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Hervé Lacombe is a Professor of Musicology at the University of Rennes 2, where he has held a faculty position since 2002. He serves as Director of the Music Department (2009-2011, 2022-2023) and previously as Head of the Master's degree in Music and Musicology (2016-2019, 2020-2022). Recognized for his scholarly contributions, he became a Senior Member of the University Institute of France (IUF) in 2023 and is a member of the Academia Europaea. His academic leadership extends to the History and Criticism of Arts Research Unit (UR 1279) and editorial roles including Head of the 'Studies' series for the French Musicology Society publications. Lacombe's research centers on French music from the 19th to 21st centuries, with particular focus on opera history, lyrical dramaturgy, and the globalization of opera. His work explores interdisciplinary connections between music and other arts, cultural contexts of musical production, and historiographical approaches to musicology. He is internationally recognized as a leading authority on composers Bizet and Poulenc, having authored definitive biographies on both. His most significant scholarly achievement is the three-volume 'Histoire de l'opéra français' (2020-2022), a comprehensive history involving nearly 200 international collaborators. This monumental work has received multiple prestigious awards including the René Dumesnil Prize (2020) and the France Musique Claude Samuel Grand Prix du Livre (2021). His earlier works 'Les Voies de l'opéra français au XIXe siècle' (1997) and 'Bizet' (2000) also garnered significant recognition from the Academy of Fine Arts and French Academy. Bernier Prize from the Academy of Fine Arts (1997) Eugène Carrière History Prize from the French Academy (1998) Bordin Prize from the Academy of Fine Arts (2001) Grand Prix des Muses (2014) France Musique Claude Samuel Grand Prix du Livre (2021) Lacombe has directed eight doctoral theses to completion and currently supervises two more. His international influence extends through keynote addresses at institutions worldwide including Keele University, the University of Montreal, and the Kyiv Music Academy. He regularly contributes to opera programs for major international opera houses and has participated in numerous radio broadcasts and documentaries on French musical heritage.

• Music in France (19th-20th c.)
• Encounters in the arts
• Poulenc studies
• +7 more

Matthew Shlomowitz is Professor of Composition at the University of Southampton, actively engaged in contemporary music creation and scholarly work. His position places him at the forefront of innovative compositional practices, with collaborations spanning international ensembles and performers including Rubiks Collective, Ensemble Nikel, and major orchestras worldwide. Shlomowitz's research explores contemporary composition with particular focus on notions of artistic voice, music theatre including performance-lectures, neoclassicism, polytonality, and instrumental music with recorded sound. His work investigates technical approaches within music composition, historical textures, and forms that have fallen out of circulation within contemporary music making, seeking new potentialities for these techniques. His publications reveal a consistent exploration of polytonality across multiple volumes, theatrical works spanning monodramas to collaborative pieces, and scholarly examinations of artistic identity in contemporary music. The works demonstrate his interdisciplinary approach that bridges composition, performance art, and musicology, with particular emphasis on the relationship between historical techniques and contemporary practice. Scientific Awards: Johann-Joseph-Fux-Opernkomposition prize by Land Steiermark (2015) Professor Shlomowitz currently supervises multiple PhD students in Music at the University of Southampton, including James Douglas Howell, Linhao Li, Max Syed-Tollan, and Timothy Cape. He has taught on prestigious short courses internationally including Darmstadt Summer Courses (Germany), Impuls Academy (Austria), Time of Music (Finland), Tzlil Meudcan Summer Course (Israel), and Ensemble Offspring Hatched Academy (Australia). Beyond his academic work, he co-directs the new music group Plus Minus Ensemble and hosts the Soundmaking podcast, creating platforms for contemporary musical discourse and performance.

