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Oliver ChandlerView profile

Senior Lecturer

• Music Analysis
• Music Theory
• British Music
• +5 more

Oliver Chandler is a Senior Lecturer in Music at the University of Oxford and holds multiple lecturing roles at Hertford College, Keble College, St Hugh's College, and Queen's College. He also serves as an academic professor at the Royal College of Music. His research focuses on music analysis, particularly in British music, chromaticism, and tonal theory, with notable works on Edward Elgar, Reginald Smith Brindle, and guitar repertoire. Chandler has been awarded the 2024 Adele Katz Early Career Researcher Award for his contributions to music theory. His research interests span music theory, including (neo-)Riemannian theory, Schenkerian analysis, and guitar studies. He co-authored Return to Riemann: Tonal Function and Chromatic Music (2024) and edited Born by the Thames: Stephen Dodgson, a Centenary Celebration (2024). His work often bridges historical and analytical approaches, exploring topics like Elgar’s chamber music and the interplay of tonality and serialism. Awards: Adele Katz Early Career Researcher Award (2024) Editorial Roles: Member of Soundboard Scholar editorial board and Cambridge Cohort for Guitar Research Grants & Collaboration: Collaborations on projects including analyses of Elgar’s works and studies on British modernist composers. Chandler’s publications span journals such as Music & Letters and Music Analysis , with a focus on analytical methodologies and British musical heritage. His research underscores the enduring relevance of tonal frameworks in understanding 20th-century music.

Jiayan SunView profile

Assistant Professor

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

Jiayan Sun serves as Assistant Professor of Music and Associate Chair for Performance Activities at Smith College. A highly acclaimed pianist, he has performed with prestigious orchestras including the Cleveland Orchestra, the Hallé Orchestra, and the Chinese National Symphony Orchestra. His research interests focus on classical music performance, particularly piano repertoire from the Classical and Romantic periods. Sun specializes in the works of Beethoven, Chopin, and Schubert, as evidenced by his extensive performance series including 'A Beethoven Cycle,' 'Schubertiade,' and 'The Timeless Genius of Chopin.' His approach integrates historical performance practice with modern interpretive techniques, particularly in his exploration of early keyboard instruments. Sun's performance catalog reveals a strong focus on complete cycles of major composers' works, demonstrating both technical mastery and deep musical understanding. His repertoire spans from Baroque to contemporary works, with particular emphasis on German and Austrian classical traditions as well as Romantic-era compositions. Third prize at Leeds International Piano Competition Second prize at Dublin International Piano Competition Fourth prize and audience prize at Cleveland International Piano Competition First prize at CCC Toronto International Piano Competition Sun maintains an active performance schedule both as a soloist and chamber musician, frequently collaborating with other faculty members. His work extends beyond performance to include educational initiatives, such as his presentation of Beethoven's complete piano sonatas in chronological order at Smith College. He has also demonstrated commitment to community engagement through benefit concerts, including one supporting people fighting the coronavirus in Hubei Province, China.

John ButtView profile

Professor

• Bach Studies
• Baroque Music
• Seventeenth and Eighteenth Century Music
• +3 more

John Butt is a distinguished academic and performer, currently holding the Gardiner Chair of Music at the University of Glasgow and serving as Head of Department (2001-05). His career spans prestigious institutions including UC Berkeley, King’s College Cambridge, and Magdalene College Cambridge. He is renowned for integrating performance practice with scholarly research. Education : PhD in Bach studies, University of Cambridge Research Interests : Bach interpretation, Baroque music, historical performance practices, modernity in musicology, and the intersection of plainchant with Roman Catholic culture in Elgar's work. His research explores the ontology of 17th-century music and the cultural implications of historically informed performance. Articles and projects highlight his interdisciplinary approach, linking musicology with philosophy and cultural studies. He has received major awards including Gramophone, MIDEM, and Fellowships from the British Academy and Royal Society of Edinburgh. Scientific Awards : Royal Academy of Music/Kohn Foundation Bach Prize (2010) Gramophone Award (2007) MIDEM Award (2008) Fellow of the British Academy (2006) Dent Medal (2003) As a conductor and keyboardist, he leads the Dunedin Consort and has produced acclaimed recordings of Bach and Handel. His work bridges academic and performative realms, emphasizing the dialogue between historical and contemporary musical understanding.

