prize-winning clarinetist and choral scholar, she actively performs with choirs in Cheltenham, Gloucester, and Tewkesbury. Her research interests center on creative placemaking via collaborative composition processes, leveraging local musical heritage to foster community identity. Her compositional output spans liturgical works, seasonal carols, and secular choral pieces, emphasizing accessibility and communal participation. Recent publications reflect her dual focus on sacred music traditions and innovative community-driven projects. Education: Bachelor of Arts in Music, Christ’s College, Cambridge (2015) Master’s thesis on music cognition under Prof. Ian Cross Sir Jack Lyons Research Scholar, University of York Awards: Christ’s College Charles Blackham Memorial Recital Competition (2016) Professional Roles: Head of Choral Music at Warwick School Clarinetist with multiple ensembles Active choral singer in multiple locations Her compositional output emphasizes collaborative creation with communities, particularly through workshops and participatory performances. Current projects involve primary/secondary schools, professional choirs, and dementia groups, aiming to strengthen communal bonds through shared musical experiences.

• Composition
• Choral Music
• Creative Placemaking
• +3 more

Nicholas Marston is a Professor of Music Theory and Analysis at the University of Cambridge's Faculty of Music. He serves as Director of Postgraduate Studies and Director of Studies in Music at King's College. His academic journey began at Corpus Christi College, Cambridge, where he was a Choral Exhibitioner, followed by a PhD on Beethoven's op. 109 sketches (published in 1995). He held fellowships at Selwyn College and King's College London before roles at the Universities of Exeter, Bristol, and Oxford. His research focuses on Beethoven manuscripts, Schenkerian analysis, Schumann's Lieder, and the history of King's College Choir. Education: PhD in Music (Cambridge), Grammar School in Penzance, Cornwall Research interests integrate historical musicology with analytical techniques, particularly applying Schenkerian methods to Romantic-era works. He has contributed to Schenker Documents Online and edited Beethoven Forum . Awards include the Trevelyan Research Fellowship and British Academy Post-Doctoral Fellowship. His work bridges theoretical analysis and historical performance practice.

• Music Theory
• Music Analysis
• Beethoven Manuscript Studies
• +4 more

Daniel Kidane is a British composer and Visiting Tutor in Composition at the Royal Northern College of Music and University of Cambridge. His works blend multicultural influences with contemporary classical techniques, exploring themes of identity, conflict, and social justice. Key roles include commissions from major orchestras like the BBC Symphony and London Symphony Orchestra, alongside awards such as the Paul Hamlyn Award (2016) and an honorary doctorate from Coventry University (2022). Education: Began violin at age 8, composition studies at Royal College of Music Junior Department Private study in St. Petersburg with Sergey Slonimsky BMus and postgraduate studies at Royal Northern College of Music under Gary Carpenter and David Horne Research Interests: Kidane’s music merges traditional orchestration with modernist innovation. Key themes include multiculturalism (evident in works like Aloud reflecting his Russian-Ukrainian heritage), pandemic reflections ( Be Still ), and socio-political commentary ( Dream Song setting MLK’s texts). His compositional style draws from Russian chant, Messiaen, and Janáček, creating vivid soundscapes that balance tension and resolution. Awards: Royal Philharmonic Society Prize (2013) Paul Hamlyn Award for Artists (2016) Jerwood Composer+ (2018) Coventry University Honorary Doctorate (2022) Current Projects: 2024 violin concerto Aloud with Julia Fischer and London Philharmonic Orchestra. Upcoming works include a cello piece Sarabande and continued exploration of pandemic-era compositions. Labs/Teams: Collaborates with ensembles like Chineke! Orchestra (pioneering BAME representation) and mentors through Music Masters charity.

• Orchestral Composition
• Chamber Music
• Multiculturalism in Music
• +3 more

Professor Adam Gorb is a renowned composer and academic, serving as Professor of Composition and former Head of the School of Composition at the Royal Northern College of Music (RNCM) from 2000 to 2023. He holds a PhD in Composition from the University of Birmingham (2013), alongside degrees from Cambridge University (BA 1980) and the Royal Academy of Music (RAM, MMus with Principal’s Prize 1993). His research and creative output focuses on orchestral, operatic, and wind ensemble composition. Notable works include operas Anya 17 (2012) and The Path to Heaven (2018), which explore themes like human trafficking and the Holocaust. His wind ensemble pieces, such as Towards Nirvana and Farewell , have won British Composer Awards and are performed globally. Awards include three British Composer Awards and a House of Commons accolade for Anya 17 . He advises PhD students in composition while maintaining international collaborations, including recent projects in Romania, Australia, and the USA. His music is frequently recorded and performed worldwide, with CDs such as 24 Preludes (2022) and Dancing in the Ghetto (2016) showcasing his diverse output. Teaching roles include undergraduate and postgraduate composition at the RNCM, alongside guest lectures at institutions globally. His current projects include commissions for the Royal Academy of Music and interdisciplinary work with Parkinson’s patients.

