Find Academic Supervisors

Mario AschauerView profile

Associate Professor

• Musicology
• Performance Practice
• Historical Keyboard Instruments
• +7 more

Mario Aschauer is an Associate Professor of Musicology and Coordinator of Musicology at Sam Houston State University's School of Music, where he also directs the Center for Early Music Research and Performance. A distinguished scholar-performer, he combines academic research with practical applications in historical performance practice. MA in harpsichord performance (University of Music and Performing Arts, Vienna) MPhil and PhD in musicology (University of Vienna) Postdoctoral fellow and visiting lecturer at Yale School of Music His research focuses on: Historical performance practice in 18th-19th century keyboard music German keyboard treatises and pedagogical traditions Anton Bruckner's compositional process Edition of classical and romantic piano works Continuo playing on historical instruments Collaboration with early music ensembles Publications include Bärenreiter editions of Schubert's piano sonatas, Mozart's K. 331 sonata, and critical completions of Beethoven drafts. Current projects involve a book on Bruckner's sketches and drafts. As performer, he specializes in Austrian Baroque repertoire and conducts historically informed performances with ensembles like: Mercury Chamber Orchestra Houston Ensemble NovAntique Linz L'Orfeo Baroque Orchestra Progetto Semiserio Vienna Ars Antiqua Austria Harmony of Nations Baroque Orchestra

Flavio Ferri-BenedettiView profile

Lecturer

• Musicology
• Opera Studies
• Baroque Music
• +4 more

Flavio Ferri-Benedetti is a Lecturer at the Basel Academy of Music, University of Applied Sciences and Arts Northwestern Switzerland, specializing in singing and Italian diction instruction. Concurrently, he serves as a research assistant at the University of Bern's Institute for New Testament Studies while pursuing a BA in Old Catholic Theology there, demonstrating a unique interdisciplinary trajectory spanning musicology, literature, and theology. His extensive educational background includes: BA student of Old Catholic Theology, University of Bern (2024–) PhD in Literature (magna cum laude), Universitat de València (2014) MA Singing (Musical Performance, cum laude), Schola Cantorum Basiliensis (2010) Classical Philology (cum laude), Universitat de València (2006) Translation and Interpreting Licentiate, Universitat Jaume I (2004) Piano diploma (cum laude), Vila-real, Spain (2000) Classical baccalaureate (cum laude), Castellón de la Plana, Spain (1983) His research centers on Baroque opera with particular emphasis on Metastasio's libretti, vocal aesthetics, and classical reception studies. He investigates intersections between musicology and literary analysis, gender dynamics in musicality, and creative expression through poetry. This multidisciplinary approach bridges historical performance practice with contemporary theoretical frameworks. Publication trends reveal consistent scholarly engagement with Metastasio's works and baroque opera conventions, evolving toward gender studies and creative writing. His output demonstrates methodological diversity across musicological analysis, historical manuscript studies, and poetic composition, reflecting both academic rigor and artistic practice. No scientific awards or fellowships are documented in available sources. Information regarding student advising and research grants remains unspecified in current records. He maintains affiliation with GRATUV (Grup de Recerca i Acció Teatral de la Universitat de València), a research and theatrical action group at the University of Valencia focused on classical tradition in performance contexts.

Kathy ReedView profile

Lecturer

• Musicology
• Historical Performance Practice
• Harpsichord Performance
• +3 more

Kathy Reed serves as Instructor in Music and Director of the Paideia Program at Luther College, teaching harpsichord and ear training in the Department of Music while overseeing the college's foundational first-year curriculum. Her role includes directing the mandatory 'Enduring Questions' sequence that engages students with interdisciplinary works across global cultures and historical periods. Her educational background features: A.B.D. in Musicology from the University of Michigan Bachelor of Music from Lawrence University Reed's scholarly focus centers on historical performance practice of early music, particularly harpsichord repertoire and J.S. Bach's works, with significant expertise in British musical traditions spanning concert hall to folk contexts. Her distinctive approach connects academic musicology with immersive experiential learning through study abroad programs that examine how cultural settings—from London's concert halls to Scottish pubs—shape musical interpretation and audience experience. This manifests in courses like 'Listening Live from London and Glasgow' which analyzes diverse musical ecosystems across the British Isles. As an educator, Reed teaches undergraduate harpsichord and ear training courses while directing the Paideia Program's signature curriculum. She maintains an active performance career as harpsichord soloist and continuo player, including appearances at Carnegie Hall, and co-directs 'Burning Bright,' an annual community benefit concert. Her leadership extends to directing the Luther Nottingham Program during two academic years (2009-10, 2017-18), facilitating immersive UK-based musical education.

