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Christian Wolff is a University Professor and Chair of Media Informatics at the Institute for Information and Media, Language and Culture at the University of Regensburg. Since April 2022, he has served as the founding Dean of the Faculty of Computer Science and Data Science, while maintaining secondary membership in the Faculty of Languages, Literature and Cultural Studies (SLK). His academic career spans over three decades with significant contributions to multiple disciplines at the intersection of computer science and humanities. Wolff's research interests center around multimedia and multimodal information systems, electronic publishing, and text technology, particularly text mining. His work bridges computer science with digital humanities, legal informatics, and social media analysis. Recent publications demonstrate a strong focus on large language models, sentiment analysis applications across various domains, legal technology innovations, and virtual reality research for cognitive studies. His interdisciplinary approach has produced significant contributions in both technical and humanities domains. His recent publication trends reveal a strategic shift toward applied AI research, particularly in legal technology (LegalTech), social media analysis, and sentiment analysis using large language models. The publications show increasing collaboration across disciplines, connecting computer science with law, political science, literature, and psychology. His work on the digital basis document for legal proceedings represents a major practical application of his research in the German justice system. East Bavarian Cultural Prize Doctoral Award of the University of Regensburg Wolff has led numerous interdisciplinary research projects connecting computer science with humanities and legal studies. His leadership extends to institutional roles including Dean of Research, Vice Dean, and Dean of Faculty positions. He has been instrumental in establishing the new Faculty of Computer Science and Data Science at the University of Regensburg, demonstrating significant impact on institutional development and research infrastructure. Wolff directs research initiatives focused on text technology, digital humanities, and legal informatics. His work with the INDIGO - Internet and Digitization Eastern Bavaria initiative and the TRIO project demonstrates commitment to regional technology transfer and innovation. The interdisciplinary nature of his research groups connects computer scientists with legal scholars, linguists, and social scientists to address complex digital transformation challenges.

• Multimedia Information Systems
• Text Mining
• Digital Humanities
• +6 more

Fernando Lopez-Lezcano is a Lecturer at Stanford University's Center for Computer Research in Music and Acoustics (CCRMA) where he has been working since 1993. His work combines music composition, electronic engineering, and programming with a focus on spatial audio and sound diffusion technologies. He was the Edgar Varese Guest Professor at TU Berlin during the Summer of 2008 and is the 2014 winner of Stanford's Marsh O'Neill Award for Exceptional and Enduring Support of Stanford University's Research Enterprise. Lopez-Lezcano's research interests center on computer music, spatial audio technologies, and sound diffusion systems. He has pioneered work in High Order Ambisonics (HOA), developing novel decoders and reverberation architectures for immersive sound environments. His work on the SpHEAR Project has created innovative 3D-printed soundfield microphone arrays, while his development of the GRAIL (Giant Radial Array for Immersive Listening) has revolutionized concert speaker arrays for HDLAs (High Density Loudspeaker Arrays). He has also created numerous open-source tools and software environments for spatial sound composition and diffusion. His recent creative output demonstrates a consistent exploration of 3D sound spatialization, modular synthesis, and interdisciplinary collaborations. Across his compositions, he frequently integrates custom-built hardware like his modular synthesizers (including the famous 'El Dinosaurio' built in 1980-81) with sophisticated software environments written in SuperCollider. His work often bridges acoustic and electronic sound sources, creating rich spatial experiences that explore the relationship between technology and artistic expression. Among his notable achievements is the 2014 Marsh O'Neill Award, recognizing his exceptional support of Stanford's research enterprise. This prestigious award was inspired by Marsh O'Neill, Associate Director of the W.W. Hansen Laboratories, and honors outstanding staff members who support faculty research activities. Lopez-Lezcano has mentored numerous students in the development of musical instruments and performance systems, most notably the 'Ensemble AnaLocos' (Analógicos Locos or 'Crazy Analogs') which created the 'Noise Toaster' synthesizers. He has also developed important infrastructure for CCRMA including 'Planet CCRMA,' a collection of open-source audio software for Linux. His teaching includes the 'Sound in Space' course (Music 222), which covers historical background, techniques, and theory on the use of space in music composition and diffusion. He directs the CCRMA Stage concerts and has been instrumental in developing CCRMA's spatial audio infrastructure, including the GRAIL system used in Bing Concert Hall. His work with the SpHEAR Project has advanced 3D sound recording techniques, while his collaborations with performers like Michiko Theurer (violin) and Chris Chafe (celletto) have produced innovative interdisciplinary performances.

