Find Academic Supervisors

Taavi KerikmäeView profile

Senior Lecturer

• Contemporary Music
• Musical Improvisation
• Electronic Music
• +3 more

Taavi Kerikmäe (born April 30, 1976) serves as a Senior Lecturer in Contemporary Music and CoPeCo Programme Co-director at the Estonian Academy of Music and Theatre (EAMT), based in room B220 within the Department of Contemporary Performance and Composition under the School of Composition and Improvisational Music. His research and artistic work centers on contemporary improvisation, electronic music integration, and cross-period composition practices. Kerikmäe bridges historical and modern repertoires, exemplified by his June 2025 Stockholm Early Music Festival performance with Anna-Liisa Eller, featuring original arrangements of Baroque composer David Kellner's works (1670–1748) on period instruments including cembalo d'amour, arpanetta, clavichord, and kannel. Kerikmäe actively supervises students as a pedagogue at EAMT, though specific advisees are not documented in the provided materials. No scientific awards or research grants are referenced in the text. He co-directs the CoPeCo (Contemporary Performance and Composition) Programme and collaborates extensively through the Eller & Kerikmäe duo, which engages with both early music traditions and contemporary experimental practices, as seen in their festival appearances alongside ensembles like Accademia Bizantina and Vox Luminis.

David RokebyView profile

Assistant Professor

• New Media Art
• Interactive Installations
• Digital Surveillance
• +3 more

David Rokeby is an Assistant Professor (Teaching Stream) at the University of Toronto and Director of the BMO Lab. He is an internationally renowned new media artist with a 40-year career examining human relationships with digital systems, focusing on surveillance, artificial intelligence, and interactive installations. 2018-2019 JHI Artist-in-Residence (Jackman Humanities Institute) Representation: Pari Nadimi Gallery Education : BFA in Experimental Art, Ontario College of Art (1984) His research explores critical intersections of technology and humanity , including automated surveillance systems , computer vision limitations , and philosophical differences between human/machine intelligence . Works like Very Nervous System (1982-) pioneered gesture-to-sound translation, while Sorting Daemon (2003) critiques algorithmic profiling. Article analysis reveals consistent engagement with interactive systems , digital ethics , and perception studies across his publications. Recent projects examine tactile virtuality and spatiotemporal relationships in digital environments. Scientific Recognition : First BAFTA Award for Interactive Art (2000) World Technology Award for the Arts (2004) Prix Ars Electronica Golden Nica (2002) First Petro-Canada Award for Media Arts (1988) His work has received continuous funding from Canada Council for the Arts and Ontario Arts Council , with permanent installations in major institutions including London Science Museum and Technopolis Brussels. Collaborations span Le Fresnoy Studio National des Arts Contemporains and Wood Street Galleries .

Omid NoroozianView profile

Visiting Professor

• Electro-Optical Instrumentation
• Superconducting Detectors
• Astrophysics Instrumentation
• +7 more

Omid Noroozian is a Visiting Professor in Electrical and Computer Engineering at NASA Goddard Space Flight Center, where he works as a civil servant research engineer in the Detector Systems branch (code 553). His work focuses on developing advanced low-noise electro-optical instrumentation and superconducting detector technologies for astrophysics and remote sensing applications from space and balloon-based platforms. His research spans ultrasensitive superconducting detectors such as Kinetic Inductance Detectors (KIDs), Transition-Edge Sensors (TES), Bolometers, and x-ray/gamma-ray calorimeters. He also develops low-temperature electronic readout and multiplexing circuits, on-chip photonic spectrometers for mid- to far-IR spectroscopy, heterodyne receivers, and quantum-limited wide-band amplifiers. Dr. Noroozian has led major instrumentation projects including the development of the MUSIC imaging array and the µ-Spec spectrometer chip. His work supports future NASA mission concepts such as the Origins Space Telescope, Lynx, HabEx, and LUVOIR. He has collaborated extensively with institutions including Caltech/JPL, NIST, SRON, TU-Delft, UC Berkeley, UVA, JHU, and UMD. Scientific Awards: Roman Technology Fellowship (NASA) He has mentored research teams and led laboratory development at NRAO and NASA, though no formal students are listed. His technological innovations have enabled scalable detector arrays and next-generation receiver systems for ground and space telescopes.

