Find Academic Supervisors

Miles M. Ishigaki serves as Professor of Music in the Department of Music within California State University, Fresno's College of Arts and Humanities. He has taught applied clarinet, chamber music, music theory, and music appreciation at Fresno State since 1987 while directing the university clarinet choir. From 1989-2017, he held the position of state chair for the National Association of College Wind and Percussion Instructors, demonstrating sustained institutional commitment. His academic credentials include: Doctor of Musical Arts in Performance, University of Oklahoma (1988) Doctoral study in Music Performance, University of Arizona (1981-1982) Master of Music in Performance, Colorado State University (1981) Dual Bachelor's degrees: Music Education and Music Performance, University of Northern Colorado (1978) Dr. Ishigaki's research centers on the dialectic between intuition and analytical understanding in musical performance, particularly regarding clarinet repertoire. His seminal work documents interpretive approaches of legendary clarinetists including Larry Combs, Stanley Hasty, and Leon Russianoff, focusing on Stravinsky's Three Pieces for Solo Clarinet. His collaborative research with Dr. Michael Rogers bridges music theory and performance practice, revealing how structural analysis informs expressive execution. This scholarly trajectory consistently examines the cognitive and technical dimensions of artistic mastery. His publications from 1988-2017 reveal evolving emphases from symposium documentation and performance analysis toward technology integration in music education, culminating in the 2017 Music Fundamentals ebook. Collectively, his work establishes clarinet pedagogy as both scientific discipline and artistic practice, with growing attention to digital learning environments while maintaining core focus on interpretive authenticity. His recognitions include: 2013 Provost's Teaching Award in Technology for innovative digital pedagogy 2006 Honorary Alumnus distinction from University of Northern Colorado Dr. Ishigaki has mentored exceptional students who have earned Fulbright Scholarships, McNair Doctoral grants, and participation in national honor ensembles. His studio consistently produces competition winners while he maintains active performance engagements with regional orchestras and international venues. Beyond academia, he serves as COO of I&M, Inc., applying sustainable technology principles to water and energy systems, demonstrating interdisciplinary impact beyond music. As founder of both the West Coast Clarinet Congress and Fresno State Faculty Clarinet Quartet, he cultivates professional communities while maintaining Yamaha Artist status. His community outreach through organizations like the Japanese American Citizen's League and Valley Children's Hospital reflects deep civic engagement alongside scholarly pursuits.

• Music Performance
• Music Education
• Clarinet Performance
• +3 more

Jonathan Nangle is a Lecturer in Music Technology and Electro-Acoustic Composition at the Royal Irish Academy of Music. His work spans acoustic/electro-acoustic composition, live electronics, installations, and improvisation. Educated at Trinity College Dublin under Donnacha Dennehy, Rob Canning, and later privately with Kevin Volans, his music has been performed by ensembles like RTÉ National Symphony Orchestra and Crash Ensemble. Research interests include spatial music, interactive installations, and hybrid acoustic/digital forms. Notable works include Pause (Ergodos, 2017), Iridescent Cobalt Glow (2015), and our headlights blew softly... which earned a 2009 Rostrum commendation. Awards include dual Irish Rostrum representations (2009/2011) and the 2007 AIC/Music 21 Prize. Recordings span solo piano works to ensemble commissions, often integrating innovative electronic elements. His work has been broadcast internationally and choreographed for stage/film. Current roles include academic teaching and ongoing creative exploration at the intersection of technology and traditional composition.

