Find Academic Supervisors

David J. SmithView profile

Professor

• Early Modern Music
• Keyboard Music
• Scholarly Editing
• +3 more

David J. Smith is a Professor and Head of Music in the Department of Humanities at Northumbria University, leading the development of its new Music degree program. Previously, he held the position of Head of Music and Master of Chapel and Ceremonial Music at the University of Aberdeen. His research focuses on early modern English instrumental music, particularly keyboard works of the late 16th and early 17th centuries, with expertise in scholarly editing and historical performance practice. Key topics include the cultural context of keyboard music, religious and political influences on composers like Peter Philips and Richard Dering, and the role of networks in musical transmission. David studied at the University of Oxford as an organ scholar and later pursued graduate studies there. His academic contributions include AHRC-funded research on digital editions of early keyboard music and collaborative projects like Networks of Music and Culture in the Late Sixteenth and Early Seventeenth Centuries. He currently supervises PhD students exploring topics such as Tudor organ design, Arts Council policy, and music theory. A performer himself, he co-founded the baroque ensemble AB24 and has recorded works by Philips and Dering. His publications span musicological analyses, editorial methodologies, and performance studies, with recent works including *Editing English Consort Music* (2024) and studies on Byrd's ornamentation (2023). He actively participates in international conferences and editorial boards, contributing to the Taylor & Francis and Scottish Music Review. David’s work bridges academic research, performance, and editorial practice, reshaping understanding of early English music’s cultural and social dimensions.

• Keyboard Instruments
• Conducting
• Composition
• +8 more

Univ.-Prof. Dr. Bartolo Musil is a Professor at the Music and Arts University of the City of Vienna (MUK), affiliated with the Faculty of Music. He has been active since September 2024 and is involved in academic leadership roles. His professional engagement spans multiple disciplines within music and performing arts. His teaching and research interests include Keyboard Instruments, Conducting, Composition, Jazz (including Jazz-Piano, Jazz-Bass, Jazz-Trumpet, Jazz-Trombone, Jazz-Saxophone, Jazz-Drums, Jazz-Guitar, Jazz-Singing, and Jazz-Composition & Arrangement), Early Music (Harpsichord, Fortepiano, Historical Violin, etc.), Voice and Opera (Solo Singing, Song and Oratorio, Opera, Classical Operetta), Musical Theatre, Drama, Contemporary Dance, and Pedagogical Study Programmes such as Music Education and the Master of Arts Education (MAE). He contributes to the Doctoral Programme at MUK, focusing on artistic-scholarly research and supervision of PhD projects. Bartolo is also involved in international academic relations, including Erasmus+ programmes and other exchange initiatives.

• Piano
• Conducting
• Composition
• +4 more

Helga Arias, MA, is a Lecturer at the Music and Arts University of the City of Vienna, affiliated with the Faculty of Music since September 2024. Her roles span diverse disciplines, including Piano Accompaniment, Jazz-Piano, Jazz-Bass, and Early Music instruments such as Harpsichord and Historical Violin. She contributes to academic diploma programs like Classical Operetta and the Certificate of Ensemble Playing. Her teaching areas include Jazz, Early Music, and various keyboard and wind instruments. She is involved in the university's international programs, including Erasmus+ exchanges and collaborative initiatives with partner institutions. While no specific doctoral supervision or grants are detailed, her expertise aligns with the university's focus on artistic-scholarly research and performance excellence. Helga Arias actively participates in the university’s pedagogical study programs, such as Music Education and the Master of Arts Education (MAE). Her work emphasizes interdisciplinary approaches to music performance, historic instrument techniques, and contemporary jazz practices.

Wolfgang KogertView profile

Professor

• Organ Performance
• Historical Music Interpretation
• Contemporary Music Composition
• +3 more

Wolfgang Kogert is a Professor of Organ at the Mozarteum University Salzburg since 2015 and holds a concurrent professorship at the Freiburg University of Music since 2020. He serves as organist for the Vienna Hofburgkapelle and has performed globally with orchestras like the Vienna Radio Symphony Orchestra and Sydney Symphony Orchestra. Education includes studies in Vienna, Stuttgart, and Detmold. Notable accolades include winning the 2006 International Wedstrijd Musica Antiqua and a 2013 residency at Paris' Cité Internationale des Arts. His research focuses on bridging early music traditions (medieval to baroque) with contemporary compositions, particularly in electroacoustic and algorithmic domains. Recent work emphasizes premiering new organ works by Cerha, Lang, and Essl, often integrating electronics and spatial soundscapes. Collaborations with composers like Mitterer and Pagh-Paan highlight experimental techniques. Recordings span Hindemith's Sancta Susanna to algorithmic works like ORGANO/LOGICS. Publications include critical editions of Josef Matthias Hauer's organ music and essays on Friedrich Cerha's compositions. He frequently discusses organ pedagogy and 21st-century repertoire expansion in journals like Das Orgelforum.