• Composition
• Orchestral Music
• Operas
• +3 more

Sarah Moynihan is a Lecturer in Music at the University of Manchester. Her research focuses on nineteenth- and early twentieth-century music, particularly on reinterpreting Jean Sibelius’s musical forms within historical and political contexts. She teaches courses on tonality, music analysis, and dissertation supervision at both undergraduate and postgraduate levels. Her research expertise spans Music Theory , Formenlehre , Sonata Theory , and Neo-Riemannian Theory , often intersecting with critical theory and Nordic cultural studies. Her recent work explores Sibelius’s 'Living Tonality' and the politicization of language in his bilingual compositions. Awards: Theory and Analysis Graduate Student Conference Prize (2019) Teaching and Supervision: She supervises postgraduate projects in music analysis and teaches courses including 'Tonality: Form and Harmony' and 'Advanced Analysis.' Education: Doctor of Music, Royal Holloway, University of London Master of Arts in Composition, University of Bristol Bachelor of Arts, University of Oxford

• Nineteenth-Century Music
• Twentieth-Century Music
• Music Theory
• +11 more

Dr Yumi Hara Cawkwell is a Senior Lecturer at the Department of Music, Writing & Performance in School of Arts and Creative Industries at University of East London. As a composer, improviser, and performer, she works across piano, harp, voice, and clavichord. Specializes in avant-garde/experimental rock and RIO (Rock in Opposition) movements Known for collaborations with notable musicians from Soft Machine, Henry Cow, Gong, and faUSt Active in both contemporary classical and experimental rock scenes Research Interests: Her work focuses on musical improvisation, composition, and performance with particular emphasis on: Complex rhythmic structures and polymeter applications Cultural identity in diaspora musical practices Hybridization of ethnic and western instruments Memory and transcription in avant-garde contexts Recent Outputs: 2023 album Groove Study explores odd meter applications in dance music, while 2017 conference presentation on Lindsay Cooper's compositions highlights her interest in feminist musicology. Awards & Professional Involvement: 2006 British Composer Awards finalist Committee member, Ivors Composer Awards (British Composer Awards) Board member, JASMIM (Japanese Association for the Study of Musical Improvisation) 2015-2017 Panel chair, Improvisation research at international conferences Teaching: Leads modules in music performance, production techniques, and collaborative projects at University of East London.

• Composition
• Musical Improvisation
• Experimental Rock
• +3 more

Martin Robertson is a renowned saxophone professor at the Royal College of Music (RCM) and the Guildhall School of Music and Drama. He graduated from the RCM in 1984 with studies in saxophone and clarinet under Stephen Trier and John McCaw, winning the Boosey and Hawkes Music Prize. His career spans international solo performances with orchestras like the Berlin, Los Angeles, and London Philharmonics, collaborating with conductors such as Simon Rattle and Vladimir Jurowski. Robertson is celebrated for his fusion of classical, jazz, and world music, particularly through collaborations with composers Mark-Anthony Turnage and George Fenton. His work includes Turnage’s Blood on the Floor and Fenton’s orchestral scores for films like Earth and Planet Earth . Robertson’s academic roles include leading the Woodwind department at RCM since 1994 and teaching at Guildhall since 2012. His research interests emphasize cross-genre exploration, using instruments like the duduk and taragato to bridge cultural musical traditions. He has premiered works such as Turnage’s About Water (2007) and Anna Nicole (2011), an opera exploring tragic biography through modern musical language. His performances include high-profile events like the BBC Proms and collaborations with ensembles such as the Delta Saxophone Quartet, which he joined in 2009. Robertson’s film credits span major projects, including Shakespeare in Love , Billy Elliott , and King Arthur . Beyond the concert stage, he advocates for contemporary saxophone repertoire through academic and ensemble work, fostering innovation in woodwind performance. Robertson’s awards include the Boosey and Hawkes Prize (1984), and his recordings, such as Poirot Variants (2010) and Tony Banks’ Six (2012), highlight his versatility across genres. His teaching integrates jazz improvisation, classical technique, and contemporary experimentation, shaping a new generation of woodwind musicians.