Isabel GabbeView profile

Professor

• Piano Performance
• Music Education
• Chamber Music
• +5 more

Isabel Gabbe , University Professor of Piano & Piano Didactics at Mozarteum University Salzburg's Innsbruck Department since 2016, is a German-French pianist and music educator with extensive international experience. She heads the Music Education Department and contributes to artistic higher education through her work with the European Piano Teachers Association (EPTA) and the Austrian Society for Music and Medicine (ÖGFMM). Studied with Hans Leygraf and Rainer Becker Certified music physiologist Founder of "Moments Musicaux" festival in France Active in teacher training across Europe and South America Her research focuses on music education , physiological piano teaching methods , and musicians' health . Isabel integrates creative approaches to piano instruction for children, emphasizing cross-cultural communication through music. Her recent work explores alternative keyboard techniques and inclusive pedagogy. Professor Gabbe's publications analyze piano didactics, including " Alles ist erlaubt, nur nicht Alles spielen! " on practical repertoire use and " Musizieren lernen? Ein Kinderspiel! " on playful learning approaches. She contributes to Schott Verlag's "Üben&Musizieren" series and Waxmann Verlag's music education publications. Scientific recognitions include: German Music Council Artist List (2000) EPTA Austria Vice Chair (2018–present) Deutsche Tonkünstlerverband Deputy Chair (2015–2023) Richard Wagner Association Stipend (2002) Aspen Music Festival Stipend (1995,1996) Isabel Gabbe actively mentors educators through workshops and masterclasses across Europe and South America, focusing on sustainable teaching practices and physiological approaches to piano instruction. She has participated in numerous festivals and serves on academic committees for music education curricula.

• Medieval Music
• Classical Period Music
• Romantic Era Music
• +7 more

Ann-Katrin Zimmermann is an apl. Professor (non-tenured professor) at the Musicological Institute within the Faculty of Philosophy at the University of Tübingen. She has held this position since 2018, following her time as a private lecturer from 2012-2018. In addition to her academic work, she serves as a dramaturg at the Gewandhaus Leipzig since 2013 and has teaching assignments at LMU Munich, Felix Mendelssohn Bartholdy University of Music and Theatre, and Leipzig University since 2012. Her educational background includes: Habilitation (2012) on "Forms of slow movements in the classical cycle" Promotion/PhD (2006) on "Studies on medieval three-part harmony" Master's degree in musicology, philosophy and art history from University of Tübingen and University of Oxford (1998-2003) Professor Zimmermann's research spans multiple eras and aspects of music history and theory. Her work focuses particularly on polyphony of the 12th and 13th centuries, keyboard music from the 15th-18th centuries, early German-language music terminology, and the works of Heinrich Schütz, composers of the Viennese classics, and Richard Strauss. She has made significant contributions to the fields of organology, instrumentation, music iconography, and 19th-century symphonies, with particular interest in cross-temporal aspects of genre, form, and composition. Her extensive publication record shows a consistent focus on historical music analysis, particularly examining compositional strategies across different periods. Her recent work has increasingly focused on Richard Strauss and Mozart, while maintaining her longstanding interest in early music traditions and terminology. She has published numerous articles in prestigious journals and contributed to important edited volumes in musicology. Professor Zimmermann is actively involved in the academic community: Member of the Society for Music History in Baden-Württemberg since 2009 Member of the DHV since 2012 Throughout her career, Zimmermann has balanced academic research with practical musical experience. She has been a bassoonist and leader of various vocal and instrumental ensembles since 1998, and served as a church musician from 1997-2014. Her work as a dramaturg at the Gewandhaus Leipzig since 2013 demonstrates her commitment to connecting scholarly research with contemporary musical practice.

