Rebecca Herissone is Professor of Musicology at the University of Manchester and a leading scholar in early modern English music. She co-edits the peer-reviewed journal Music & Letters and serves on editorial boards for the Purcell Society, Musica Britannica, and the Complete Works of John Eccles. Her research focuses on seventeenth-century creativity, material culture, and the ontological dimensions of music notation. Key research areas: Early Modern Music, Creativity, Source Study, Notation, Reception Major awards: Diana McVeagh Prize (2015), Westrup Prize (2007) Her recent work includes digital humanities projects on music preservation and critical editions of Purcell's operas. She has pioneered interdisciplinary approaches connecting musicology with drama, art, and literature, and currently leads research on Purcell's posthumous reception in the eighteenth and nineteenth centuries. Her teaching spans music historiography, performance practices, and advanced source analysis.
Carol Ann Allred is an Associate Professor (Lecturer) at the University of Utah's School of Music, specializing in Voice. She holds a DMA and MA from Eastman School of Music, and a BM in Vocal Pedagogy from Brigham Young University. Her career spans performance and education, with roles at SUNY Fredonia, Seton Hill College, and Hampden-Sydney Chamber Music Festival. Doctor of Musical Arts (DMA), Vocal Performance - Eastman School of Music (1989) Master of Music (MA), Vocal Performance - Eastman School of Music Bachelor of Music (BM), Vocal Pedagogy - Brigham Young University Allred's research and creative works focus on vocal performance across diverse genres, including choral masterpieces like Verdi Requiem and Brahms Requiem, contemporary works such as Golijov's La Pasion Según San Marcos, and historical repertoires from Mozart and Handel. Her recent projects include international tours and cultural outreach initiatives. Her scholarly performances highlight trends in sacred choral music, operatic excerpts, and community engagement through LDS church services and interfaith concerts. She has contributed to recordings including Christmas CDs and collaborations with Salt Lake Vocal Artists. Scientific Awards : Multiple first prizes in prestigious competitions and a Faculty Recognition Award nomination Teaching : Offers private voice lessons and masterclasses; advises the Michie Undergraduate Vocal Quartet Community Leadership : Conducts multi-congregational choirs and organizes veteran-focused concerts Allred's professional activities include collaborations with orchestras such as the Pittsburgh Symphony and Utah Symphony, with a strong emphasis on vocal pedagogy, interfaith musical outreach, and family ensemble performances. She maintains active roles in judging competitions and mentoring students at both University of Utah and UVU as a substitute instructor.
Feliks Nowowiejski Academy of Music in BydgoszczPoland
Jacek Greszta is a Professor and current Dean of the Faculty of Vocal Performance and Acting at the Academy of Music in Bydgoszcz, serving the 2020-2024 term. He has taught at the institution since 2006 and was awarded the title of Professor of Art in April 2021 after obtaining his postdoctoral degree in musical arts (vocal studies) in 2016. His academic background includes: Studies at the Academy of Music in Warsaw (Faculty of Vocal Studies and Acting, 1986) under A. Dankowska Transfer to the Academy of Music in Poznań (1989) under M. Moździerz, graduating in 1993 Professor Greszta's research centers on operatic vocal performance and Polish musical heritage. As an internationally recognized bass, he has performed 30+ roles across Mozart, Verdi, Puccini, and Moniuszko repertoire in 15+ countries, with scholarly focus on vocal technique preservation and national opera traditions. His academic work bridges performance practice with pedagogy, emphasizing Moniuszko's contributions to Slavic opera. Key recognitions include: Golden Orpheus award for the DVD recording of Paderewski's Manru (2013) Two honors from the Marshal of Kuyavian-Pomeranian Voivodeship for artistic excellence Administratively, he served as Head of the Vocal Studies Department before his deanship, overseeing curriculum development and faculty coordination. His collaborations span major Polish philharmonics and opera houses, including long-term engagements with Silesian Opera (Bytom) and Opera Nova (Bydgoszcz), where he premiered anniversary productions.