• Musicology
• French Symphony
• 19th Century Music
• +5 more

Muriel BOULAN is an Associate Professor of Musicology at Sorbonne University and a researcher at the Institute for Research in Musicology (UMR 8223). She holds a Doctorate in Music and Musicology from Paris-Sorbonne University (2011) with her thesis focusing on The French Symphony between 1830 and 1870 . She has been co-editor-in-chief of the music analysis and theory journal Musurgia since 2017 and created the French Symphony Repertoire Database. Her research interests center on French symphonic music of the 19th century, with particular focus on composers such as George Onslow, Félicien David, Louise Farrenc, and Anton Reicha. She has conducted extensive research on symphonic form, cyclic structures, and the historical development of French symphonic traditions. Her work also encompasses Rameau studies, music theory of the 19th century, and women composers in French musical history. Her scholarly output demonstrates consistent focus on French symphonic traditions from the early Romantic period through the late 19th century, with increasing attention to issues of gender in music history (particularly regarding Louise Farrenc) and theoretical approaches to musical form. Her work bridges historical musicology with analytical approaches, often connecting compositional practice with theoretical writings of the period. BOULAN has been actively involved in research valorization through public lectures and concert program notes for institutions including the Musée d'Orsay and the Paris Orchestra. She has delivered numerous "Clefs d'écoute" (listening keys) presentations at venues including the Auditorium de Lyon and Philharmonie de Paris, making scholarly research accessible to general audiences. She is affiliated with multiple research teams at IReMus, including those focused on editing and valorizing musical heritage, writing about music and musicology, analyzing music through theoretical frameworks, and studying historical, cultural, and social contexts of music. Her work particularly emphasizes gender studies within music history and institutional frameworks of musical production.

• Historically informed interpretation
• Historical keyboards
• Music aesthetics
• +7 more

Jeanne ROUDET is a Lecturer (Maître de conférences) at Paris-Sorbonne University's Faculty of Music and Musicology, specializing in historically informed interpretation of keyboard music from 1750-1900. She has held significant administrative positions including Deputy Director of the Faculty (2009-2012), head of keyboard practice in the Bachelor's degree program (2009), and Head of the Master's in Early Music Performance: Research and Practice - Classical-Romantic Period (since 2014). Her academic career at Paris-Sorbonne University began as a Lecturer in 2000 and became permanent in 2006. Dr. Roudet's research focuses on historical keyboard performance practice, aesthetics of piano music, and the relationship between vocal and instrumental practices in the 18th and 19th centuries. She has particular expertise in Jean-Jacques Rousseau's music theory, Chopin's performance aesthetics, and historical piano methods. Her work bridges musicology and practical performance through extensive collaboration with performers and instrument makers, especially through the Royaumont Foundation. Her recent publications demonstrate a consistent focus on vocal-instrumental relationships in Romantic piano playing, historical keyboard techniques, and the theoretical underpinnings of 18th-19th century performance practice. The articles reveal a scholarly trajectory examining how vocal models influenced keyboard technique, the evolution of expressive practices, and the historical context of keyboard methods, particularly French traditions. As an active researcher, she has organized numerous international conferences including the 2016 international conference 'Romantic Eloquence on the Piano' at Royaumont Foundation. She has directed research workshops on historical keyboard interpretation since 2012, focusing on the 'vocality at the piano (1750-1900)' research program. Her collaborations span institutions including Schola Cantorum Basiliensis, CNSMDP, Mozarteum Salzburg, and the Orpheus Institute in Ghent. Dr. Roudet leads the MIMA Fortepiano Master's program at Paris-Sorbonne University, supervising students in historical performance practice. She has been instrumental in creating professional training programs at Royaumont Foundation, working with renowned period-instrument performers. Her edition work includes important historical keyboard methods and musical scores, preserving and making accessible crucial resources for historically informed performance.