Karen FlintView profile

Adjunct Professor

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

Karen Flint serves as an Adjunct Professor of Harpsichord at the University of Delaware’s School of Music, part of the College of Arts & Sciences. She is the founder and artistic director of Brandywine Baroque, Delaware’s leading early music ensemble, and established the Dumont Concerts—a festival showcasing harpsichord performances on antique instruments. Flint also created the recording label Plectra Music, which focuses on Baroque repertoire performed on period instruments. Her work includes acclaimed series like Le Clavecin Français and notable albums such as Les Pièces de Clavessin and Corelli Violin Sonatas . Her professional engagements include performances with the Delaware Symphony Orchestra, Baltimore Chamber Orchestra, and UD Chamber Orchestra. Brandywine Baroque’s annual concert series spans locations in Pennsylvania and Delaware, with guest appearances at major venues like the Boston Early Music Festival and Winterthur Museum. Flint’s recordings frequently highlight French Baroque composers and explore underappreciated works, demonstrating her commitment to historical performance practices. Flint’s contributions extend beyond performance to include educational outreach through the University of Delaware and community programs such as the Delaware Youth Wind Ensemble. Her discography reflects a dedication to preserving and revitalizing early music traditions, with projects ranging from Handel’s duets to Telemann’s lesser-known works. She remains an influential figure in the revival of 17th- and 18th-century music through both performance and scholarship.

Pamela Palmer JonesView profile

Professor

• Historical Performance Practice
• Music Theory
• Harpsichord Performance
• +3 more

Pamela Palmer Jones is a Professor (Lecturer) at the University of Utah, School of Music , where she specializes in Historical Performance Practice , Music Theory , and Harpsichord . Her teaching includes courses like Doctoral Performance Practice Seminars, Form & Analysis, and Early Music Ensemble, alongside extensive experience in musicianship and class piano instruction. DMA - University of Utah MFA - University of California, Los Angeles BM - University of Utah ARCM - Royal College of Music, London Dr. Jones’ research focuses on historical keyboard performance practices , baroque music pedagogy , and the reincorporation of lost teaching methods into 21st-century keyboard education. She has conducted original research on the Fitzwilliam Virginal Book, Pietro Castrucci’s Op. 1 Sonatas, Beethoven’s piano sonatas, and Carl Czerny’s pedagogical works, often using historical instruments in her creative projects. Her scholarly activities include a world-premier recording of Castrucci’s Op. 1 Sonatas (Centaur Records CRC 3932/3933) and pedagogical video production funded by University Teaching and Research Grants. She has collaborated with artists like Gerald Elias and Noriko Kishi on historically informed performances. College of Fine Arts Faculty Excellence in Teaching Award (2016-17) Dr. Jones has taught at institutions including Salt Lake Community College , Harper College , and College of Lake County before joining the University of Utah. She has also served as Coordinator for Musicianship and Class Piano and continues to perform extensively with ensembles such as the Beethoven Park City International Chamber Music Festival and Utah Flute Association .