Stanislaw Moniuszko Academy of Music in GdańskPoland
Professor Marcin Ciszewski is a distinguished faculty member at the Stanisław Moniuszko Academy of Music in Gdańsk, where he serves at the Faculty of Vocal and Acting. A graduate of the same institution with distinction in 1999, he has established himself as one of Poland's leading countertenors and vocal pedagogues. His educational background includes studies under Professor Piotr Kusiewicz and additional training with renowned instructors including Kinga Chełmińska, Ryszard Minkiewicz, Kai Wessel, Gerhard Kahry, and Dariusz Paradowski. Graduated with distinction from the Academy of Music in Gdańsk (1999) Habilitated doctor of musical arts (2019) Professor at the Faculty of Vocal and Acting Professor Ciszewski specializes in early music performance and is recognized as one of the first Polish countertenors who made significant contributions to the development of vocal art in the authenticity movement in Poland. His research focuses on the history and physiology of countertenor voices, and he regularly conducts lectures and voice training for professional and academic groups. His artistic output spans several hundred concerts across Poland and Europe, featuring collaborations with renowned ensembles, orchestras, and conductors. He has given over a dozen world premieres of both early and contemporary works, including compositions specifically written for him by modern composers. His recordings include extensive work for Polish Radio and Television, the French music television channel Mezzo, and Radio Classique. Notable Achievements Member of the European artists' association Spedidam based in Paris Nominated for the "Fryderyk" music award in the Early Music category Honored with international titles "Outstanding Teacher" and "Excellent Vocal Teacher" Since 2006, Professor Ciszewski has maintained a successful artistic partnership with organist Ewa Bąk, performing at over one hundred national and international organ festivals. Their collaborations have resulted in numerous CD, radio, and television recordings, including world premieres of works by Polish composers such as Marian Sawa and Jacek Urbaniak.
Private University of Music and Arts of the City of ViennaAustria
Andreas Stoehr is a renowned Austrian conductor and professor at the Music and Arts Private University of the City of Vienna, leading the conducting department and symphony orchestra since 2013. His career spans prestigious engagements including the Paris Opéra Comique, Deutsche Oper am Rhein, and St. Gallen Theatre, focusing on operatic repertoire from Monteverdi to modernism. He is celebrated for reviving neglected works like Meyerbeer’s Emma di Resburgo and Gluck’s Ezio , emphasizing historical performance practices. His research explores stylistic transitions in music history, blending baroque precision with modern innovation. Education: Trained at Vienna's former Conservatory (now University of Music and Performing Arts), studying piano under Alfred Kremela, conducting with Gennadij Rozhdestvenskij, and musicology at the University of Vienna. Key mentors included David Lutz (accompaniment) and Reinhard Schwarz (conducting). Research Interests: Explores interdisciplinary connections between diverse musical eras, such as Bach’s influence on Schoenberg, and advocates for vocal-orchestral balance in historical repertoires. Projects include CD recordings of Amanda Maier-Röntgen and Andrea Tarrodi’s works, nominated for Swedish Grammis. Awards: Grammy nomination (2016) for Amanda Maier-Röntgen’s Violin Concerto recording. Recognized for innovative stagings of operas like Berg’s Wozzeck and Debussy’s Pelléas et Mélisande . Teaching & Leadership: As professor and symphony orchestra director, Stoehr mentors young conductors. Notable collaborations include the Langenlois Castle Festival (2012–2019) and interdisciplinary projects like Heart and Mouth, and Deed and Life blending Bach with sociological texts. His teaching emphasizes 21st-century conductorship as collaborative architecture, prioritizing emotional engagement over technical authoritarianism. Labs/Ensembles: Leads the MUK Symphony Orchestra, collaborating with ensembles like the Aarhus Symphony Orchestra and Orchestre Philharmonique de Liège. His work bridges academic research with performance practice through projects like the Styriarte Festival’s Schubert revival.
Cynthia Donnell serves as an Associate Professor of Voice and Lyric Diction in the Department of Music at Virginia Commonwealth University. Her educational background includes: Master of Music (M.M.) from the University of North Carolina at Greensboro Bachelor of Music Education from the University of North Carolina at Greensboro As a mezzo-soprano, Professor Donnell maintains an active performance career spanning recital, opera, choral, oratorio, and orchestral repertoire. Her expertise centers on vocal technique, linguistic precision in singing, and classical interpretation across diverse musical traditions. She has performed with major ensembles including the North Carolina Symphony, Richmond Symphony, Virginia Opera, and St. Paul Chamber Orchestra. Her professional recognition includes winning the Seventh International Sterling Staff Competition, which facilitated over 25 solo recitals nationwide. She actively contributes to music education through leadership in the National Association of Teachers of Singing (NATS), having served as officer and board member for the Virginia Chapter.
