Find Academic Supervisors

Jan WaterfieldView profile

Lecturer

• Early Music
• Baroque Performance Practice
• Keyboard Music (Pre-1750)
• +3 more

Jan Waterfield serves as Harpsichord Lecturer at the Royal Conservatoire of Scotland (RCS), where she teaches pre-1750 keyboard repertoire and contributes to the Opera School for baroque style instruction and Fair Access/Education departments for coaching initiatives. An active performer, she collaborates with major ensembles including the Gabrieli Consort (principal harpsichordist since 2009), Academy of Ancient Music, and Scottish Chamber Orchestra. Her educational background includes music studies at Girton College, Cambridge (as a choral scholar), followed by postgraduate harpsichord and piano training at London's Royal Academy of Music under John Toll and David Willison. Waterfield's research centers on early music performance practice, with specialized focus on pre-1750 keyboard repertoire and baroque stylistic interpretation. She integrates mental-emotional state analysis into performance pedagogy, exploring how mindfulness and emotional awareness impact artistic execution. Her innovative creative coaching methodology—accredited by the European Mentoring & Coaching Council—combines verbal questioning with non-verbal techniques (body language, breathwork, and artwork) to enhance musicians' self-awareness and creative development. Notable accolades include: Gramophone Award (2013) for 'A New Venetian Coronation' with Gabrieli Consort Royal Academy of Music prizes for Lieder Accompaniment and Continuo Playing As an EMC C-accredited coach, Waterfield maintains a vocal coaching practice attracting professional singers, while developing self-coaching resources for RCS students. Her collaborative work spans duo partnerships with soprano Mhairi Lawson, bass Brian Bannatyne-Scott, and cellist Christopher Suckling, alongside klezmer performances with 'KleyneKlezmer'. She performs regularly with period ensembles including His Majesty's Sagbutts and Cornetts, La Serenissima, and Ludus Baroque, having participated in John Eliot Gardiner's Bach Cantata Pilgrimage (2000) and recorded Martin Peerson's complete virginal works.

Zsombor Tóth-VajnaView profile

Research Fellow

• Historical Performance Practice
• Keyboard Music (Restoration Period)
• Organ Music (North-German Tradition)
• +3 more

Zsombor Tóth-Vajna is a Research Fellow and Royal College of Music Studentship holder at the Royal College of Music, specializing in the performance practice of Restoration period keyboard music (John Blow, Henry Purcell), North-German organ music, and early Hungarian keyboard traditions. He graduated with highest honors from the Ferenc Liszt Academy in Hungary, studied at Conservatorium van Amsterdam, and holds a medicine degree from Semmelweis University. He founded the Harmonia Caelestis Baroque Orchestra and performs as a soloist, conductor, and continuo player across Europe and the USA, focusing on Purcell, Handel, and Bach. Scientific awards include the Semmelweis University Kerpel Prize (2013), multiple Hungarian youth grants, the Hungarian Bach Prize (2019), Honorary Medal of Buda Castle, Gold Cross of the Order of Merit (2024), and Hungary’s highest musical honor, the Liszt Ferenc Prize (2025). He was listed among the 50 most talented young Hungarians by La Femme Magazine (2015).

Christoph PrendlView profile

Professor

• Music Theory
• Early Music
• Baroque Music
• +3 more

Prof. Christoph Prendl is a Professor at the University of the Arts Bremen, affiliated with the Faculty of Music and the Department of Music Theory and Early Music. His research focuses on German music theory of the 17th and 18th centuries, basso continuo theory, and the works of composers like Claudio Monteverdi and Johann Joseph Fux. He holds a Doctorate and has taught at institutions including the Musikhochschulen in Mannheim, Trossingen, and Freiburg. Alongside academia, he performs as a gambist, harpsichordist, and choir director, with concert engagements across Europe and the Americas. Education: Studied music in Linz (Austria), Basel (Switzerland), and Würzburg (Germany). Current teaching includes courses on music notation, counterpoint, and ear training, emphasizing Baroque practices, galant style, and Renaissance/Baroque ensemble techniques. His recent research seminar explores Johannes Ockeghem’s secular compositions and their collaborative compositional processes in the Franco-Flemish tradition. No specific scientific awards or grants are listed in the provided text. His professional activities include organizing events like the International WinterAcademy of Early Music and participation in university concerts.