Jeffrey O. SnyderView profile

Professor

• Electronic Music
• Computer Music
• Instrument Design
• +5 more

Jeffrey O. Snyder is the Director of Electronic Music and Director of PLOrk (Princeton Laptop Orchestra) at Princeton University's Department of Music within the School of Arts and Sciences. He teaches courses in computer and electronic music, composition, and the intersection of engineering and the arts. His educational background includes a B.A. in Music Composition from University of Wisconsin-Madison and a Doctor of Musical Arts (with distinction) in Music Composition from Columbia University (2011). Snyder's research focuses on new instrument design , alternate tunings , composition , robotics , and networked performance practices . As founder of Snyderphonics, he designs and builds innovative electronic musical instruments including the Manta (used by over 150 musicians worldwide), the JD-1 Keyboard/Sequencer, and custom analog modular synthesizers. His work explores the intersection of arts and engineering, creating new perspectives in music creation and experience. Snyder has received numerous awards and grants including multiple Princeton University Barr Ferree Publication Grants, David A Gardner Magic Project Grants, and New Jersey State Council for the Arts Fellowships. He co-founded Carrier Records in 2009, an experimental music label, and performs in multiple ensembles including exclusiveOr, The Federico Ughi Quartet, The Mizries, and Sideband. He also fronts Owen Lake and the Tragic Loves as his electro-country alter-ego. New Jersey State Council for the Arts Individual Artist Fellowship Finalist (2023) New Jersey Transit Temporary Art Program Commission (2019) Multiple Princeton University research and publication grants (2015-2018) Vermont Studio Center Fellowship for Kinetic and Sound Art (2015) Computer Music Magazine Innovation and Performance Award (2009) Beyond his academic work, Snyder is an active performer and composer who creates alternate-reality Early Music for ensembles of his invented instruments. He also has interests in playing pedal steel guitar, singing electro-country music, building things, and robotics. His courses include Computer and Electronic Music through Programming, Performance, and Composition (MUS 314), Contexts of Composition: Idiosyncratic Instruments (MUS 545), and Transformations in Engineering and the Arts (MUS/STC 209).

Maria ErdmanView profile

Lecturer

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

Maria Erdman serves as a Lecturer at the Ignacy Jan Paderewski Academy of Music in Poznan within the Institute of Instrumental Studies, specializing in harpsichord instruction. She additionally teaches organ and harpsichord at the Academy of Music in Krakow and leads her own organ class at the Fryderyk Chopin Music School in Warsaw since 2005. Her academic training includes organ studies under Prof. Marietta Kruzel-Sosnowska at the Fryderyk Chopin State Music High School in Warsaw and dual degrees in Music Theory and Organ from the Fryderyk Chopin Academy of Music in Warsaw under Prof. Andrzej Chorosinski, followed by postgraduate studies at Conservatorium van Amsterdam with Prof. Menno van Delft (harpsichord) and Prof. Pieter van Dijk (organ). Erdman is a distinguished harpsichordist and organist whose research centers on early music, particularly Polish repertoire sources, 16th-century performance practices, and the relationship between performance techniques and compositional methods in Polish keyboard tablatures. Her scholarly work bridges musicology with historical performance practice, emphasizing the harpsichord's role in Empfindsamkeit-era chamber music and Polish folk-early music fusion. Her notable recognition includes the inclusion of her 2018 recording of J. Paszkiewicz's Requiem in Poznan's 2021 time capsule, commemorating residents buried in the former St. Mary Magdalene collegiate church. As an educator, Erdman mentors students in historical keyboard instruments and contributes to Warsaw Summer Courses for Early Music Methodology. She collaborates extensively with ensembles including flutist Karolina Zych and viola da gamba player Justyna Młynarczyk for C.P.E. Bach performances, and with Adam Struga's "Monodia polska" to integrate Polish folk traditions with early music.

David McGuinnessView profile

Professor

• Historical Music Studies
• Traditional Music
• Music Performance
• +3 more

Professor David McGuinness is a Professor of Practical Music at the University of Glasgow. His academic career spans research, performance, and media production. He holds a PhD on early 17th-century English church music, later pivoting to composing for theatre/TV and classical keyboard performance. He directed Concerto Caledonia for 30+ years, producing 16 albums and collaborating across genres. He was a BBC Radio 3 producer and composer for Channel 4's Skins . His research focuses on historical and traditional music, including the AHRC-funded Bass Culture in Scottish Musical Traditions (2012-15) and The Edinburgh Allan Ramsay project (2018-23). He advises students in historical music, performance research, and practice-as-research. Grants include £375k from AHRC for Scottish bass culture studies and collaborative projects with institutions like Temple University and Sydney Living Museums. Major works include Shepherds and Tea Tables: Songs of Allan Ramsay (2023), I Trawl the Megahertz (2019), and scholarly editions like Collected Works of Allan Ramsay (2022). His performance projects range from Baroque reenactments to modern interdisciplinary collaborations.