Dorota ZimnaView profile

Professor

• Early Music
• Harpsichord Performance
• Musicology
• +2 more

Dorota Zimna is a university professor and lecturer in the Department of Harpsichord, Organ, and Early Music at the Feliks Nowowiejski Academy of Music in Bydgoszcz since 2005. She holds a PhD in Musical Arts in Instrumental Studies (2015) and is an active performer and researcher in early music. Her educational background includes: Graduate of the Feliks Nowowiejski Academy of Music in Bydgoszcz, harpsichord with Professor Urszula Bartkiewicz (diploma with distinction) Postgraduate Instrumental Studies at the same university PhD in Musical Arts in Instrumental Studies (2015) Professor Zimna's research focuses on Early Music, particularly Baroque repertoire, with an emphasis on harpsichord performance and the reconstruction of historical works. Her work includes the study of François Couperin's instrumental compositions and the preservation of Polish church music heritage. She has participated in numerous master classes and courses for early music ensembles. Her scholarly and creative output centers on Baroque music interpretation and historical reconstruction, demonstrated through publications on Couperin's casting techniques and recordings of Polish Baroque composers. These works bridge academic research with practical performance, highlighting her dual expertise as a musicologist and performer. She has received several prestigious awards, including: Third Prize in the 5th International François Couperin Competition (2015) First Prize at the 12th International Bach Festival in Świdnica (2011) Second Prize and Audience Prize at the 11th International Biagio Marini Competition (2010) Professor Zimna actively mentors through ensemble collaborations and educational initiatives. She has coordinated research projects like "Forgotten Heritage" for digitizing Polish church archives and contributed to publications such as "Polish Keyboard Music" from the Józef Elsner Publishing House. Her leadership extends to directing the Summer Methodical Courses in Early Music in Warsaw and the Early Music Days in Bydgoszcz. She maintains strong affiliations with performance ensembles including Intemperta, Laboratoire de la Musique, and Capella Bydgostiensis, and has served as president of the Academy of Early Music association since 2018, driving institutional support for historical performance practices.

• Ancient Music
• Music Archaeology
• Classical Philology
• +4 more

Stefan Hagel serves as Privatdozent and Deputy Head of the Department of Ancient Sciences at the Austrian Academy of Sciences (ÖAW), where he leads the Research Group Ancient Music. His academic appointment is formally affiliated with the University of Vienna, reflecting his dual institutional presence in Austria's scholarly ecosystem. Institution: Austrian Academy of Sciences / University of Vienna Position: Privatdozent, Deputy Department Head, Group Leader Research Focus: Ancient Music Archaeology and Digital Humanities Hagel's research bridges classical philology, archaeology, and computational methods to reconstruct ancient musical practices. His work centers on Greek and Roman music theory, instrument reconstruction (particularly lyres and auloi), and the application of digital tools to analyze ancient musical systems. His methodology combines physical reconstructions with textual analysis and software development, creating interdisciplinary pathways for understanding antiquity's sonic dimensions. Hagel frequently demonstrates his findings through international lecture-concerts, making ancient music tangible for academic and public audiences alike. His recent publications reveal a trajectory toward increasingly sophisticated technological integration, examining water organs, solmisation systems, and cross-cultural musical exchanges across the Mediterranean and Near East. Hagel's scholarship demonstrates how computational approaches can resolve longstanding questions about instrument mechanics, tuning systems, and performance practices that traditional philological methods alone cannot address. Major Projects: 'Ancient Music Beyond Hellenisation', 'DiAGRAM' (Digitising Aspects of Graphical Representation in Ancient Music) Software Development: Classical Text Editor (critical editions platform), MultiKey (keyboard utility) As an active participant in the European Music Archaeology Project, Hagel collaborates internationally to reconstruct ancient soundscapes. His work with physical instrument reconstructions provides empirical data for theoretical models, while his digital humanities initiatives create infrastructure for future research. Though not explicitly mentioned in the materials, his leadership position suggests involvement in mentoring junior researchers and securing research funding for his specialized field.