• Computer Music
• Spatial Audio
• 3D Sound Diffusion
• +6 more

Miguel Chuaqui is a Chilean-American composer and Professor at the University of Utah School of Music, where he serves as Chair of the Composition Area since 2009. Born in 1964 in Berkeley, California, and raised in Santiago, Chile, he holds a PhD in Composition from the University of California at Berkeley, with academic roots in both Mathematics and Music. Education: BA in Mathematics and Music (University of California-Berkeley, 1987), MA in Music (University of California-Berkeley, 1989), PhD in Music (University of California-Berkeley, 1994) Chuaqui's creative practice spans orchestral, chamber, vocal, and electroacoustic works, with performances across the U.S. and internationally by ensembles such as Speculum Musicae, Earplay, and the Society for Electro-Acoustic Music in the United States (SEAMUS). His research emphasizes collaborations in diverse areas, including interactive dance systems with Modern Dance and therapeutic musical applications with the School of Medicine. His compositions reflect an intersection of technology and traditional instruments, often incorporating live electronics and interactive elements. Recent compositions like La Búsqueda (2024), Inseparable (2024), and Encuentro Fugaz (2024) highlight his focus on chamber works and electroacoustic innovation. He has also demonstrated a sustained commitment to solo and ensemble works, integrating Latin American cultural motifs with contemporary techniques. Scientific and Musical Awards Award in Music from the American Academy of Arts and Letters Aaron Copland Recording Grant Eisner Prize Nicola de Lorenzo Award Society for Universal Sacred Music award Induction into the National Association of Composers of Chile President’s Award from SEAMUS (2008) 2024-2025 Big 12 Faculty Fellowship As an educator, Chuaqui has taught courses including Advanced Electronic Music Composition, Senior Composition, and PhD-level Composition at the University of Utah since 2024. He hosted the 2008 SEAMUS National Conference and serves as a NASM Visiting Evaluator, maintaining leadership roles in music education and composition pedagogy.

• Electroacoustic Music
• Music Composition
• Interactive Dance Systems
• +3 more

Aaron Cassidy is an American composer and conductor based in Berlin and Hannover. He serves as Professor of Composition and Director of Incontri – Institut für neue Musik at the Hochschule für Musik, Theater und Medien Hannover. His work emphasizes innovative graphical notations prioritizing physical sound production and non-geometrical rhythm theory. Cassidy’s compositions have been performed globally across 29 countries, with 12 commercial recordings on major labels like Kairos and NEOS. As a conductor, he specializes in contemporary and historical repertoire, leading over 100 world premieres with ensembles such as Ensemble Musikfabrik and ELISION. Notable engagements include the Munich Biennale and Melbourne Recital Centre. His recent research includes a 2025 reflection on non-geometrical rhythm and collaborative Erasmus+ residencies in Klagenfurt. Current projects include works for bassoon, violin-piano duet, and ANAM residency with ELISION in Melbourne (2025). Cassidy’s academic focus bridges compositional theory and performance practice. His research explores notation’s role in shaping musical interpretation, with particular attention to rhythm’s non-metric frameworks. Recent works like Reassessing Non-Geometrical Rhythm (2025) synthesize a decade of theoretical development. His teaching integrates experimental techniques and historical context, fostering innovation in Hannover’s new music institute.

• Contemporary Music Composition
• Musical Notation Innovation
• Non-Geometrical Rhythm Theory
• +3 more

Assoc Prof Ho Chee Kong is an Associate Professor and founding Head of Composition at the Yong Siew Toh Conservatory of Music, National University of Singapore. He currently serves as Vice Dean (Academic Programmes & Quality Enhancement). A Singaporean composer renowned for fusing Western and Chinese musical traditions, his works have been performed globally at venues like the Singapore Arts Festival, International Bela Bartok Choral Competition, and Asia-Pacific Improvisers Symposium. His research explores music's role in modern society, multimedia productions, and organizational contexts. Notable compositions include There and Back (2019 Best New Classical Work), Empyrean Lights (Singapore's 50th Anniversary commission), and Passage-Fantasy . He has presented at international conferences such as the Reflective Conservatoire Conference and the Performer’s Voice Symposium. HO holds leadership roles in arts organizations including Vice-President of the International Computer Music Association, founding President of the Composers Society of Singapore, and board member of the Ding Yi Music Company. His works are celebrated for their 'exotic instrumental colors' and narrative power, bridging cultural divides through music. HO's professional engagements include advisory roles with the Singapore Chinese Orchestra, Singapore School of the Arts, and international festivals. He has organized major events like the 29th International Computer Music Conference (2003) and the Asian Composers League Festival (2013).