• Contemporary composition
• Notions of artistic voice
• Music theatre
• +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

Professor Daniel Rettenwander is a Full Professor at the Department of Materials Science and Engineering, Norwegian University of Science and Technology (NTNU), leading the Battery Materials Team within FACET. He also directs the Christian Doppler Laboratory for Solid-state Batteries and serves as Principle Scientist at the Center for Transport Technologies (Battery Technologies) at AIT Austrian Institute of Technology. His research focuses on advanced solid-state battery materials, particularly solid-state electrolytes and cathode materials for next-generation electric vehicle batteries. Key research interests include the development of high-performance solid electrolytes, interface engineering in batteries, and overcoming challenges in solid-state battery design such as dendrite formation and interfacial degradation. His work bridges fundamental materials science with applied electrochemical engineering, addressing critical barriers to commercializing solid-state batteries. Notable achievements include over 75 peer-reviewed publications, numerous awards including the Emerging Investigator awards (Chem. Comm., Journal of Physics: Energy), and leadership in major EU and national grants. His team’s work has been highlighted in media outlets like Gemini and Krone.at, emphasizing breakthroughs in battery materials science. Funding includes projects like OPERA (HORIZON-CL5-2022), SOLIMEC (M-ERA.NET), and CDG-supported initiatives. He supervises a dynamic team of PhD candidates and postdocs, advancing interdisciplinary research at the intersection of materials chemistry and energy storage technologies.

• Materials Science
• Electrochemistry
• Energy Storage
• +3 more

Riccardo Schulz is a Teaching Professor in the School of Music at Carnegie Mellon University, specializing in Sound Recording. He directs recording activities and oversees operations, including managing the Edgar Stanton Audio Recording Institute's summer program at the Aspen Music Festival. His work spans classical, jazz, rock, and hip-hop genres, with over 100 CD productions. He collaborates extensively with orchestras, soloists, and innovative artists. He holds a Master's in Mathematics from Duquesne University and a Master's in Musicology from the University of Pittsburgh. His expertise includes live performance recording for radio broadcasts with the Pittsburgh Symphony Orchestra and Opera, and he co-developed the School of Music's Webcast project and Destination website for live internet broadcasts. Notable collaborations: Cuarteto Latinoamericano, Pittsburgh Symphony Orchestra, Mendelssohn Choir, and hip-hop artists like Freestyle and Unknown Prose Recipient of Latin GRAMMY Award for Inca Dances recording (2009) Creator of Arts Greenhouse hip-hop workshops for teenagers His research emphasizes technical mastery across genres, with a focus on preserving classical music traditions while innovating in contemporary recording practices. Riccardo also serves as a music critic and program annotator, contributing to WQED-FM's cultural programming.

• Classical Music Recording
• Audio Engineering
• Multigenre Sound Production
• +3 more

Bryan Bowser serves as Associate Dean for Theatre Arts & Entrepreneurship, Program Director and Associate Professor of Arts Management & Entrepreneurship, and Chair of Interdisciplinary Studies at Baldwin Wallace University's Conservatory of Performing Arts. He holds dual degrees from the institution: an MBA in Entrepreneurship and a Bachelor of Music Education (B.M.E.). His educational background includes: MBA in Entrepreneurship from Baldwin Wallace University B.M.E. (Bachelor of Music Education) from Baldwin Wallace University Bowser's professional focus centers on arts management, entrepreneurship in creative sectors, and inclusive arts education. As a passionate advocate for community engagement, he has presented research at major conferences including the Association of Arts Administration Educators, College Music Society, Deshpande Symposium for Innovation and Entrepreneurship, and National Guild for Community Arts Education. His work bridges academic theory with practical non-profit leadership. His administrative leadership encompasses advising students in the Arts Management program and managing comprehensive Conservatory operations. Previously as associate director of external affairs, he directed community arts initiatives, summer programs, and opera productions while overseeing fundraising, marketing, and alumni relations. This operational expertise was honed during three seasons as director of operations and development at Lyric Opera Cleveland prior to his return to Baldwin Wallace. Community impact defines Bowser's career through board leadership roles including president of the LGBT Community Center of Greater Cleveland, chair of the National Guild for Community Arts Education’s Central Great Lakes Region, and board member of The Brecksville Theatre.