Dr. Lucian Sulica is the Sean Parker Professor of Laryngology and Director of the Sean Parker Institute for the Voice at Weill Cornell Medical College. He is an attending Otolaryngologist at NewYork-Presbyterian Hospital with a clinical practice exclusively focused on voice disorders. Dr. Sulica served as the 2023 President of the American Laryngological Association and is a Fellow of the American Laryngologic, Rhinologic and Otologic Society (the Triologic Society). His educational background includes: A.B. from Dartmouth College (1989) M.D. from Georgetown University School of Medicine (1993) Residency at Georgetown University Medical Center Fellowship at New York Center for Voice & Swallowing Disorders, St. Luke's-Roosevelt Hospital Center Dr. Sulica's research focuses on evidence-driven principles for treating voice conditions, with particular emphasis on vocal fold injuries from voice use (especially in performers), neurologic voice disorders (including vocal fold paralysis, spasmodic dysphonia, and tremor), and in-office procedures for voice disorders that don't require general anesthesia. His work has addressed critical aspects such as gender differences in vocal fold injury, pathophysiology of laryngeal nerve injury, and diagnostic accuracy in voice disorders. Analysis of Dr. Sulica's recent publications reveals a strong focus on advancing diagnostic techniques through artificial intelligence, improving surgical outcomes for vocal fold lesions, understanding performers' unique voice care needs, and developing evidence-based protocols for vocal fold hemorrhage and other voice disorders. His research increasingly incorporates technology-driven approaches while maintaining a strong clinical focus on patient-centered outcomes. Dr. Sulica has received numerous prestigious awards including: Casselberry Award of the American Laryngological Association (2021) Felix Semon Lectureship in Laryngology, Royal Society of Medicine (2022) American Academy of Otolaryngology – Head & Neck Surgery Honor Award (2008) Consistent recognition as one of "Best Doctors in America" (2005-2024) Designation as one of "America's Top Physicians in Voice Disorders/Laryngology" (since 2006) Inclusion in "New York Magazine Best Doctors" list annually since 2013 As an educator, Dr. Sulica has authored more than 110 journal articles and 40 book chapters, and has edited three books including "Vocal Fold Paralysis," "Classics in Voice and Laryngology," and "Patologia Laringea y Fonocirugia" (in Spanish). He is passionate about teaching and has lectured extensively across the United States, Europe, Latin America, and Australia. His clinical work at the Sean Parker Institute for the Voice represents a comprehensive approach to voice care, incorporating innovative in-office procedures that have helped establish new standards in laryngology.
Steven Rings serves as Associate Professor in the Department of Music and Director of Professional Development at the University of Chicago. His scholarship centers on popular music analysis, vocal studies, and transformational theory frameworks, with significant contributions to understanding Bob Dylan's work and Black experimental music traditions. Education: PhD in Music, Yale University (2006) Rings' research explores the intersection of musical cognition, cultural context, and performance practice. His work bridges theoretical musicology with vernacular traditions, examining vocal expression across genres from Dylan's protest songs to Albert Ayler's free jazz. Current projects investigate tonal hearing models and the relationship between song structures and recorded performances. His publications reveal consistent focus on analytical frameworks for popular music, particularly transformational approaches to vocal delivery and historical performance practices. Rings frequently connects technical music theory with broader cultural narratives, especially regarding racial identity in experimental music. Scientific Awards: 2014 Outstanding Publication Award (SMT Popular Music Interest Group) Society for Music Theory Award for 'Tonality and Transformation' Society for Music Theory Award for 'Oxford Handbook of Critical Concepts in Music Theory' Rings secured Mellon Foundation funding for a collaborative project with Wilco drummer Glenn Kotche, reimagining musical categories of voice and groove. He chairs the University of Chicago Society of Fellows and co-founded City Elementary, a therapeutic school in Hyde Park. His teaching spans undergraduate theory courses, graduate seminars on Black experimental music, and College Core musical interpretation classes. Additional roles include series editor for Oxford Studies in Music Theory and former Professor of Guitar at Portugal's Conservatório Regional de Angra do Heroísmo, where he performed extensively as a classical guitarist prior to his music theory career.