• Music Composition
• Cultural Fusion in Music
• Multimedia Music Production
• +3 more

Dr. Jing Fu is an Associate Professor in the Department of Mechanical & Aerospace Engineering at Monash University. He holds a PhD in nano/microfabrication processes for biomedical applications from Pennsylvania State University (2008). His research focuses on nanoengineering tools, particularly Focused Ion Beam (FIB) technology for imaging and manipulating single cells. He is a principle scientist in collaborative projects with CSIRO MCN and Australian Synchrotron, exploring nanomaterial dynamics in immune cells. His expertise spans FIB/SEM/TEM, cryogenic environments, and multidisciplinary biomedical engineering. Education: M.Eng/Ph.D., Pennsylvania State University, USA (2008). Postdoctoral Fellowship at NIH (2008–2010). Joined Monash Faculty of Engineering in 2010. Research Interests: 3D visualization of HIV viral entry, compositional mapping of mammalian cells, and FIB-driven correlative imaging. Projects include '3D Cryo-FIBSEM Imaging Facility' (2015–2017) and 'Targeting NDM-producing superbugs' (2013–2015). Current collaborations involve tooth enamel evolution studies (2025–2028). Key Contributions: Over 90 publications, including work on graphene encapsulation for APT, ion beam fabrication of nanostructures, and polymyxin antibiotic efficacy. His research aligns with UN SDGs for health and innovation. Grants & Awards: ARC and NHMRC funding for projects on superbug targeting and imaging facilities. Active in multidisciplinary teams addressing biomedical challenges.

• Nanoengineering
• Biomedical Applications
• Focused Ion Beam (FIB) Technology
• +7 more

Lauren Sarah Hayes is an Associate Professor of Sound Studies within the School of Arts, Media and Engineering at Arizona State University. She founded the research group Practice and Research in Enactive Sonic Arts (PARIESA) and holds degrees in Mathematics and Philosophy (MA), Digital Composition and Performance (MSc, dist.), and Creative Music Practice (PhD), all from the University of Edinburgh, UK. Dr. Hayes' research centers around embodied and enactive music cognition, enactive approaches to digital instrument design, and haptic technologies. Her scholarly work has been published in major journals including Contemporary Music Review, Organised Sound, and Computer Music Journal. As a performer and improviser, she explores new strategies for live electronic performance by investigating the performer's physical relationship with the digital realm, with music lying between free improv, experimental pop, techno, and noise. Her research on embodied music education won Best Paper Award at the International Computer Music Conference in 2016, and her work addressing political and epistemological themes won Best Paper Award at New Interfaces for Musical Expression (NIME) in 2020. Dr. Hayes composes haptic music experienced as vibration throughout the body and has developed bespoke haptic technologies for people with sensory impairment, learning difficulties, and autism. She has performed internationally at major festivals including Moogfest (USA), Tectonics (Scotland), and Norberg (Sweden), and represented the USA at the ISCM World New Music Days festival in the Faroe Islands in 2024. Best Paper Award, International Computer Music Conference (2016) Best Paper Award, New Interfaces for Musical Expression (NIME) (2020) Dr. Hayes serves on the editorial board of the Journal of Music, Technology & Education and has held leadership roles including Paper Chair for Tangible, Embedded, and Embodied Interaction (TEI) in 2019, associate of the New BBC Radiophonic Workshop, and Director-At-Large of the International Computer Music Association (ICMA). She founded the AME Listening Group at ASU, which hosts listening, workshop, and performance opportunities for students.

• Sound Studies
• Embodied Cognition
• Haptic Technology
• +7 more

William Lucey is an Associate Professor in the Music Production and Engineering (MP&E) and Songwriting departments at Berklee College of Music, a leading institution in contemporary music education. His academic role is deeply informed by his extensive professional career as a performer, songwriter, and producer. His research and creative interests center on music production, songwriting craft, audio engineering, and the integration of analog and digital technologies in music. He emphasizes practical, real-world applications in his teaching, drawing from decades of experience in the music industry. The body of his recent work—including songs like Home , Haunt Me Again , and All I Want for Christmas is a Christmas No. 1 —demonstrates a broad range across genres such as Americana, pop, rock, electronic, and folk. His production style is hands-on, spanning songwriting, arrangement, performance, engineering, and mixing. He frequently collaborates with emerging and established artists, often playing multiple instruments and overseeing full production. Meteor Award Ireland for Best Hope for the Future Boston Music Awards for Best New Act and Best Vocalist World Peace Award for Best International Act As an educator and mentor, Lucey has taught songwriting and production at Berklee for over 25 years, guiding countless students in developing their artistic voices. He also engages in professional projects that serve as living case studies for his pedagogy. His studio practice blends analog warmth with digital precision, reflecting his philosophy of marrying the best of both worlds. While no formal lab or research team is mentioned, his production house functions as a creative hub for collaboration with session musicians and artists worldwide.