• Historical Performance
• Early Music
• Intercultural Music
• +3 more

Hsuan Chang Kitano serves as an Adjunct Lecturer in the Historical Performance Institute within the Jacobs School of Music at Indiana University, a position she has held since 2013. An accomplished performer on fortepiano, harpsichord, basso continuo, and piano, she has performed internationally across Taiwan, Singapore, Malaysia, Germany, Italy, and the United States. Her educational background includes a Doctor of Music (D.M.) in Fortepiano and Harpsichord Performance and a Master of Music (M.M.) in Piano Performance, both from Indiana University. Kitano's research and artistic work focuses on historical performance practices, particularly improvisation in seventeenth- to nineteenth-century European and Asian music. She explores intercultural collaboration and identity through projects like "Cadenza," which integrates diverse musical traditions and has produced albums receiving Grammy and Golden Melody Awards nominations. Her notable awards and recognitions include: Grammy nomination for Best Recording Package Golden Melody Awards nominations for Best Global Traditional Music Album, Best Producer, Best Arrangement, and Best Crossover Album Best Asian Flute Recording by the World Flute Society Communicator Award for Distinction Winner of the Indianapolis Baroque Orchestra/Early Music Institute Concerto Competition Winner of the Early Music Institute Concerto Competition Awards from Taiwan’s Ministry of Culture for three children’s musicals Supported by Zuckermann Harpsichords International, Kitano leads the "Cadenza" initiative and the "Project Cadenzas," which promote cross-cultural musical projects between Taiwan and the U.S. and engage wider audiences through interdisciplinary collaborations at the intersection of art, music, and culture.

Corey JamasonView profile

Professor

• Historical Performance
• Baroque Music
• Harpsichord
• +2 more

Corey Jamason is a GRAMMY-nominated Professor of Harpsichord and Collegiate Chair of Historical Performance at the San Francisco Conservatory of Music (SFCM). He co-directs the Baroque Ensemble and teaches courses in Baroque/Jazz Improv, Continuo Playing, and Performance Practice. A leading figure in historical performance practice, Jamason is also the principal keyboardist and co-director of the American Bach Soloists Academy. Co-artistic director of Studio for the Early American Musical Former artistic director of the San Francisco Bach Choir (2007–2014) Active performer with ensembles like the San Francisco Symphony, Philharmonia Baroque Orchestra, and Cantata Collective His research focuses on historically informed performance, particularly in Baroque and Classical eras, with expertise in continuo playing, keyboard interpretation, and 19th-century musical theatre performance practice. He has contributed to academic publications such as The Cambridge History of Musical Performance and is working on an article for Oxford Handbooks Online . Jamason has mentored notable students, including prize-winning artists like Kyle Tingzon, Morgan Balfour, and Hilda Huang. He has performed at international festivals including Tage Alter Musik Regensburg and Echi lontani. His playing of Bach, praised for balancing “objective detachment and lofty passion” ( Los Angeles Times ), highlights his commitment to expressive yet authentic historical performance.