Beate RölleckeView profile

Lecturer

• Baroque Music
• Historical Performance Practice
• Early Music
• +3 more

Beate Röllecke is a Lecturer (Lehrbeauftragte) in Basso Continuo at the University of the Arts Bremen. She holds roles in the faculty governance, serving as a representative in the Fachbereichsrat (Department Council) and Akademischen Senat (Academic Senate). She previously held the Cembalo-Professur (Harpsichord Professorship) at Folkwang Hochschule in Essen from 2000 to 2004 and is a member of the Bundeskonferenz der Lehrbeauftragten an deutschen Musikhochschulen (Federal Conference of Adjunct Lecturers at German Music Universities). Her education includes studies at the Hochschule für Künste Bremen and Folkwang Hochschule under Prof. Ludger Rémy, complemented by masterclasses with Bob van Asperen, Hermann Max, and Michael Schneider. She has collaborated with renowned artists like Emma Kirkby, Ton Koopmann, and Sir Roger Norrington. Röllecke’s research and performance focus on Baroque music, particularly as a harpsichordist and continuo player. Her solo debut album (2002) featuring works by J.S. Bach and Alessandro Scarlatti, and her work with Ensemble „Les Amis de Philippe“ under Ludger Rémy, earned critical acclaim, including the 2003 German Record Critics’ Prize and Goldberg Magazine’s accolade. Her discography and radio/TV productions highlight her international career as a soloist and continuo performer. While no specific grants or advising details are noted, her teaching and ensemble leadership reflect a commitment to historical performance practice and music education.

Joseph RipkaView profile

Adjunct Professor

• Classical Music
• Baroque Music
• Organ Performance
• +3 more

Joseph Ripka is an internationally renowned organist, Adjunct Professor of Harpsichord, and Director of the Early Music Ensemble at Oklahoma City University. He serves as Canon Musician at St. Paul’s Cathedral in Oklahoma City, overseeing comprehensive choral programs including the Cathedral Chorister initiative. Additionally, he acts as Diocesan Music Missioner for the Episcopal Diocese of Oklahoma. Education: Bachelor’s degrees in Organ and Piano Performance, St. Cloud State University Master’s degrees in Organ and Piano Performance, University of Kansas Artist Diploma in Organ Performance, Oberlin College Master’s degree in Organ Performance, Yale University Research Interests: Specializes in Baroque and Renaissance repertoire, keyboard performance (organ, harpsichord, piano), and choral conducting. His work emphasizes historically informed performance practices and early music revival. Awards: Winner of major international organ competitions Featured artist on American Public Media’s Pipedreams Recipient of acclaim for YouTube performances with millions of views Advising & Leadership: Leads ensembles at St. Paul’s Cathedral, including two adult choirs and youth choristers. Conducts Handel’s Messiah and Bach/Buxtehude/Schutz cantatas. Active in Baroque ensemble collaborations as harpsichord continuo performer. Performance Highlights: Performed with New World Symphony, Boston Philharmonic, and Boston Symphony Orchestra. European debuts in Paris, Amsterdam, and London, plus recitals at Westminster Cathedral, St. Paul’s Cathedral London, and others.

Ashley SolomonView profile

Professor

• Historical Performance
• Baroque Music
• Musicology
• +3 more

Professor Ashley Solomon is Chair and Head of Historical Performance at the Royal College of Music (RCM), London, where he holds a Personal Chair (since 1994). He is a Fellow of both the Royal Academy of Music (FRAM) and RCM (FRCM). His roles include Recorder Professor and Doctoral Supervisor. He co-founded the baroque ensemble Florilegium in 1991 and has been its Director since 2001. Notable achievements include training Bolivian musicians, forming the Arakaendar Bolivia Choir , and receiving the Hans Roth Prize (2008) for promoting indigenous Bolivian music. He also directs Linden Baroque . Research interests span Baroque performance practices, historical source studies, and musicology. Key projects include reviving Bolivian Baroque music and recording extensively with Florilegium , producing over 1,500 performances and 35 recordings for Channel Classics. Recent recordings include the Spohr Collection series (2020–2024) and Haydn Symphonies (2022). Publications include scholarly articles in Scherzo and Revoice Magazine , alongside liner notes for his recordings. Awards include the Hans Roth Prize and Fellowships from major music institutions. Advising includes supervising doctoral student Matthew Millkey. Grants include funding from the Continuo Foundation for new recording projects. His work bridges historical and contemporary musical exploration, emphasizing cultural preservation and international collaboration.