Bret BatteyView profile

Professor

• Audiovisual Composition
• Algorithmic Music
• Digital Signal Processing
• +14 more

Professor Bret Battey is a Professor of Audiovisual Composition at De Montfort University, affiliated with the Faculty of Computing, Engineering and Media and the Leicester Media School. He is a core member of the Music Technology and Innovation Research Centre (MTIRC) and the Research Institute of Arts, Design and Performance (ADP). With a background spanning music composition, computer science, and digital arts, he integrates technical and artistic expertise in his work. His research interests include algorithmic music, digital signal processing, audiovisual synthesis, complex systems, feedback mechanisms, chaos theory, and the modeling of Indian classical music. He explores the expressive potential of custom-programmed algorithms to create immersive sound and image compositions. Battey's creative works, such as the Estuaries series and Mercurius , have received international acclaim, earning awards from Prix Ars Electronica, Bourges, Punto y Raya, ICMC, and others. His recent publications and installations focus on generative systems, audiovisual counterpoint, and the interplay between time, space, and perception in multimedia art. Award of Distinction: Video Music, Prix CIME 2023 Best Regional Music (Europe), ICMC 2022 MacDowell Colony Norton Stevens Fellow, 2003 U.S. Fulbright Research Fellowship to India, 2001-2002 Fellow of the Higher Education Academy He has supervised numerous postgraduate research students in areas including audiovisual composition, Indian classical music, and complex systems. He has led internally funded projects such as Haptic Control of Multistate Generative Music Systems and received research leave support. His consultancy includes mentoring for pedagogical software in Indian classical music with NESTA. He is actively involved in the academic community as a reviewer for Computer Music Journal and Organised Sound , and as a selection panel member for international competitions. Bret Battey leads and contributes to research groups including MTIRC and ADP, where he fosters interdisciplinary collaboration between music, technology, and visual arts. His work often involves custom software development, live performance systems, and installations that explore the boundaries of sensory experience and computational creativity.

Olivia LouvelView profile

Lecturer

• Sound Art
• Fine Art
• Sculpture
• +6 more

Olivia Louvel is a French-born British composer, artist, and Associate Lecturer in Fine Art at the University of Brighton. She concurrently pursues a PhD at the university's Centre for Arts and Wellbeing, examining the intersection of voice and sculpture in contemporary art. Her research established the concept of voice sculpture , bridging sound art, digital media, and physical installations. Education includes: Master's in 'Resounding the Voice' (School of Art & Media, University of Brighton, 2019–2020) Bachelor's in 'The Sculpted Voice' (School of Art & Media, University of Brighton, 2016–2019) Research explores voice manipulation , sonic sculpture , and digital hybridity , with emphasis on repurposing archival materials and interrogating socio-political themes like surveillance (e.g., CCTV interventions) and gender violence. Projects such as Doggerland Channels and The Whole Inside merge generative audio with environmental and bodily narratives. Artistic works exhibit recurring motifs of landscape reinterpretation, historical resonance, and technological critique. Outputs span gallery installations, radio broadcasts (BBC Radio 3), and public interventions, often leveraging sculpture as a conduit for vocal experimentation. Awards include: Ivor Novello Award for Best Sound Art (2023) Aesthetica Art Prize Longlist (2021) Qwartz Electronic Music Award (2011) Teaching encompasses lectures on 'Theories and Practices of Fine Art' and 'Sound Sculptures', with supervision of undergraduate dissertations. She advocates interdisciplinary approaches linking fine art methodologies with sonic practices. External affiliations include Sound Art Brighton and the Hepworth Research Network, where she contributes to symposia on artists like Barbara Hepworth.