Mark EdwardsView profile

Professor

• Historical Performance
• Harpsichord
• Early Music
• +4 more

Mark Edwards is a Professor at the Oberlin Conservatory of Music specializing in Historical Performance and Harpsichord, where he has taught since 2016 offering private studio lessons and an extensive curriculum including Bach at the Clavier, Historical Improvisation, and Baroque Ensemble courses. His educational background includes: BMus, highest distinction, Eastman School of Music MM, McGill University and the Hochschule für Musik Freiburg PhD, Leiden University (2021) Professor Edwards is a renowned Canadian harpsichordist and organist whose research focuses on historical performance practices, particularly seventeenth-century French keyboard music, improvisation techniques, and continuo realization. He has performed at major international festivals including Utrecht Early Music Festival and Bozar in Brussels, and collaborated with prestigious ensembles such as Tafelmusik, Il Pomo d'Oro, and the Montreal Symphony Orchestra. His scholarly contributions include his 2021 PhD dissertation from Leiden University titled 'Moving Early Music: Improvisation and the Work-Concept in Seventeenth-Century French Keyboard Performance,' which advances understanding of historical performance authenticity. Professional honors include: First-prize winner at the 2012 Musica Antiqua Bruges International Harpsichord Competition ADISQ award nomination for 'Passaggi' (2013) As artistic director of Poiesis and collaborator with ensembles including Les Boréades de Montréal and Les Délices (Cleveland), Edwards maintains an active performance career alongside his teaching. His recordings, including the debut solo CD 'Orpheus Descending' (2017), have been broadcast internationally by American Public Media, CBC, Klara (Belgium), and Radio 4 (Netherlands). Mentoring the next generation of historical performance specialists, Edwards continues to influence both academic and professional early music communities through his pedagogical approach grounded in authentic performance practice.

Talya BergerView profile

Senior Lecturer

• Music Education
• Early Music Performance Practice
• Harpsichord
• +2 more

Talya Berger is a Senior Lecturer in the Department of Music at Stanford University, specializing in theory and early music performance practice. Her research focuses on harpsichord and continuo techniques. DMA : State University of New York at Stony Brook, Early Music Performance Practice (1995) M.A. : Stanford University, Music Education (1982) B. Mus : Jerusalem Rubin Academy of Music, Music (piano and education) (1977) Contact: talyab@stanford.edu | Office: Braun Music Center Room 219B

• Eighteenth and early nineteenth-century keyboard music
• European music publishing history
• Historical performance practice
• +3 more

Dr Nigel Yandell is an Affiliated Lecturer in the Faculty of Music at the University of Cambridge , serving as Director of Studies and Director of Music at Hughes Hall. He holds a doctorate from the University of Oxford, focusing on Russian keyboard music of the 18th and early 19th centuries. Education: Bachelor's degree in Music, University of York Postgraduate studies and PhD at Wadham College, Oxford Research Interests: His work spans historical performance practices, European music publishing, and the intersection of text and music. He specializes in keyboard improvisation and advanced pianistic techniques, including continuo playing and song accompaniment. Dr Yandell actively collaborates with young musicians and has contributed to ensembles like the London Sinfonietta and Palace Opera. Professional Roles: Currently involved with the Stradivari Trust and represents CUMS at the University Centre for Music Performance. His teaching emphasizes practical skills such as aural development, musicianship, and recital preparation.

Margaret PanofskyView profile

Adjunct Professor

• Early Music Performance
• Viola da Gamba Studies
• Historical Musicology
• +3 more

Margaret Panofsky is an Adjunct Professor at New York University, specializing in early music performance and viola da gamba. She directs the NYU Collegium Musicum and is a member of the Choir of Corpus Christi Church as a continuo and solo viol player. She co-founded the trio The Teares of the Muses and serves as publicist and program editor for Music Before 1800. Her seminal work Bass Viol Technique (1991) remains a global resource for early music practitioners. Panofsky has recorded on the Titanic and Desmar labels. Education: B.A., Stanford University (1972) M.A., New England Conservatory (1974) Research Interests: Focused on revitalizing historically informed performance practices, with expertise in viola da gamba technique and Baroque ensemble dynamics. Active in preserving and promoting pre-1800 music through pedagogy and performance. Advocacy & Outreach: Drives public engagement via institutional collaborations and recordings. Her pedagogical contributions emphasize accessibility to early music traditions. Labs/Teams: Leads NYU Collegium Musicum and participates in The Teares of the Muses , fostering interdisciplinary early music projects.