• Electro-Acoustic Composition
• Live Electronics
• Interactive Sound Installation
• +3 more

Professor Sławomir Kaczorowski, Ph.D., has been a faculty member at the Grażyna and Kiejstut Bacewicz Academy of Music in Łódź since 1981, where he teaches composition and served as Head of the Department of Composition from 2011 to 2021. He previously held significant leadership roles including Vice-Rector for Artistic and Teaching Affairs (1999-2005) and Vice-Dean of the Faculty of Composition, Music Theory, Music Education and Rhythmics (1996-1999). His educational background includes diplomas in music theory (1981) and composition under Professor Bronisław Kazimierz Przybylski (1981) from the State Higher School of Music in Łódź. Awarded the title of professor by the President of Poland in 2002, he remains an active academic leader currently serving as chairman of the Art Section of the Polish Accreditation Commission. Kaczorowski specializes in contemporary composition with emphasis on instrumental works, chamber music, and choral compositions. His research interests manifest in diverse output featuring piano, accordion, and mixed ensembles, with notable focus on tango-inspired forms and liturgical reinterpretations. He pioneered the MUSICA MODERNA sessions promoting new music through biannual concerts and lectures. Analysis of his 15 most recent compositions reveals consistent exploration of Polish contemporary classical traditions with strong emphasis on instrumental timbre, cross-genre fusion (particularly tango elements), and innovative approaches to sacred music forms. His works demonstrate technical mastery across diverse ensembles from solo piano to full orchestral settings. Silver Medal for Merit to Culture – Gloria Artis (2021) Numerous national composition competition awards Jury membership at international competitions including the T. Baird Young Composers' Competition (Warsaw 2018) and National Association of Composers USA competitions (2017-2018) Professor Kaczorowski has mentored award-winning composers including Grzegorz Duchnowski and Tomasz Szczepanik. His institutional leadership includes directing the Grażyna Bacewicz International Composition Competition (2012, 2015, 2019) and serving as president of the Łódź Branch of the Polish Composers' Union until 2022. He maintains active artistic engagement through premieres across Europe, China, and the United States. His creative work is organized through departmental initiatives including the Department of Composition's performance series and collaboration with the Artur Rubinstein Łódź Philharmonic. Current activities focus on expanding Polish contemporary music's international presence through competitions and cross-border artistic exchanges.

• Contemporary Composition
• Instrumental Music
• Choral Music
• +2 more

Christopher Castro serves as an Assistant Professor of Composition at Chapman University's College of Performing Arts. A composer and double bassist from Brooklyn, New York, he combines academic rigor with avant-garde experimentation. Ph.D. in Composition and Theory from University of California, Davis Bachelor of Music from Juilliard School (Double Bass & Composition) His research bridges Western Art Music traditions with contemporary innovations , creating works that merge: Johannes Ockeghem's polyphonic complexity John Coltrane's spiritual intensity Modernist structural experimentation Historical reconstruction techniques Jazz-classical hybrid forms Interdisciplinary performance formats Recent compositions demonstrate trends in flexible instrumentation , text-music relationships , and genre synthesis . His output spans chamber works, orchestral pieces, and vocal compositions with equal mastery. Scientific recognition includes: 2023 Fromm Music Foundation Commission (Harvard University) Chamber Music America's 2021 Classical Commissioning Award As a new music advocate , Castro collaborates with ensembles like: Left Coast Chamber Ensemble (artistic advisory board) New Mexico Contemporary Ensemble Los Angeles Philharmonic's Upbeat Live series Lyris Quartet and Sharon Harms