Michael FuerstView profile

Lecturer

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

Michael Fuerst is a Lecturer in Historical Performance Practice (Piano) and Early Music Coaching at the University of the Arts Bremen, and also teaches Continuo and Historical Keyboard Instruments at the Musikhochschule Lübeck. Born in the USA, he studied at Eastman School of Music with Arthur Haas and Paul O'Dette, later completing his studies as a Fulbright Scholar under Robert Hill at Freiburg's State Music Academy. His research includes a DFG-funded project on 17th-century German instrumental music. Professionally, he leads the European Hanse Ensemble's international courses and curates a concert series showcasing historical instruments from Hamburg's Museum of History. Since 2021, he serves as Secretary of the International Dietrich Buxtehude Society. His recordings include Echo Klassik-winning albums like Choralvariationen und Choralkonzerte (2010) and Lübecker Virtuosen (2006), featuring works by Telemann, Tunder, and others. He frequently performs internationally and organizes workshops like the International Winter Academy of Early Music. Education: Began studies in Madison, USA Eastman School of Music (USA) Staatliche Hochschule für Musik Freiburg (Germany) Awards: Two Echo Klassik Preises for discographies Key Roles: Dozent, European Hanse Ensemble Schriftführer, Dietrich Buxtehude Gesellschaft His teaching focuses on historical temperaments, baroque keyboard techniques, and collaborative performance practices. Recent performances include concerts at St. Nikolai Kirche and university venues interpreting Venetian influences in Northern European music.

• John Cage
• American Minimalism
• Musicology
• +7 more

Rob Haskins is Professor of Music at the University of New Hampshire since 2004, with a multifaceted career as a musicologist, critic, and performer. He earned his degrees in musicology and harpsichord performance from the University of Rochester Eastman School of Music and associated institutions. B.M. Piano, Johns Hopkins University D.M.A. Harpsichord Performance and Literature, University of Rochester Diploma Concert Recital Diploma (Harpsichord), Guildhall School M&D Ph.D. Musicology, University of Rochester His research focuses on John Cage, American minimalism, modernist music theory, and ecopoetics, with publications analyzing Cage's chance operations, Buddhist influences in his work, and intersections of technology and musical innovation. He has authored books including John Cage (2012) and Classical Listening: Two Decades of Reviews from the American Record Guide (2016). Recent publications (2025-2019) span topics from Debussy's etudes to interdisciplinary modernism, with recurring emphasis on Cage, Baroque transcriptions, and experimental composition. His academic work often bridges historical and contemporary practices. Haskins has received grants from the Frederick Smyth Institute of Music (2024) and actively performs, notably directing Cage’s Song Books at the Holland Festival (2012) and recording for labels like Mode and Nonesuch. He teaches courses such as Music of the 20th & 21st Centuries , Survey of Music in America , and Introduction to Bibliography .

Robert QuinneyView profile

Associate Professor

• Music Composition
• Choral Performance
• J.S. Bach Studies
• +3 more

Robert Quinney is an Associate Professor and Tutorial Fellow in Music at New College, University of Oxford. He serves as Director of the renowned Choir of New College and maintains an active career as a solo organist and guest conductor. His roles include lecturing on Techniques of Composition and Choral Performance at the Oxford Faculty of Music, alongside teaching historical topics on J.S. Bach's keyboard music. Education: Undergraduate and graduate studies at King's College, Cambridge. Early career included positions at Westminster Cathedral and Westminster Abbey, followed by directorships at Peterborough Cathedral and Oxford. He directs the Edington Festival of Music within the Liturgy, blending performance with liturgical context. Research focuses on Bach's keyboard works and their reception in sacred vocal music, with New College Choir's performances of Bach cantatas in 18th-century Lutheran liturgical frameworks exemplifying this work. His recordings span Renaissance, Baroque, and Romantic repertoires, emphasizing historically informed performance practices. Performance highlights include solo organ recitals, guest conducting with BBC Singers, and collaborations with ensembles like The Sixteen. Compositions include organ works (e.g., Orgelbüchlein Project) and choral pieces such as the Short Service.