Robert ParkinsView profile

Professor

• Music Theory
• Organ Performance
• Harpsichord
• +3 more

Robert Parkins is a Professor of the Practice in the Department of Music at Duke University, affiliated with Trinity College of Arts & Sciences. He serves as University Organist and has held roles since 1975, including faculty positions at Ithaca College (1982–1985). A Yale University D.M.A. graduate (1980), his expertise spans Baroque and Spanish keyboard music, organ performance, and historical performance practices. He has performed internationally and authored influential works on Iberian and German organ traditions. His teaching focuses on organ, harpsichord, and music theory. Parkins has been honored for his contributions to musicology and performance, with a legacy of over four decades at Duke. Education: Yale University School of Music, D.M.A. in Music (1980) University of Cincinnati College-Conservatory of Music Research Interests: Specializing in early Spanish and German organ music, historical performance practices, keyboard fingering techniques, and the cultural context of Baroque music. His work bridges musicology and performance, emphasizing authenticity in interpretation. Recent Performances: Organ Recitals in Charlotte, Cleveland, and Duke Chapel (2017–2025) Harpsichord Recital at the University of South Dakota (2014) Teaching & Service: Teaches advanced organ and harpsichord courses, and has served as a judge for the William C. Hall Pipe Organ Competition. He co-coordinates workshops on Spanish keyboard music and lectures internationally.

Matthew BengtsonView profile

Associate Professor

• Piano Performance
• Historical Performance Practice
• Music Composition
• +3 more

Matthew Bengtson is an Associate Professor of Piano Literature at the University of Michigan School of Music, Theatre, and Dance, specializing in historical performance practice, piano repertoire, and music education. He holds a unique blend of expertise as a performer, scholar, and educator, with a focus on composers like Scriabin, Szymanowski, and Roberto Sierra. His academic journey includes degrees from Harvard University (Computer Science), and Peabody Conservatory (MM and DMA in Piano Performance). Key affiliations: CREES, Weiser Center for Europe and Eurasia, and Steinway Artist. Education: Harvard, Peabody, Cornell University (fortepiano fellowship). Research: Award-winning studies on Szymanowski mazurkas and Scriabin interpretation. His performances span international venues, including Carnegie Hall and festivals in Europe. He teaches fortepiano and leads the University of Michigan Early Keyboard Institute (UMEKI). Bengtson authored a Coursera MOOC on piano literature and co-wrote The Alexander Scriabin Companion .

JungHae KimView profile

Professor

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

JungHae Kim is a Professor of Music Theory and Musicianship at the San Francisco Conservatory of Music, renowned for her harpsichord virtuosity and advocacy of historical performance practices. As director of MusicSources (Center for Historically Informed Performance) and founder of Ensemble Mirable, she actively promotes early music through performances and recordings. Education: Diplomas in harpsichord performance from Peabody Institute, Oberlin Conservatory, and Sweelinck Conservatorium, culminating in studies with Gustav Leonhardt in Amsterdam. Her research and performance focus revolves around Baroque music, French harpsichord repertoire, and historical keyboard techniques. Notable performances include collaborations with Sigiswald Kuijken (2016) and Bart Kuijken (2023), as well as appearances with the San Francisco Symphony. Recordings include D’Anglebert's harpsichord works (2010), Bach suites (2017), and Triemer's cello sonatas (2004). Ensemble Mirable, which she co-founded, has received recognition from Early Music America for its innovative programming.

Daniel Trocmé-LatterView profile

Lecturer

• Early Music
• Reformation History
• Liturgy and Sacred Music
• +3 more

Dr Daniel Trocmé-Latter holds multiple roles at the University of Cambridge and its colleges, including Affiliated Lecturer in Music at the Faculty of Music , Director of Studies in Music , Director of Music , and Praelector at Homerton College. He is also a College Lecturer in Music at Magdalene College and a Fellow at Homerton. His research focuses on music’s role in liturgy and ceremony during the 16th and 17th centuries, with a particular emphasis on Protestant reformers in Strasbourg and the interplay between sacred music and religious identity during the Reformation. He has recently published The Strasbourg Cantiones of 1539: Protestant City, Catholic Music (2023) and The Singing of the Strasbourg Protestants, 1523–1541 (2015). His film music research includes analyses of pre-existing early music in cinema, such as the 'Dies irae' motif in The Lion King (2022) and chant in Kubrick’s Eyes Wide Shut . Education: Daniel studied at Selwyn College, Magdalene College (both in Cambridge), and the University of Southampton, earning a PhD, MA, and MMus (Soton). His roles include supervising undergraduate modules in Music and History Triposes, overseeing Homerton’s extracurricular music activities, and directing the Charter Choir, which has produced commercial recordings since 2014. He composed pieces featured in these recordings and served as Recording and Digital Media Reviews Editor for Early Music from 2016 to 2021. Research Interests: His work bridges musicology and history, examining how music shaped religious and social transformations during the Reformation. He explores cross-confessional musical exchanges, liturgical practices, and the use of early music in contemporary media. Key themes include the theological significance of psalm-singing, reformers’ musical policies, and the cultural resonance of sacred music in film. Advising & Grants: While no specific grants are noted, his teaching and supervisory roles reflect extensive academic engagement. He advises students on topics ranging from practical musicianship to music history without listed grant support. His work demonstrates commitment to both scholarly research and pedagogical innovation. Labs/Teams: Daniel leads Homerton College’s music program through his directorship, managing the Charter Choir and fostering musical performance opportunities. His academic collaborations include editorial work for Early Music and interdisciplinary research on liturgical practices and film scoring techniques.