• Classical Music
• Jazz
• Contemporary Music
• +3 more

Professor Jonathan Cole is a composer, teacher, and conductor at the Royal College of Music (RCM), where he has taught since 2005 and served as Head of Composition since 2022. His work bridges experimental composition, music-theatre, and site-specific pieces, earning acclaim from the London Sinfonietta, which premiered three of his works and recorded Testament with Oliver Knussen. Born 1970, Cole studied under Simon Bainbridge, Malcolm Williamson, and Louis Andriessen 1997-2006: Works like Ouroboros II and Testament nominated for RPS Awards 2006: Shift toward Luigi Nono-inspired works, exploring score-performer dynamics and London's environmental sounds 2009-2013: Composer-in-association with London Contemporary Orchestra, premiering burburbabbar za (wordless opera) Co-founded re:sound collective in 2012 for unconventional venue performances Cole’s compositions, such as Lucier Clock (2021) and 50 Florentine Breaths (2016), emphasize spatialization, breath techniques, and the tension between structure and decay. His 2025 co-authored article Personal realities I examines artistic identity in conservatoires. Scientific Awards: Royal Philharmonic Composition Prize (1999) RCM Fellowship (2018) RPS Award Nominations for Ouroboros II and Testament Cole mentors research students like Daniel Musashi and has led educational grants such as the Leverhulme LPO Young Composers Scheme (2007-2012). He collaborates with ensembles including the London Sinfonietta, BBC Philharmonic, and Chicago Symphony Orchestra.

• Contemporary Music
• Experimental Composition
• Music-Theatre
• +4 more

Dr Catherine Kontz is a London-based composer and professor at the Royal College of Music, specializing in nonlinear forms, visual/spatial elements, and musical theatricality in contemporary composition. She serves as a Doctoral Supervisor and is currently an artist-in-residence at King's College London's Engineering Department. Born 1976 BMus (Hons), MMus, PhD from Goldsmiths Her research spans: Audio technology applications in composition Multimedia operatic productions Site-specific sound installations Interdisciplinary collaboration strategies Cultural synthesis in musical theatre Temporal experimentation in performance Her work has been performed by prestigious ensembles and artists including Solistes Européens Luxembourg, BBC Scottish Symphony Orchestra, ensemble recherche, Exaudi, and Naomi Woo. Current projects include collaborative research with Professor Zoran Cvetkovic exploring audio technologies and human intelligence processes. Notable achievements: Shortlisted for Quattropole Music Prize Commissioned for European Capital of Culture program Doctoral research connecting Deleuzian theory with mime opera Regular Tête-à-Tête opera festival participant Director of multimedia opera productions Academic contributions include: Supervising doctoral composition students Developing interdisciplinary research projects Teaching contemporary composition techniques Creating large-scale collaborative works Advancing audio technology applications Mentoring emerging composers

• Music Composition
• New Opera
• Musical Theatricality
• +3 more

Ed Hughes is a Professor of Composition in Music at the University of Sussex's School of Media, Arts and Humanities. His roles include Head of Music (2013-2018), Deputy Head of School, and Associate Dean for Education. He holds a BA from Cambridge University (1987-1990), an MPhil (Cambridge), and a PhD in Composition from Southampton (2000-2004). His research focuses on composition techniques, music technology, and interdisciplinary projects like Syncphonia, a notation system aiding ensemble performance. Notable works include operas like States of Innocence (2024) and orchestral pieces inspired by landscape, such as Music for the South Downs (2022). He has received grants from AHRC, Arts Council England, and the South Downs National Park Authority. Hughes has supervised numerous PhD students in composition and music technology. His awards include the British Composer Award (2014) and commissions from Brighton Festival and the Mahogany Opera Group. Collaborations with psychologists and educators highlight his commitment to music education and accessibility.

• Composition
• Music Technology
• Historical Music Studies
• +4 more

Stuart MacRae is a Senior Research Fellow and Lecturer in Composition at the Royal Conservatoire of Scotland's School of Music. He holds a PhD from the University of Edinburgh and has held prestigious roles such as BBC Scottish Symphony Orchestra Composer-in-Association (1999–2003) and Lammermuir Festival Composer in Association (2017–2019). His research focuses on operatic word-setting, tonal harmony, and artistic responses to the Anthropocene. Education: PhD, University of Edinburgh (2014) MMus, Guildhall School of Music and Drama (1997) BMus, University of Durham (1996) His research interests include operatic composition, reimagining tonal structures, and environmental themes. Notable works include the opera Anthropocene (2019), which toured internationally and won multiple awards, and Ghost Patrol (2013), honored with the South Bank Sky Arts Award. His music has been performed by leading ensembles like the London Sinfonietta and recorded by NMC and Delphian. Recent projects include collaborations with Louise Welsh and commissions for Scottish Opera. He has been awarded the Large Scale New Work Award (2020) and Creative Scotland Bursary (2014).

• Opera Composition
• Tonal Harmony
• Anthropocene Studies
• +3 more