• Music Composition
• Music Theory
• Western Art Music
• +3 more

Paul Richards is a Research Foundation Professor of Music and head of the composition and theory area at the University of Florida since 1999. He previously served as Visiting Professor at Florida State University (2016) and taught at Baylor University and the University of Texas at Austin. His academic roles include teaching courses in composition, music theory, and orchestration, along with supervising graduate students. He earned a DMA in Composition from the University of Texas at Austin and degrees from the University of Arizona. Education: Doctor of Musical Arts (DMA), Composition, University of Texas at Austin, 1998 Master of Music (MM), Theory and Composition, University of Arizona, 1993 Bachelor of Music (BM), Theory and Composition, University of Arizona, 1991 Research Interests: Richards’ work spans orchestral, vocal, chamber, and theatrical compositions, including operas and wind ensemble pieces. His style blends eclectic influences—from Jewish sacred music to modernist techniques—resulting in works praised for their "strong melodic gift" and innovative orchestration. Commissions have come from prestigious organizations like the Florida Orchestra, Boston Brass, and White Snake Projects. Awards and Recognition: Recipient of numerous international composition prizes, including the St. Mary’s College/Kaplan Foundation Commission Competition and Second Prize in the International Horn Society Composition Competition University of Florida Research Foundation Professorship (2017–2020, 2010–2013) Finalist in the National Opera Association’s Dominic Argento Chamber Opera Competition (2023) Advising and Grants: Richards has advised over 40 graduate students and chaired multiple PhD committees. His grants include support from the University of Florida and the Research Foundation. He has also served as a mentor in composer-in-residence programs, including the Jacksonville Symphony Orchestra’s Fresh Ink Competition. Labs and Collaborations: He co-founded the Florida Contemporary Music Festival (2013–2018), fostering collaboration between composers and performers. His work integrates interdisciplinary projects, such as music for dance and film, and he actively collaborates with choreographers and theater artists.

• Composition
• Music Theory
• Orchestral Music
• +5 more

Mark Simons is an Early Clarinet Instructor at the Schulich School of Music, McGill University, and teaches at Marianopolis College. He specializes in early music performance on period instruments such as the chalumeau and classical clarinet. His expertise spans baroque, classical, jazz, and klezmer styles, with a focus on historical performance practices. Education: Studied at Marianopolis College, McGill University, and Temple University. Research interests include exploring sonorities of period instruments and chamber music collaborations. He has performed with renowned ensembles like Les Boréades, Arion Baroque Orchestra, and the Daponte String Quartet. Notable recordings include CDs on the Analekta label: Viole D’Amour and Telemann et les Gitans . No scientific awards listed. His advising and grants details are unspecified. Active in ensembles such as the Arthur Leblanc and Bozzini quartets, and regularly performs with l'Orchestre Symphonique de Québec and I Musici de Montréal.

• Early Music
• Baroque Music
• Classical Music
• +4 more

Prof. Nicola Jürgensen is a distinguished German clarinetist and Professor of Clarinet at Faculty 1 of Folkwang University of the Arts in Essen, Germany. She also serves as Dean of Faculty 1 and is a Confidential Lecturer for the German Academic Scholarship Foundation. Her career seamlessly integrates performance, education, and artistic leadership. She is the Artistic Director of WDR 3 Campus Concerts and a board member of the Folkwang University Foundation. Professor of Clarinet, Folkwang University of the Arts (2018–present) Dean, Faculty 1 Artistic Director, WDR 3 Campus Concerts Board of Directors, Folkwang University Foundation Principal Clarinet (former), WDR Symphony Orchestra Cologne (2001–2018) Regular coach, German National Youth Orchestra (2020–present) Nicola Jürgensen's research and artistic interests center on clarinet performance, chamber music, and contemporary repertoire. She is deeply committed to historical performance practice, evidenced by her recordings on basset clarinet, and to expanding the global reach of classical music through international masterclasses and festivals. Her work bridges traditional European repertoire and modern experimental works, including performances in avant-garde operatic productions. She has collaborated with leading orchestras and ensembles worldwide, from Berlin and Leipzig to New York, Bangkok, and Auckland. Her recent artistic output reveals a strong focus on rediscovered works (e.g., Wilms' concerto), contemporary compositions (e.g., Kancheli, Zwilich), and cross-cultural collaborations (e.g., German Masters Music Festival in Thailand). She emphasizes pedagogical innovation and performance excellence, mentoring students who now hold principal roles in Germany’s top orchestras. Her recordings and performances consistently highlight expressive depth, technical mastery, and scholarly engagement with historical instruments and arrangements. Scientific and Artistic Awards: Mozart Prize, Wiesbaden Mozart Society German Music Competition Soloists' Prize (1999) Germany Radio Promotion Prize (2002) Nicola Jürgensen has been instrumental in guiding numerous students into prestigious orchestral positions and leads the ensemble 'Folkwang Clarinets' with her students. She holds multiple leadership roles in academic and artistic institutions and continues to perform as a guest principal clarinetist with major orchestras like the Mahler Chamber Orchestra and NDR Elbphilharmonie Orchestra. Her involvement in grants and funding appears indirect through institutional roles and festival organization. She is actively involved with several artistic initiatives, including the 'Spannungen' festival, WDR 3 Campus Concerts, and international masterclass programs. Her ensemble collaborations and educational outreach reflect a sustained commitment to excellence, innovation, and accessibility in classical music.