William CaplinView profile

Professor

• Music Theory
• Classical Form
• Musical Rhythm
• +4 more

William Caplin is the James McGill Professor of Music Theory at McGill University's Schulich School of Music. He has been at McGill since 1978 and holds the prestigious title of James McGill Professor since 2005. His research focuses on musical form, particularly in classical-era instrumental music, with significant contributions to theories of formal functions in Haydn, Mozart, and Beethoven. He has authored landmark works like Classical Form and Analysing Classical Form , which have reshaped music theory pedagogy globally. Caplin's academic work spans form-functional analysis, cadence studies, and the history of music theory. He has held visiting professorships at the University of Rome and the University of Oregon, and served as President of the Society for Music Theory. His awards include the Royal Society of Canada Fellowship and the Killam Research Fellowship. He teaches courses in tonal theory, analysis, and history of music theory, and actively contributes to editorial boards of journals like Eighteenth-Century Music and Indiana Theory Review . His research explores cadence theory, formal structure evolution, and interdisciplinary approaches to music analysis. Recent projects include studies on 'fantastical forms' in classical improvisation and cadential closure in early Romantic music. Caplin’s work bridges historical analysis with contemporary pedagogy, emphasizing practical applications for classroom teaching. Key areas of expertise include: Sonata Form, Cadence Analysis, 18th-century music theory, form-functional classification, and thematic structure analysis. His teaching and research have been supported by SSHRC and Canada Council grants.

Joyce ChenView profile

Assistant Professor

• Acoustics
• Musical Instruments
• Performance Practice
• +4 more

Dr. Joyce Chen is an Assistant Professor of Historical Keyboards at the University of Oregon and a concurrent PhD candidate in Historical Musicology at Princeton University. Her research focuses on the intersection of acoustics, artisanal knowledge, and aesthetics in 17th-century Europe, blending scientific inquiry with musicology. She is also a distinguished harpsichordist, recognized for performances in North America, Europe, and Taiwan, including solo appearances at the Bloomington Early Music Festival and international competitions. Education: PhD candidate (Princeton University), DMA in Harpsichord Performance (Stony Brook University), BSc in Mechanical Engineering (UC Berkeley). Research includes hands-on instrument-building apprenticeships at Zuckermann Harpsichords International and completion of her first harpsichord from a Troubadour Virginal Kit. Awards include the 2018 Delaware Individual Artist Fellowship and 2019 Emerging Artist Showcase recognition. Additional expertise: Baroque organ performance (AGOD Colleague certified), church music leadership, and interdisciplinary studies on music and race. Active in performance and education, offering harpsichord tuning, private lessons, and ensemble direction.

Darlene CatelloView profile

Adjunct Assistant Professor

• Baroque Music
• Historical Performance Practice
• Early Music
• +2 more

Darlene Catello is an Adjunct Assistant Professor in the Department of Music at the University of Notre Dame, serving as an Adjunct Harpsichord and Fortepiano Instructor. She has been a long-time member of the department and is a distinguished harpsichordist, recognized with awards in her field. She co-founded the Fleur de Lys Baroque Ensemble, contributing to early music performance. Education: MM, University of Michigan MM, University of Notre Dame BA, Denison University Her expertise centers on Baroque-era keyboard instruments, with a focus on historical performance practices and pedagogy. She actively promotes early music through teaching and ensemble collaborations. As an ensemble leader, her work with Fleur de Lys Baroque Ensemble highlights her commitment to reviving and reinterpreting Baroque repertoire. No specific grants or advising roles are detailed in the provided text.