• Historical Performance
• Baroque Music
• Keyboard Performance
• +3 more

James Johnstone is a Lecturer in Historical Performance & Keyboard at the Guildhall School of Music and Drama, City, University of London. He studied with Jill Severs in London and Ton Koopman in The Hague, establishing a career as a harpsichordist, continuo player, and educator. Education: Studied in London with Jill Severs Studied in The Hague with Ton Koopman His research and performance focus on Baroque music , historical keyboard techniques , and continuo realization , collaborating extensively with period instrument ensembles globally. He has performed across Europe, Israel, the Americas, and the United States, with notable affiliations including the Gabrieli Consort and Players (17 years) and Florilegium (10 years). Johnstone currently serves as principal keyboardist with Sir John Eliot Gardiner’s Monteverdi Choir and has released recordings of works by Bach and Couperin with Metronome Recordings since 2016. His career bridges practical performance, pedagogy, and historical authenticity in early music.

• Guitar Chamber Music
• Historical Performance Practices
• Baroque Music
• +3 more

Toby Carr is a Professorial Staff member at the Guildhall School of Music & Drama, specializing in guitar chamber music and historical performance practices. He holds a prominent role in the Department of Music, focusing on training the next generation of musicians through creative collaboration. Education: Toby studied guitar at Trinity Laban Conservatoire of Music and Dance with Graham Devine, and later pursued postgraduate studies at Guildhall School of Music & Drama under Robert Brightmore, David Miller, and William Carter. Research and Performance: Known for his versatility as a lutenist and guitarist, Carr collaborates with leading period instrument groups (e.g., Academy of Ancient Music, English Concert) and modern ensembles. His expertise in Baroque and Classical repertoires includes solo, continuo, and song accompaniment work. A notable 2022 release, Battle Cry: She Speaks with mezzo-soprano Helen Charlston, received acclaim for its 'sensuous and vivid' performances. Teaching and Mentorship: As a professor, Carr emphasizes collaborative creativity in chamber music and early music performance practices, mentoring students in both technical and interpretive aspects of historical instruments.

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.

Werner LembergView profile

Senior Lecturer

• Music Performance
• Historical Musicology
• Orchestral Conducting
• +3 more

Werner Lemberg serves as a Senior Lecturer at the Mozarteum University's Department of Conducting, Choir & Wind Band Conducting. His roles include teaching score playing, basso continuo, correpetition, and improvisation, alongside event supervision responsibilities. He is affiliated with the School of Music & Art Education (SOMA). His expertise spans music performance practices, historical performance techniques, and ensemble direction. While no specific research grants or awards are listed, his teaching focuses on practical musical skills critical to classical and contemporary repertoires. As an event supervisor, Lemberg contributes to organizing academic and artistic activities at the university. No advised students or published articles are explicitly mentioned in the provided data.

Joon ParkView profile

Associate Professor

• Music Theory
• Jazz Analysis
• Arnold Schoenberg's Music
• +3 more

Joon Park, Ph.D. is an Associate Professor of Music Theory at the University of Illinois Chicago's School of Theatre and Music. He joined UIC in 2023 after serving as Assistant Professor at the University of Arkansas. His expertise bridges theoretical scholarship with performance practice, focusing on jazz analysis, Arnold Schoenberg's compositions, and East Asian music theories. Education: Ph.D. in Music Theory (University of Oregon), M.A. in Music Theory Pedagogy (Eastman School of Music), B.M. in Music Theory (Eastman School of Music) Research Interests: Dr. Park investigates culturally-informed listening techniques (e.g., 'calligraphic listening' for Toshio Hosokawa's works) and redefines music theory through non-Western frameworks. His work challenges traditional Western-centric concepts like 'high/low' by exploring Eastern terminologies such as 'clear/muddy' sound descriptions. Teaching: He regularly presents at Society for Music Theory conferences and serves on editorial boards for Music Theory Midwest and SMT-V. His courses include advanced music theory and ear training sequences. Performance: An active jazz pianist and continuo player, he collaborates with ensembles in jazz and classical genres, including arranging Korean Pop music for jazz ensembles.