• Clarinet Performance
• Chamber Music
• Orchestral Performance
• +5 more

Todd Levy is an Adjunct Professor of Clarinet in the Music Department at the University of Wisconsin-Milwaukee. He is a renowned performer with principal clarinet roles in the Milwaukee Symphony Orchestra (MSO), The Santa Fe Opera Orchestra, and frequent collaborations with major orchestras including The Chicago Symphony Orchestra and The Philadelphia Orchestra. A three-time Grammy Award winner, Levy has performed at prestigious venues like Carnegie Hall and the Mostly Mozart Festival, and has worked with conductors such as James Levine, Christoph Eschenbach, and Seiji Ozawa. Education: MM & BM in Clarinet from The Juilliard School His research interests focus on advanced clarinet performance techniques, contemporary repertoire interpretation, and chamber music collaboration. He has premiered works by composers including John Harbison and Joan Tower, and his recordings span labels like Deutsche Grammophon and Avie Records. Levy also co-directs Chamber Music Milwaukee and is a Vandoren/Selmer artist. His discography includes major works like the Brahms Clarinet Sonatas and The Clarinet Collection series. Notable collaborations include performances with the Guarneri Quartet, Juilliard Quartet, and violinist Pinchas Zukerman. Awards: 3× Grammy Awards, Naumburg Award (Aspen Wind Quintet) Teaching focuses on clarinet pedagogy and ensemble performance, with over 20 recorded chamber music CDs to his credit. Active in both academic and professional musical communities, he combines performance excellence with educational outreach.

• Clarinet Performance
• Chamber Music
• Orchestral Performance
• +3 more

Miguel Chuaqui is a Chilean-American composer and Professor at the University of Utah School of Music, where he serves as Chair of the Composition Area since 2009. Born in 1964 in Berkeley, California, and raised in Santiago, Chile, he holds a PhD in Composition from the University of California at Berkeley, with academic roots in both Mathematics and Music. Education: BA in Mathematics and Music (University of California-Berkeley, 1987), MA in Music (University of California-Berkeley, 1989), PhD in Music (University of California-Berkeley, 1994) Chuaqui's creative practice spans orchestral, chamber, vocal, and electroacoustic works, with performances across the U.S. and internationally by ensembles such as Speculum Musicae, Earplay, and the Society for Electro-Acoustic Music in the United States (SEAMUS). His research emphasizes collaborations in diverse areas, including interactive dance systems with Modern Dance and therapeutic musical applications with the School of Medicine. His compositions reflect an intersection of technology and traditional instruments, often incorporating live electronics and interactive elements. Recent compositions like La Búsqueda (2024), Inseparable (2024), and Encuentro Fugaz (2024) highlight his focus on chamber works and electroacoustic innovation. He has also demonstrated a sustained commitment to solo and ensemble works, integrating Latin American cultural motifs with contemporary techniques. Scientific and Musical Awards Award in Music from the American Academy of Arts and Letters Aaron Copland Recording Grant Eisner Prize Nicola de Lorenzo Award Society for Universal Sacred Music award Induction into the National Association of Composers of Chile President’s Award from SEAMUS (2008) 2024-2025 Big 12 Faculty Fellowship As an educator, Chuaqui has taught courses including Advanced Electronic Music Composition, Senior Composition, and PhD-level Composition at the University of Utah since 2024. He hosted the 2008 SEAMUS National Conference and serves as a NASM Visiting Evaluator, maintaining leadership roles in music education and composition pedagogy.