• Operations Research
• Mathematical Programming
• Fuzzy Optimization
• +8 more

Maria Teresa León Mendoza is an Associate Professor in the Department of Statistics and Operations Research at the Faculty of Mathematics, Universitat de València. She is affiliated with the IARM (Image Analysis, Modelling and Retrieval) research group, reflecting her interdisciplinary work in data analysis and image processing. Doctorate: Universitat de València, 1992 Thesis: Un algoritmo primal para el problema continuo de programación semi-infinita lineal Supervisor: Dr. Enriqueta Vercher González Her research focuses on Operations Research , Mathematical Programming , and Fuzzy Optimization , with significant contributions to semi-infinite programming, data envelopment analysis (DEA), and portfolio selection under uncertainty. She has also applied mathematical methods to diverse areas such as image retrieval and musical tuning systems, demonstrating a broad interdisciplinary reach. Her publication record since 1992 shows a consistent focus on optimization under uncertainty, fuzzy methods for decision-making, and numerical algorithms. She frequently collaborates with researchers like Vicente Liern and Enriqueta Vercher, and her work is published in top journals such as European Journal of Operational Research and Fuzzy Sets and Systems . There is no mention of scientific awards in the provided sources. Maria Teresa León Mendoza has supervised at least one PhD student (Dr. Enriqueta Vercher González, who later became her supervisor, suggesting a long-standing academic collaboration), and she has been involved in multiple research projects, though specific grant details are not listed. Her work bridges theoretical optimization and practical applications in economics, finance, and engineering. She is actively involved in the IARM research group, which specializes in image analysis and retrieval, indicating ongoing research in machine learning and pattern recognition applications.

• Ethnomusicology
• Early Music
• Baroque Music
• +3 more

Witosława Frankowska is a Professor of Art at the Stanisław Moniuszko Academy of Music in Gdańsk, where she has taught in the Faculty of Vocal and Acting since 1993. An accomplished ethnomusicologist and chamber musician, she specializes in Baroque performance practice and Kashubian regional music traditions, blending scholarly research with active performance as a basso continuo specialist across Europe and the United States. Education Graduated with distinction from the Faculty of Theory and Composition at the Academy of Music in Gdańsk Doctorate in humanities with distinction in ethnomusicology (Institute of Art, Polish Academy of Sciences, Warsaw, 2013) Postdoctoral degree in musical arts (Grażyna and Kiejstut Bacewicz Academy of Music in Łódź, 2018) Her research centers on ethnomusicological documentation of Kashubian-Pomeranian musical heritage and Baroque performance practice. She pioneered archival work on regional carols and manuscripts, authoring the seminal monograph Caroling in Kashubia (2015) while editing foundational songbooks and lexicons that preserve endangered folk traditions. Her dual expertise manifests in historically informed performances of early music and arrangements of regional repertoire. Scientific Awards Stolem Medal (2006) for cultural contributions Third Prize in National Master's Thesis Competition (1989) for research on Johann Jeremias du Grain manuscripts As an advisor, she prepares vocal students for Baroque repertoire, achieving notable success with four students reaching the semi-finals of William Christie's "Le Jardin des Voix" competition (2006), including laureate Michał Czerniawski. Her grant-funded initiatives include the "Kashubian, Kociewie and Powiśle Orchestra Library" series (2014–2016) and archival radio/television recordings that document regional music. She directs the concert series "Meetings with Kashubian Music" at Wejherowo's Museum of Kashubian-Pomeranian Literature and Music since 2002, while maintaining performance collaborations with ensembles including the Polish Chamber Philharmonic and Cappella Gedanensis.

Edward ZimmermanView profile

Professor

• Church Music
• Music Theory
• Counterpoint
• +4 more

Edward Zimmerman is Professor of Music and Conservatory Director of Academic Studies at Wheaton College Conservatory of Music. He teaches organ, harpsichord, counterpoint, and church music, preparing students for careers in organ performance and church music through a curriculum that includes improvisation, service playing, continuo playing, and conducting. He also emphasizes courses in Church Music, Hymnody, Bible and Theology, and Music Pedagogy. Education: D.M.A., University of Rochester, Eastman School of Music M.Mus., James Madison University M.A., University of Virginia B.A., Hampden-Sydney College Zimmerman's research interests span Church Music , Organ Performance and Literature , Music History , and Harpsichord Performance . He has contributed to the French Organ Music from the Revolution to Franck and Widor anthology, focusing on Félix-Alexandre Guilmant's liturgical works. As an organ consultant, he has designed organs globally, including in Seoul, Korea, and collaborated on the Casavant Opus 3796 organ in Edman Chapel, completed in 2001. His performance career includes international appearances in England, the Continent, and the Far East, as well as a two-volume CD release featuring Otto Dienel's works.