• Computer Music
• Audio Engineering
• Music Technology
• +5 more

Paul D. Lehrman is a Teaching Professor of Music at Tufts University, School of Arts and Sciences, specializing in computer music, audio engineering, and multimedia arts. He holds a PhD from Tufts University (2010), an MA from Lesley University (2000), and a BFA from Purchase College Conservatory (1975). His research focuses on electronic music technology, instrument design, and interdisciplinary applications of music in film, television, and education. Director, Program in Music Engineering (School of Engineering) Principal Investigator for NSF grants and industry partnerships (Steinway & Sons, Avedis Zildjian) Coordinator of Music Technology overseeing audio/visual systems in concert halls and labs Lehrman’s expertise includes ProTools, Max/MSP, and hardware/software synthesis. He has performed globally with renowned orchestras and designed sound for PBS, Discovery Channel, and A&E. His technical journalism and historical research on Ballet Mécanique highlight his bridging of art and technology. He has directed interdisciplinary student projects and advises pre-music majors. His academic service includes roles in Tufts’ Information Technology committee and supervision of technical staff.

Brian CobbView profile

Adjunct Professor

• Music Composition
• Music Theory
• Film Music
• +7 more

Brian Cobb is a Senior Adjunct Professor in the Music Department at Bellevue College, where he has served since 2006. He coordinates private instruction, music theory, and instrumental music activities, and teaches courses in music theory, composition, music history, music technology, and jazz performance. He is also involved in Interdisciplinary Studies, co-teaching a course on the history of cinema and film music. Cobb is the founder and director of the Bellevue College Composer’s Studio. Education: D.M.A. in Music Composition, University of Washington, 2006 M.M. in Music Composition, University of Massachusetts, 2000 B.M. in Music Composition, Berklee College of Music, 1996 Brian Cobb's research and creative work centers on music composition across diverse genres and media. His interests include film music, chamber music, electronic music, and interdisciplinary performance combining music, theatre, and movement. He has composed for voice, wind ensemble, orchestra, dance, film, and various chamber configurations, including recent works for viola da gamba, harpsichord, saxophone, and solo flute. His compositions often explore narrative and historical themes, such as the American Frontier era. Brian Cobb’s music has been performed across the United States and Western Europe. His works have received recognition through awards and grants from ASCAP, the Jack Straw Artist’s Assistant Program, and the University of Washington. He has also received commissions from the Universal Language Project and the New Works for Percussion Project. His music is published by Ludwin Music Co. Brian has advised and mentored numerous students through the Composer’s Studio and private instruction. He has been involved in grant-funded projects supporting new music creation and performance. His teaching extends beyond Bellevue College through guest lectureships at Pacific Lutheran University, Western Oregon University, Central Washington University, and Seattle Conservatory. Brian Cobb is actively involved in creative research through the Bellevue College Composer’s Studio, which serves as a platform for developing and premiering new works by students and emerging composers. The Studio fosters collaboration across disciplines and media, reflecting his commitment to innovative and integrative music practices.

• Piano Performance
• Music Pedagogy
• Jazz Studies
• +7 more

Dr. Irina Moreland is an Affiliate Faculty member in Piano at the School of Music, College of Undergraduate Studies, Colorado Christian University (CCU), and formerly served as a Senior Instructor at the University of Colorado – Denver (UCD). She holds a DMA in Piano Performance and Pedagogy from the University of Colorado at Boulder and Almaty State Conservatory, an MMA and B.A. from St. Petersburg Conservatory. Her research and professional interests center on piano performance across classical, jazz, and modern styles, music pedagogy, and the integration of technology in music. She is deeply committed to music education, particularly for young musicians, having founded the Colorado Youth Music Festival and participated in the International Lyric Academy in Italy. Her scholarly work includes publications on French Impressionism and chamber music history, with a forthcoming book on Chopin’s Etudes. The recent creative works of Dr. Moreland span performance albums and analytical writings, reflecting a strong trajectory in both artistic expression and musicological inquiry, particularly in Romantic and Impressionist piano repertoire, performance practice, and educational frameworks. Scientific Awards: Global Music Award for Solo Album 'Debussy, Preludes Volume 2' (2023) Global Music Award for Chamber Music Album 'Irina Moreland Live' (2023) Dr. Moreland has been instrumental in academic program development, including establishing the sister institution framework with the International College of Beijing and founding the UCD Music Media Lab. She mentors students at both pre-college and university levels, with her students achieving top honors in national competitions. She is an active member of the Music Teachers National Association and continues to support current and former CCU music students. She leads and contributes to various musical initiatives, including the Colorado Youth Music Festival and the UCD Music Media Lab, which emphasize innovation in music education and performance technology. Her ongoing performance engagements, including at Carnegie Hall and the upcoming Kaufmann Center concert, underscore her active role in the professional music community.