• Music Production
• Songwriting
• Audio Engineering
• +6 more

David M Howard is a Professor and Founding Head of the Department of Electronic Engineering at Royal Holloway, University of London. He holds a PhD in Human Communication from UCL and is an Emeritus Professor in Electronic Engineering. His research focuses on human speech/singing voice production, VR/AR applications in acoustics, and the Vocal Tract Organ. He has led major projects like the StoryFutures AHRC initiative. Awards include Fellowship of the Royal Academy of Engineering and Honorary Membership from the Croatian Choral Directors Association. Education: BSc (Eng) in Electronic Engineering from UCL (1977), PhD in Human Communication (1985). Former roles include Head of Department at University of York and roles in engineering institutions. Research interests span vocal tract modeling, forensic audio analysis, and choral singing development. He collaborates internationally on projects like heritage VR storytelling and data science in museums. His work contributes to UN SDG Education goals through advancing accessible technology and arts.

• Acoustics
• Speech Processing
• Singing Voice Production
• +3 more

Eleonora Oreggia is a Lecturer in Electronic Music, Computing and Technology at Goldsmiths, University of London. She holds a PhD in Media & Arts Technology from Queen Mary University of London (2020), an MPhil in Cultural Studies from Goldsmiths (2013), and a Laurea (Summa Cum Laude) in Semiotics of Art, Drama, Art and Music Studies (DAMS) from the University of Bologna (2003). Her interdisciplinary work bridges science, humanities, and creative arts, focusing on electromagnetic sensing systems, expressive interaction in electronic music, and the intersection of identity with technology. Teaching roles include convening the BMus/BSc in Electronic Music, Computing and Technology, and courses like Music Computing 1, 2, and Advanced Audiovisual Processing. Her research explores invisible interfaces and electromagnetic fields as artistic tools, blending performance, installation, and live electronic music. She has exhibited globally in museums, festivals, and digital platforms, with notable projects like REBUS - Electromagnetic Interactions and Bamboo Ring Live . Key themes in her work include human-machine relations, perception of reality, and technomagical interfaces. She has collaborated with institutions such as BBC R&D, Jan van Eyck Academie, and founded Nebularosa Records to support experimental music. Her articles and books address topics like instrument design, digital creativity, and the philosophical implications of technology.

• Electronic Music
• Media Art
• Human-Computer Interaction
• +4 more

André Holzapfel is an Associate Professor of Media Technology specializing in Sound and Music Computing at KTH Royal Institute of Technology, working within the Division of Media Technology and Interaction Design. His research bridges computational analysis, ethnographic methods, and critical examination of AI's societal impact in artistic contexts, with particular focus on rhythm and Cretan music-dance traditions. Holzapfel holds dual PhD degrees in Computer Science and Ethnomusicology (focusing on Cretan dance traditions), complemented by a Master's in Computer Science from the University of Crete (2006) and prior studies at Duesseldorf University of Applied Sciences (2004). His educational journey reflects his interdisciplinary approach spanning technical and cultural domains. His research program centers on Computational Ethnomusicology—integrating quantitative computational methods with qualitative ethnographic approaches—and critically examines ethical, sustainability, and legal dimensions of AI in creative industries. Current work investigates environmental impacts of generative AI in radio broadcasting, micro-timing precision in AI-generated music, and historically informed electronic instrument design, revealing consistent innovation at the technology-arts-society intersection. Though limited publication details appear in the source text, his scholarly trajectory demonstrates evolving focus from foundational rhythm analysis in Music Information Retrieval toward responsible AI frameworks, as evidenced by his 2023 NIME paper developing the Ethically Aligned Stakeholder Elicitation (EASE) methodology for Music-AI systems. Holzapfel actively supervises master's thesis projects through KTH's Creative Media Technology group, including collaborations with the Royal College of Music (KMH) on motion-capture visualization and sonification of folk dance-music interactions. His supervision spans technical topics like AI beat tracking and critical explorations of sustainability in creative AI tools. As a core member of the Creative Media Technology research team, he contributes to projects examining historically informed sound synthesis instruments, computational analysis of music corpora, and sustainable development practices for AI-driven artistic tools, emphasizing human-centered design principles in creative technology development.