• Arts Management
• Entrepreneurship
• Theatre Arts
• +3 more

Professor Michael Burden is a Fellow in Music at New College, University of Oxford, and Professor of Opera Studies. His research focuses on the history of the London stage (1660–1860), emphasizing opera staging techniques, dance performance, and Henry Purcell’s music. A former Duff Cooper Literary Prize judge, he has directed Oxford’s New Chamber Opera and co-founded the Oxford Dance Symposium. Education: BA/MA from University of Adelaide; PhD from University of Edinburgh. Leadership: Past President of the British Society for 18th-century Studies, Visitor of the Ashmolean Museum, and RISM Trustee. His publications include studies on Shakespearean adaptation in opera, dance iconography, and libretto interventions. He co-edits the complete Stradella and John Eccles editions and leads the ongoing London Stage Project 1800–1900 , aiming to document 19th-century theatre calendars. Collaborative work includes the Oxford-Princeton grant on historical performance practices in London and New York. Scientific awards include his role as a Duff Cooper Prize judge, though no personal honors are listed. His teaching spans music history from Medieval to 21st-century, with specializations in opera historiography and analysis.

• Opera Studies
• Music History
• Dance Performance
• +3 more

Prof. Katharina Thoma is a renowned opera director currently serving as Head of the Opera School at the University of Music Würzburg . She also holds the positions of Deputy Chair of the Music Academy and Dean of Studies . With a career spanning major European opera houses including the Royal Opera House Covent Garden and Glyndebourne Festival, she specializes in blending historical accuracy with modern theatrical innovation. Studied piano at Lübeck University of Music Resident director at Dortmund Opera (2011-2014) Visiting professor at Graz University of Music (2018) Freelance director since 2008 Katharina Thoma's research and practice focus on opera stage direction , scenic training for singers , and historical opera interpretation . Her work spans from Baroque masterpieces to contemporary political operas, emphasizing: Contextual authenticity in period-specific productions Modern reinterpretation of classical works Interdisciplinary approaches to staging Integration of visual and musical elements Training of next-generation opera performers Exploration of war-related themes in opera Notable productions include: 2024: Johann Strauss' The Bat (University of Music Würzburg) 2023: De Falla's El retablo de Maese Pedro 2022: Britten's The Rape of Lucretia 2019: Schönberg's Pierrot lunaire 2007: European Opera Directing Competition Finalist Her artistic contributions have been recognized with: Second Prize at the European Opera Directing Competition 'Camerata Nuova' (2007) Katharina Thoma actively mentors young singers and develops innovative opera productions at the University of Music Würzburg's Opera School. Her recent work includes: Wagner operas debut (2019/20 season) Collaboration with composers like Richard Jones and Christof Loy Participation in renowned festivals (Munich Biennale, Glyndebourne) The Opera School under her leadership focuses on comprehensive training combining: Historical performance practices Contemporary staging techniques Technical vocal training Interdisciplinary collaboration

• Opera Directing
• Classical Music
• Scenic Arts
• +3 more

Susan McClary is the Fynette H. Kulas Professor of Music at Case Western Reserve University’s Department of Music (College of Arts and Sciences). A globally influential scholar, she has held professorships at the University of Minnesota, McGill University, UCLA, and the University of Oslo. Her work redefines music analysis by addressing its cultural, social, and gendered dimensions, challenging traditional aesthetic frameworks. Education : PhD in Music (Harvard University, 1976). Earlier degrees include a B.Mus. from Southern Illinois University (SIU). Research Focus : McClary’s interdisciplinary research spans the European classical canon and contemporary popular music. Key themes include gender in music, musical form’s socio-political content, and the intersection of music with identity, particularly in Renaissance and Baroque eras. Her approach emphasizes music as a dynamic social practice rather than an abstract art form. Publications & Impact : She authored landmark books such as Feminine Endings (1991) and Conventional Wisdom (2000), translated into 20+ languages. Her writings bridge musicology with feminist theory, cultural studies, and critical social analysis. Awards : 1995 MacArthur “Genius” Fellowship Advising : Oversaw over 50 doctoral dissertations Courses Taught : Music History, Music Theory, Early-Music Performance Practices Her work remains foundational in redefining music’s role in sociocultural contexts.