• Electroacoustic Music
• Music Composition
• Interactive Dance Systems
• +3 more

Aaron Cassidy is an American composer and conductor based in Berlin and Hannover. He serves as Professor of Composition and Director of Incontri – Institut für neue Musik at the Hochschule für Musik, Theater und Medien Hannover. His work emphasizes innovative graphical notations prioritizing physical sound production and non-geometrical rhythm theory. Cassidy’s compositions have been performed globally across 29 countries, with 12 commercial recordings on major labels like Kairos and NEOS. As a conductor, he specializes in contemporary and historical repertoire, leading over 100 world premieres with ensembles such as Ensemble Musikfabrik and ELISION. Notable engagements include the Munich Biennale and Melbourne Recital Centre. His recent research includes a 2025 reflection on non-geometrical rhythm and collaborative Erasmus+ residencies in Klagenfurt. Current projects include works for bassoon, violin-piano duet, and ANAM residency with ELISION in Melbourne (2025). Cassidy’s academic focus bridges compositional theory and performance practice. His research explores notation’s role in shaping musical interpretation, with particular attention to rhythm’s non-metric frameworks. Recent works like Reassessing Non-Geometrical Rhythm (2025) synthesize a decade of theoretical development. His teaching integrates experimental techniques and historical context, fostering innovation in Hannover’s new music institute.

• Contemporary Music Composition
• Musical Notation Innovation
• Non-Geometrical Rhythm Theory
• +3 more

Dr. John Hails is a Senior Lecturer and Reader in Music at Edinburgh Napier University , where he teaches aesthetics, music psychology, composition, and ethnomusicology. He holds a PhD in Music from Durham University (2008) and has trained under notable composers like Brian Ferneyhough and Richard Barrett. His research focuses on experimental composition, marginal musical practices, and interdisciplinary aesthetics. Educations: Bachelor’s and Master’s training at Durham University and University of Huddersfield PhD by Portfolio of Compositions (Durham University, 2008) Research Interests: John’s work explores unorthodox intonations, fixed media installations, and the intersection of composition with philosophy and ethnomusicology. He actively presents at international conferences on topics like post-structuralist critiques in music education and communal performance practices. Notable Works: His compositions have been performed by ensembles like the London Sinfonietta and broadcast on BBC Radio 3. Key pieces include enlightenment (microtonal trumpet and media) and Nine for ones in nine , reflecting his experimental approach. Awards & Grants: While no explicit awards are listed, his research is funded by Edinburgh Napier University. He is a core member of the Applied Music Research Centre . Supervision & Grants: He has supervised over 15 postgraduate projects, including PhDs on topics like Musical Cultures of Melanesia and Dialogical Music Systems . His supervisory roles span composition, ethnomusicology, and interdisciplinary studies. Labs/Teams: Active in the Applied Music Research Centre , focusing on creative practice and experimental music dissemination.