• 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.

Florian Birsak-HayerView profile

Professor

• Early Music
• Baroque Music
• Historical Performance Practice
• +3 more

Florian Birsak-Hayer is a Professor of Harpsichord, Basso Continuo, and Ensemble Direction at Mozarteum University's Department of Keyboard Instruments. He holds the title of Univ.-Prof. and serves as Deputy Department Head. His work focuses on Early Music performance, specializing in period instruments like harpsichord, fortepiano, and clavichord. Education and Training: While specific academic degrees aren't detailed, his extensive performance career and professorship imply advanced degrees in musicology and performance. He has conducted workshops and masterclasses globally, including at the Musicum Salzburg and Mozarteum Foundation. Research Interests: Dedicated to resurrecting forgotten Baroque and Classical repertoire, he explores historical performance practices, instrument authenticity (e.g., Anton Walter fortepiano), and interdisciplinary projects like the Mozart Fragments CD series. His work bridges musicology and performance, emphasizing contextually accurate interpretations. Recent Projects: Key works include recordings of Bach's Harpsichord Concertos, Mozart's Clavierkonzerte for multiple keyboards, and Haydn's Marianna Martinez concerto. He leads ensembles like ensemble federspiel and Petit Trianon , focusing on period instruments and collaborative chamber music. Awards: While no explicit prizes are mentioned, his contributions to Early Music revival and academic leadership are notable. He received the August Everding Prize (2003) with Isolde Hayer for their cello-piano duo work. Grants and Labs: Involved in projects like the Digital Mozart Edition (KV 457&475) and collaborations with institutions such as the Camerata Salzburg and Salzburg Festival. His research lab focuses on instrument restoration and performance pedagogy.

Marcus PougettView profile

Senior Lecturer

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

Marcus Pougett is a Senior Lecturer in Orchestra Training (Violoncello) at the Mozarteum University, Salzburg. He holds positions in the Strings Department and Pre-College division. As principal cellist of the Mozarteum Orchestra Salzburg since 2002, he combines orchestral performance with teaching. His roles include chamber music instruction and training students for orchestral positions. Affiliations: Mozarteum University, Mozarteum Orchestra Salzburg, Mozarteum Quartet Education: Studied with Prof. Wilfried Tachezi at Mozarteum University (graduated 1989, distinction), postgraduate studies with Laszlo Mezö (Budapest) and William Pleeth (London). Research interests focus on orchestral and chamber music literature, pedagogy, and performance practice. His career spans engagements with renowned ensembles like the Austrian Ensemble for New Music and Klangforum Wien. Recordings: 20 CD recordings, including works with Oehms Classics. Active in Baroque/continuo performance with conductors like Ivor Bolton and Marc Minkowski. Awards: Bernhard Paumgartner Medal (1989) Teaching roles include state youth orchestras in Upper Austria/Salzburg, guest lecturer at Bruckner University, and OESTIG audition seminars. Labs/ensembles: Mozarteum Quartet (international touring) and collaborations with Musiciens du Louvre.

Andrew Malilay WhiteView profile

Visiting Assistant Professor

• Music Theory
• Historical Performance Practices
• Improvisation Studies
• +4 more

Andrew Malilay White is a Visiting Assistant Professor of Music Theory at the University of Texas at Austin's Butler School of Music, holding the Grace Hill Milam Centennial Fellowship in Fine Arts. His research focuses on 19th-century improvisation practices, piano pedagogy, and textual analysis of composers like Clara Schumann, Franz Liszt, and Carl Czerny. He actively creates live-coded electronic music and explores intersections between historical performance practices and contemporary digital art forms. Education: PhD (University of Chicago), MA (University of Chicago), MM (NYU), BA (University of Notre Dame). Research emphasizes how musicians historically developed improvisation skills, analyzing exercise regimens and compositional techniques. Recent work includes studies on Clara Schumann's variation sets and throughbass theory's evolution. Awards include the Eugene K. Wolf Grant and teaching fellowships at Chicago. Teaching spans undergraduate to doctoral levels, including courses on analytical techniques and 20th-century music. Active in academic communities like the Society for Music Theory and TOPLAP, presenting on topics ranging from Balinese improvisation to 'Bad Apple!!' music video remixes as technical virtuosity.