• Musicology
• Cultural Analysis of Music
• Gender Studies in Music
• +3 more

Daniel Nesta Curtis is an Associate Teaching Professor and Interim Director of Orchestral Studies at Carnegie Mellon University's School of Music. He serves as Music Director of the CMU Contemporary Ensemble and leads initiatives like the Pittsburgh Composers Project. His roles include conducting the CMU Philharmonic, Baroque Ensemble, and orchestras in interdisciplinary productions. Education: BA in Music from Amherst College (2008) MM in Conducting from Carnegie Mellon University (2012) Research & Interests: Curtis specializes in adventurous programming of contemporary and underrepresented composers, blending orchestral music with theater, multimedia, and community engagement. He advocates for diversity in composition through projects like Nat 28 and Co-Opera, a collaborative initiative with CMU's drama department and Pittsburgh Opera. Advising & Grants: While no formal advisees are listed, Curtis mentors students through ensemble leadership and collaborative productions. His work includes premiering over 50 student/faculty compositions with the CMU Contemporary Ensemble. Labs/Teams: Directs ensembles such as Brass Roots, CMU Pre-College Orchestra, and the Contemporary Creative Practice group. Key collaborations include Quantum Theater, Chatham Baroque, and the New Hazlett Theater.

• Contemporary Music Conducting
• Opera Production
• New Music Composition
• +3 more

Christopher Arneson serves as Professor and Director of Voice Pedagogy at Westminster Choir College of Rider University, teaching Voice Pedagogy, Literature, and Speech for the Actor. He holds concurrent faculty appointments at Princeton University (since 2016) and Rutgers University's Mason Gross School of the Arts. His primary academic affiliation is with Rider's Department of Performance Studies. His educational credentials include: Bachelor of Music in Opera from Binghamton University Master of Music in Opera from Binghamton University Post-graduate studies at Cornell University Doctor of Music from Mason Gross School of the Arts at Rutgers University Dr. Arneson's research centers on voice pedagogy, vocology, and scientific approaches to vocal instruction. His work integrates performance practice with clinical voice science, emphasizing developmental strategies for singers across genres. Key focus areas include vocal health maintenance, repertoire selection methodology, and genre-specific techniques for classical and music theater performance. He actively bridges academic research with practical studio application through publications and professional development programs. His publication trajectory from 2013-2024 reveals a systematic evolution from foundational singing principles to specialized genre applications. Early works established pedagogical frameworks for vocal development, while recent publications address nuanced challenges in music theater voice production. The 2024 Oxford Handbook contribution represents culmination of his evidence-based approach to voice teaching across diverse vocal styles and student populations. Professional recognition includes: Designation as Master Teacher for the NATS Teaching Intern Program 2021 Faculty Research Fellowship for music theater voice pedagogy scholarship Dr. Arneson has cultivated a distinguished mentoring legacy with students advancing to top-tier graduate programs (Cincinnati, Eastman, Yale) and young artist programs (Santa Fe Opera, Metropolitan Opera). His administrative leadership encompasses chairing the 2014 NATS National Conference, serving on the Fulbright U.S. Student Program Screening Committee for Voice, and editorial board service for the NATS Journal of Singing. He has secured research funding including the 2021 faculty fellowship supporting his music theater voice pedagogy book. He co-directed the CoOPERAtive Program (Westminster's young artist initiative) and the Actors Studio MFA Voice and Speech department. His clinical collaborations include vocology internships at Mt. Sinai's Grabscheid Voice Center and St. Luke's-Roosevelt's Vox Humana Laboratory, where he partners with medical professionals on voice disorder remediation and vocal health protocols.