Magdalena A. Stern-BaczewskaView profile

Senior Lecturer

• Classical Music Performance
• Baroque Music Interpretation
• Piano and Harpsichord Techniques
• +3 more

Magdalena A. Stern-Baczewska is a Senior Lecturer in Music at Columbia University and Director of its Music Performance Program. A renowned pianist and harpsichordist, she balances academic teaching with an international performing career, blending traditional classical repertoire with innovative跨界 projects. Born in Poland, her early training under state restrictions contrasted sharply with later freedoms, enabling collaborations with figures like composer Tan Dun and experimental works like Hip-Hopsichord . Her Music for Dreams series, developed with sleep medicine insights, combines therapeutic intent with classical reinterpretations. Education highlights include degrees from Mannes College and Manhattan School of Music, culminating in a doctoral dissertation on Bach’s cantabile style. Awards include Poland’s Minister of Culture honor and Yamaha Artist status. Teaching spans global masterclasses using cutting-edge Remote Lesson Yamaha Disklavier technology. Her programming often features underrepresented composers like African-American figures Margaret Bonds and Florence Price, reflecting post-2020 commitments to equity. Recent pandemic-era initiatives include virtual music appreciation programs for seniors and Bach@Home lectures. She currently serves as Artistic Director for the Kosciuszko Foundation Chopin Competition and the BlueSleep Music label.

Stewart SmithView profile

Senior Lecturer

• Historical musicology
• Early music
• Performance practice
• +4 more

Stewart Smith is a Senior Lecturer at the Western Australian Academy of Performing Arts (WAAPA), part of Edith Cowan University. He leads the Centre for Keyboard Heritage and Performance Research and serves as assistant organist at St George's Cathedral in Perth. Previously, he held leadership positions as head of department and Dean of Music at WAAPA, but has returned to focus on teaching and research. Master of Music, Royal Academy of Music and London University Certificate IV in Assessment & Workplace Training, TAFE WA (2006) Smith's research spans historical musicology, early music, performance practice, improvisation, and historical keyboard instruments, with particular focus on Baroque repertoire and English music from 1700-1850. His work uniquely bridges scholarly research with practical performance, exploring how historical understanding informs contemporary interpretation. He has developed significant expertise in reception history, examining how musical works have been understood and performed across different eras. Analysis of his recent publications reveals consistent exploration of performance authenticity, particularly regarding Baroque practices. His work demonstrates increasing interdisciplinary approaches, connecting musicology with cultural studies, instrument history, and cross-cultural influences. The research shows particular strength in keyboard performance traditions and their evolution. Solo harpsichord recital for ABC's Sunday Live voted one of the year's best broadcasts Five-CD set of French Baroque music on ABC Classics label received international acclaim Smith has secured substantial research funding, including a major Australian Research Council grant for French Baroque research and recent significant grants from the Feilman Foundation ($350,000) and Wright Burt Foundation ($100,000) for keyboard instrument restoration. He actively supervises 5 current PhD students and has guided numerous completed research projects across musicology, performance practice, and historical instruments. As director of the Centre for Keyboard Heritage and Performance Research, he oversees projects focused on historical keyboard instruments and their performance contexts, including the restoration of a 1786 Kirkman harpsichord. Smith maintains an international performance profile, with recent work including Celtic Baroque interpretations, experimental Vivaldi performances, and Ligeti's Volumina. His performance career spans collaborations with major ensembles including the Orchestra of the Antipodes, Pinchgut Opera, and all Australian state symphony orchestras, alongside international appearances at prestigious venues including Westminster Abbey and St Paul's Cathedral.