Benoît JacqueminView profile

Lecturer

• Classical and Contemporary Music Theater
• Early Music
• Jazz Education
• +3 more

Benoît Jacquemin is a Lecturer at the Royal Conservatory of Brussels, specializing in practical harmony. A versatile artist, he is an organist, harpsichordist, composer, and conductor with a rich background in music education and performance. Graduate of the Royal Conservatories of Brussels and Mons (organ, music history, composition, analysis, chamber music) Studied under renowned mentors J. Boyer, F. Friedrich, M. Bouvard, P. van Dijk, and JD Christie His research and artistic interests span classical and contemporary music theater, early music, jazz education, and rhythmic analysis. He has extensive experience in basso continuo and collaborative music performance. As a composer, he has created works including organ and piano pieces, chamber music (notably two string quartets), vocal cycles, and transcriptions. His teaching career includes roles at multiple academies, and he has lectured at Bozar Music and the Théâtre Royal de la Monnaie.

Ryoko KatayamaView profile

Professor

• Early Music
• Baroque Music
• Harpsichord Performance
• +5 more

Ryoko Katayama serves as Professor of Harpsichord at France's Conservatory of Aix-les-Bains and as faculty for the HarMa+ Erasmus project, a European network advancing collaborative music education. Her professional profile integrates academic instruction with active performance in baroque ensembles and the Rencontres Baroques de Montfrin festival. Her educational foundation includes: Diploma from Geneva's Conservatoire Supérieur de Musique (Centre de Musique Ancienne) under Alfonso Fedi Advanced basso continuo specialization with Leonardo Garcia Alarcon Professor Katayama's research spans Early Music and Baroque performance practices with deep expertise in Harpsichord and Basso Continuo. She extends her scholarly work into Classical/Contemporary Music Theatre, Jazz Education methodologies, and Rhythmic studies, demonstrating interdisciplinary engagement across historical and modern musical domains through both pedagogy and performance. No scientific awards were documented in source materials. As an educator, she mentors harpsichord students within the Conservatory's performance programs while connecting academic training to professional contexts through festival participation and ensemble collaborations. Her HarMa+ involvement creates international opportunities for curriculum development and student mobility across European conservatories.

Maria Banaszkiewicz-BryłaView profile

Professor

• Historical Performance Practices
• Harpsichord Music
• Baroque Music
• +3 more

Maria Banaszkiewicz-Bryła is a Professor at the Paderewski Academy of Music in Poznań , where she works at the Institute of Instrumental Studies . As a harpsichordist, she specializes in historical performance practices , focusing on 18th-century keyboard music and national elements in Baroque compositions . She teaches harpsichord, harpsichord for pianists, and research methodology. Academic Affiliation : Paderewski Academy of Music, Poznań (since 2000) Teaching Roles : Harpsichord, Basso Continuo, Research Methodology Her research spans Basque keyboard traditions, Scarlatti's Spanish dance influences, and collaboration with contemporary Polish composers. She has contributed to collective studies on Bach ornamentation and early music interpretation. Key article trends include historical revival , regional musical identity , and interdisciplinary performance analysis . Awards highlight her pedagogical excellence, international collaborations, and cultural promotion via the Gloria Artis medal. Major Collaborations : Poznań Philharmonic, Collegium Viridimontanum, Collegium F Notable Partners : S. Stuligrosz, S. Harth, Ch. Hogwood, D. Hope She led research projects on national elements in keyboard music and organized festivals like Q’arto Mondi , demonstrating a career bridging performance, scholarship, and cultural diplomacy.