• Voice Pedagogy
• Vocology
• Singing
• +3 more

Mary Martin serves as an Assistant Professor of Music at the School of Music, DePauw University. An accomplished soprano, she actively performs with leading opera companies including South Bend Lyric Opera and Indiana University Opera Theatre, with recent role debuts in Jake Heggie's Three Decembers and Verdi's Falstaff. Martin earned her Bachelor of Music and Master of Music degrees in Vocal Performance from the University of Michigan, where she performed the Star-Spangled Banner for President Obama. She is currently completing her Doctorate in Vocal Performance at Indiana University under Carol Vaness. Her artistic expertise spans Vocal Performance, Opera, Art Song, and Musical Theater. She emphasizes healthy vocal technique, compelling storytelling, and career preparation while guiding students through versatile repertoire from art song to musical theater. Her pedagogical approach integrates audition training with professional development for performance careers. Martin received the Sarah Joan Tuccelli-Gilbert Memorial Fellowship during her doctoral studies at Indiana University. Previously serving as Associate Instructor of Voice at Indiana University, she now directs Michigan Opera Theatre’s Operetta Remix program. Her students have secured placements in competitive performance programs at the University of Michigan, Pepperdine University, New York University, and Ithaca College.

• Vocal Performance
• Opera
• Art Song
• +3 more

Daisy Asquith is Professor and Head of the School of Media, Communications & Cultural Studies at Goldsmiths, University of London. She is a documentary filmmaker with 25 director credits for BBC, Channel 4, Irish Film Board and the BFI over the last two decades. She convenes the MA Filmmaking: Screen Documentary and Experimental Film programs and teaches the theory module Representing Reality. PhD Creative and Critical Practice, University of Sussex (2018) MA Cultural History, Memory & Identity, University of Brighton (2013) As a scholar-practitioner, Daisy's work bridges documentary filmmaking theory and practice. Her research focuses on documentary storytelling, with particular reference to new forms and hybrids, autobiographical film, gender, sexuality and class in film and television, representation, archive film, found footage, and home video. Her creative work often explores LGBTQ+ themes and historical representation, as evidenced in her acclaimed documentary Queerama which examines a century of gay rights and desires on film. Her publications and creative works demonstrate a consistent engagement with marginalized voices and alternative narratives, spanning from queer history to single motherhood (Opera Mums with Bryony Kimmings) and fandom culture (This is Not Us). Her work frequently combines archival research with contemporary storytelling techniques. Grierson Award winner RTS Best Documentary Series winner BAFTA nominee Has served on juries for Bafta, RTS, Grierson, Sheffield Docfest and the London Film Festival Daisy has extensive experience mentoring students, with her MA students winning awards for their graduation films and securing work with leading practitioners in the industry. She has also created educational resources like the Gold Docs Masterclasses featuring interviews with leading UK documentary practitioners. Her international work includes filming in Zimbabwe, Kyrgyzstan, India, Russia, Pakistan, Japan, Iceland, on a cruise ship, and across the USA.

• Documentary Film
• Media Studies
• Cultural Studies
• +3 more

Matthew J. George is the John Ireland Distinguished Professor of Music and Director of Bands and Orchestras at the University of St. Thomas in St. Paul, Minnesota. He also held the Chair of the Department of Music for twenty years and serves as Chair and conductor for the Music Education Center at Xi’an Jiaotong University in China. His roles include Artistic Director and Conductor of Grand Symphonic Winds and primary conductor of the Lake Wobegon Brass Band. Dr. George earned a D.M.A. in conducting from the University of North Texas, an M.M. in music education from Southern Methodist University, and a B.M. in music education and trumpet performance from Ithaca College. He has conducted professional and educational ensembles globally, including the Royal Liverpool Philharmonic, São Paulo State Symphonic Band, and Band of the People’s Liberation Army (China). He founded the Banda Sinfônica in Mexico City and serves as Artistic Director for international festivals in venues like the Sydney Opera House. Active in academic leadership, he chairs the New Music Committee for the College Band Directors National Association (CBDNA) and sits on the executive board of the World Association of Symphonic Bands and Ensembles. His research focuses on conducting pedagogy, wind literature performance, and commissioning new works, with over 100 commissioned pieces by composers like Nigel Clarke and Frank Ticheli. He leads the UST Symphonic Wind Ensemble, which has released seven CDs on innova/Naxos. Recent courses include Advanced Instrumental Conducting (Summer 2025) and directs the University Orchestra and Symphonic Wind Ensemble (Fall 2025). He has been honored with the University of St. Thomas Professor of the Year Award.

• Conducting
• Wind Literature
• Orchestral Performance
• +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