• Music Composition
• Ethnomusicology
• Music Psychology
• +3 more

Phillip Shovk is a Lecturer in Piano and Collaborative Piano at the Sydney Conservatorium of Music, University of Sydney. A renowned concert pianist, chamber musician, and pedagogue, he holds a Master of Fine Arts from Moscow State Conservatory under Valery Kastelsky. His accolades include the 1987 Vanni di Motta Competition Laureate, Hephzibah Menuhin Prize (1988), and Best Accompanist at the 1994 Tchaikovsky Competition. Education: Began studies with Anatole Mirosznyk, continued at Sydney Conservatorium High School under George Humphrey, then Moscow State Conservatory with Valery Kastelsky. Research interests focus on piano performance, collaborative music, and pedagogy, particularly exploring Russian and European classical traditions. His performances span 20+ countries, emphasizing Romantic and 20th-century repertoire. Teaching roles include positions at Paris' Conservatoire Rachmaninoff, Australian Institute of Music, and Chetham’s School of Music. He has adjudicated major competitions like the Sydney International Piano Competition and Singapore National Piano Competition. Recordings include Tchaikovsky/Mussorgsky (Master Performers) and Mozart Violin Sonatas for two pianos (Toccata Classics).

• Piano Performance
• Collaborative Piano
• Classical Music
• +3 more

Harry Bulow is a Professor of Music at Purdue University's School of Design, Art, and Performance, where he served as Head from 2009 to 2019. Previously, he chaired music departments at the University of Hawaii, University of North Carolina at Charlotte, and Lamar University, and directed bands at Santa Barbara City College. His career spans composition, performance, administration, and music technology leadership. Education: Bachelor's in Music Education, San Diego State University M.A. and Ph.D. in Music Theory and Composition, UCLA (1978, 1983) Bulow's creative scholarship centers on Music Theory, Composition, and Electronic Music , with significant contributions to Jazz, Film, and Sacred Music . His eclectic style synthesizes influences from Copland, Mancini, and Lutosławski, emphasizing graphic notation and extended techniques. Recent work explores cross-cultural fusion (e.g., Japanese-Western instrumentation) and wind ensemble innovation, reflecting his leadership in modernizing band pedagogy through publications like Composing Outside the Box . His 15 most recent publications reveal a sustained focus on wind ensemble and chamber music , with increasing integration of commercial media (video games) and cross-cultural elements. The 2016-2019 output shows particular emphasis on brass quintets and piano works, demonstrating technical innovation within traditional forms. Awards: 38 Consecutive ASCAP Awards (1980-2018) Oscar Espla International Composers Prize (1986) 1st Prize, International Composers Competition, Trieste (1977) Dallas Wind Symphony Fanfare Award (2006) National Endowment for the Arts Composer Fellowship (1986) Bulow has secured substantial research funding including Purdue's ASPIRE/CREATE Grants (2017-2019) and North Carolina Arts Council Fellowships. His commissioned works span academic (Eastman Wind Ensemble), commercial (EA Sports), and international contexts (Moscow National Symphonic Band), with recent performances at Society of Composers conferences and College Music Society events. He maintains active performance collaborations with ensembles like the Indianapolis Wind Symphony and pianist Martin Jones, while his compositions continue to shape contemporary wind band repertoire through innovative approaches to notation and form.

• Music Theory
• Composition
• Electronic Music
• +3 more

Rodney Waschka II is a Professor and Director of Arts Studies at North Carolina State University's College of Humanities and Social Sciences. He also directs the Arts NOW Series, presenting contemporary arts events. His expertise spans music composition, algorithmic processes, and electronic music. Waschka's works are globally recognized, with recordings across international labels. His operas like Saint Ambrose and Sappho's Breath showcase interdisciplinary collaboration. Recent works include A Note for Joe Alexander (2024) and In Memoria di Linda Garzoli Cardosi (premiering 2025). His research explores genetic algorithms in music composition and dynamical systems as compositional tools. Education: Doctor of Musical Arts in Computer Music/Media from the University of North Texas. Awards and recognitions include features in Computer Music Journal , Musical Opinion , and international festivals. He actively commissions new works and has performed across Europe, North America, and Australia. The Arts NOW Series, under his leadership, connects contemporary art forms with academic disciplines like mathematics, politics, and climate science. Notable collaborations include the Aizuri Quartet and filmmaker projects like Boris Karloff: The Man Behind the Monster (2022).

• Music Composition
• Algorithmic Composition
• Electronic Music
• +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