Dr Kevin Hunt is a Lecturer in Piano (Jazz) at the Sydney Conservatorium of Music, University of Sydney. He holds a Doctor of Philosophy (2016) and a Master of Music in Jazz Performance (2004) from the same institution. His academic roles include supervising six research projects (2017) across Honours, Masters, and PhD levels. Education: MMus(Perf) Sydney (2004), PhD in Jazz Studies (2016). Professional training includes studies with Don Burrows, Bill Motzing, and a scholarship in NYC (2001). Research focuses on jazz piano performance, intercultural collaborations with Aboriginal Torres Strait Islander musicians, and the sonic qualities of Australian-made Stuart & Sons pianos. Key projects include the OUR MUSIC workshop-festivals (2012-2016) and the Ancient & New CD project blending ancient Indigenous chants with jazz improvisation. Performance highlights include the ABC FM Listeners Choice Award-winning JS Bach Trio (1998), recordings with Don Burrows and Simon Tedeschi, and collaborations in cabaret theatre such as Prince Bettliegend (2017). Active in education since 2005, he currently leads the Kevin Hunt Trio and performs with Emma Pask and Marie Wilson. Awards include the 2016 PhD and 1998 ABC award. His work bridges jazz innovation with cultural heritage preservation, evidenced by intercultural projects and academic publications on Yiddish theatre and Indigenous music collaboration.
Susanne Moldenhauer is a faculty member at the University of Music Würzburg , specializing in Vocal Music, Opera Performance, and Song Interpretation . She is affiliated with the Department of Vocal Music, Opera School, and Song Interpretation , where she contributes to teaching and advising in classical voice disciplines. Her research and instructional focus centers on classical vocal pedagogy, opera training, and interpretive techniques for art song. She maintains an email contact at susanne.moldenhauer@hfm-wuerzburg.de and offers consultation by appointment.
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.
Grazyna and Kiejstut Bacewicz Academy of Music in ŁódźPoland
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.
Kerri Kotta is a Professor of Music Theory and Head of Musicology at the Estonian Academy of Music and Theatre. She holds a PhD in Musicology (2004) and an MA in Composition (1997) from the same institution. Her research focuses on music theory, tonal analysis, Estonian music history, and contemporary composition, with special expertise in the works of Eduard Tubin and Dmitri Shostakovich. She coordinates the International Eduard Tubin Society and edits the composer's complete works. Her research interests span music theory , compositional techniques , Estonian cultural heritage , and interdisciplinary performance studies . Recent publications explore modernism in Estonian art music, Beethoven's structural rhetoric, and socio-psychological dimensions of contemporary opera. Kotta received the Reet Neimar Criticism Award (2023) for her contributions to music scholarship. She leads the project How to share the ardor? Conveying complex musical structures through animated scores (2024-2025), funded by the Estonian Ministry of Culture. Administratively, she chairs the Estonian Musicological Society (2013–present) and the International Eduard Tubin Society (2015–present), while serving on the board of the Estonian Composers Union (2022–present).
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
Rita Aiello is an Adjunct Associate Professor in the Department of Psychology at New York University's College of Arts & Science. Her research focuses on the cognitive and perceptual processes involved in musical listening, with particular emphasis on neuroaesthetics, music learning, and memory. She holds an Ed.D. from Columbia University and has held faculty positions at institutions including the Juilliard School and the Manhattan School of Music. Her work bridges music theory, cognitive science, and education, with a lifelong background as a classical pianist. Education: Columbia University (Ed.D.), Manhattan School of Music (M.M., B.M.), Conservatorio San Pietro a Maiella (Diploma in Music Theory) Certifications: Kodály and Orff Methods Her research explores how musical training influences cerebral dominance, the relationship between mental representations and emotional responses to music, and the cognitive underpinnings of musical memory. She has published widely on topics ranging from musical expectation to pedagogical strategies for memorization. Recent work investigates evolutionary perspectives on singing and the psychological mechanisms behind musical communication. Publications reflect interdisciplinary engagement with music's structural rules, metaphorical dimensions, and its role in human cognition. While no specific grants or awards are listed, her extensive international teaching experience includes visiting roles at institutions in Rome and Lugano, Switzerland, and an honorary appointment at Columbia University's Teachers College.