• Sound and Music Computing
• Computational Ethnomusicology
• Music Information Retrieval
• +3 more

Dr. Ludo Ausiello is a Senior Lecturer in Electronics at the University of Portsmouth, affiliated with the School of Electrical and Mechanical Engineering and the Faculty of Technology. His roles include membership in the Portsmouth AI and Data Science Centre and the Portsmouth Centre for Advanced Materials and Manufacturing. He holds a Fellowship of the Higher Education Academy and is a member of the Institute of Acoustics. Education: Integrated Master’s in Electronic Engineering (University of Bologna), European PhD in Audio Engineering, and PGCert in Higher Education (2019). Professional training includes Fonoprint Studios (Bologna) and industry experience at Maserati, Magneti Marelli, and Harman. Research interests focus on audio engineering, signal processing, electro-acoustics, and innovative manufacturing. Recent work includes developing affordable measurement ecosystems for musical acoustics, optimizing soundboard designs via least-squares analysis, and applying AI to room acoustics prediction. His studies span topics like wood elasticity, loudspeaker design, and vocal fatigue in educational spaces. Awards: Fellowship of the Higher Education Academy (2019). Teaching and advising: Taught analog and digital oscillator design at the University of Bologna and contributed to curriculum development at Solent University. Active in mentoring students through collaborative industry projects. Labs/Teams: Engaged with interdisciplinary teams at Portsmouth, focusing on advanced materials and AI-driven acoustic solutions.

• Audio Engineering
• Signal Processing
• Electro-Acoustics
• +4 more

Bryn Harrison is a British composer and Senior Lecturer in Composition at the University of Huddersfield. He explores musical temporality through cyclical structures, memory representation, and extended durations. His work has been performed by ensembles including Plus Minus, Elision, and London Symphony Orchestra, with notable premieres at international festivals. Key Works: Receiving the Approaching Memory (2014), Piano Quintet (2017), and Vessels (2013). Research: Focuses on immersive listening, memory, and temporal perception in music. Awards: Recipient of the Paul Hamlyn Foundation Award for Composers. Publications include co-edited books Overcoming Form (2013) and Being Time (2018). Collaborations: Works with ensembles like Wet Ink and Contrechamps, and performers such as Philip Thomas and Aisha Orazbayeva. Supervision: Actively supervises PhD students and contributes to external examinerships at institutions like the Royal College of Music.

• Composition
• Experimental Music
• Musical Temporality
• +2 more

Harry Bulow is a Professor of Music at Purdue University's School of Design, Art, and Performance, where he served as Head from 2009 to 2019. Previously, he chaired music departments at the University of Hawaii, University of North Carolina at Charlotte, and Lamar University, and directed bands at Santa Barbara City College. His career spans composition, performance, administration, and music technology leadership. Education: Bachelor's in Music Education, San Diego State University M.A. and Ph.D. in Music Theory and Composition, UCLA (1978, 1983) Bulow's creative scholarship centers on Music Theory, Composition, and Electronic Music , with significant contributions to Jazz, Film, and Sacred Music . His eclectic style synthesizes influences from Copland, Mancini, and Lutosławski, emphasizing graphic notation and extended techniques. Recent work explores cross-cultural fusion (e.g., Japanese-Western instrumentation) and wind ensemble innovation, reflecting his leadership in modernizing band pedagogy through publications like Composing Outside the Box . His 15 most recent publications reveal a sustained focus on wind ensemble and chamber music , with increasing integration of commercial media (video games) and cross-cultural elements. The 2016-2019 output shows particular emphasis on brass quintets and piano works, demonstrating technical innovation within traditional forms. Awards: 38 Consecutive ASCAP Awards (1980-2018) Oscar Espla International Composers Prize (1986) 1st Prize, International Composers Competition, Trieste (1977) Dallas Wind Symphony Fanfare Award (2006) National Endowment for the Arts Composer Fellowship (1986) Bulow has secured substantial research funding including Purdue's ASPIRE/CREATE Grants (2017-2019) and North Carolina Arts Council Fellowships. His commissioned works span academic (Eastman Wind Ensemble), commercial (EA Sports), and international contexts (Moscow National Symphonic Band), with recent performances at Society of Composers conferences and College Music Society events. He maintains active performance collaborations with ensembles like the Indianapolis Wind Symphony and pianist Martin Jones, while his compositions continue to shape contemporary wind band repertoire through innovative approaches to notation and form.

• Music Theory
• Composition
• Electronic Music
• +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