Mattias SköldView profile

Associate Professor

• Music Notation
• Sound Art
• Composition
• +6 more

Mattias Sköld is a Swedish composer and sound artist currently serving as Director of Studies for composition and Programme Director for all composition programmes at the Royal College of Music in Stockholm (KMH). He successfully defended his PhD thesis titled 'Sound Notation: The visual representation of sound for composition and analysis' in June 2024 at KMH, with Professor Craig Vear from University of Nottingham as opponent and a committee including Professors Cat Hope, Palle Dahlstedt, Jason Noble, and Erkki Huovinen. His research primarily focuses on prescriptive notation, particularly notation for live-electronics and graphic notation. He is expanding his experimental notation research to include action notation, beginning with a study on notation for live-electronics ensembles in collaboration with colleague Mattias Petersson. He is also deeply involved in the development of the CoPeCo master program, a collaboration between music colleges in Stockholm, Tallinn, Lyon and Hamburg. Sköld's compositional work spans choral music, electroacoustic compositions, and algorithmic composition. His recent works include 'We Know Not Where the Dragons Fly' (part of the 2024 Eric Ericson Award semi-finals repertoire), 'Requiem' (performed by Italian choir Armonici Senza Fili in Bologna), and 'In the beginning' (presented at Nordic Music Days in Reykjavik). He has also contributed to the Halffloor sonic artwork project with his piece 'Epiphany'. Musikföreningen i Stockholm's annual scholarship recipient Member of STIM's committee for promoting musical diversity and copyrights Participant in TENOR conferences on music notation technologies As Programme Director, Sköld is actively developing new syllabi for KMH's composition master programme and has been involved in PhD defences, including serving on Fernando Garnero's committee. His position at KMH allows him to balance administrative duties with research time and composition work, maintaining a productive career across multiple domains of music creation and scholarship.

• Environmental Design
• Art Education
• Regional Revitalization
• +3 more

Professor Takeyoshi Ishimatsu at Nagoya Institute of Technology's College of Engineering, Social Engineering Department (Architecture & Design Field), holds a Doctorate in Engineering (2015). His work bridges environmental design, art education, and regional revitalization through community-university collaborations. Doctor (Engineering), Nagoya Institute of Technology (2015) Professional Memberships: Institute of Environment Art and Design, Japan Society of Basic Design and Art Research focuses on environmental design with emphasis on regional revitalization through art , educational design workshops , and human-environment interaction . His recent studies explore balance toy-inspired kinetic design, cross-modal sensory experiences in origami and electric guitar aesthetics, and STEAM education applications in personal fabrication workshops. Scientific awards include: Japan Society of Basic Design and Art 2014 Young Researcher Award Nagoya Institute of Technology Staff Award (2017) Japan Society of Basic Design and Art 2014 Research Encouragement Award Contributions span: Principal investigator for art festival projects funded by NPO法人越後妻有里山協働機構 (2024, 2022) Collaborative research with companies like 株式会社伊藤商店 Media coverage in 毎日新聞, 十日町新聞社, and TV programs

Andrew LewisView profile

Professor

• Electroacoustic Composition
• Music Technology
• Sonic Arts
• +5 more

Professor Andrew Lewis is an esteemed academic and composer at Bangor University , serving as Professor of Composition and Associate Dean of Research in the School of Language, Culture and the Arts. His work bridges electroacoustic composition , music technology , and sonic art , with a focus on sound materiality and technological mediation. He actively supervises PhD students in composition, emphasizing acoustic music and technology-integrated performance . Education: PhD in Composition (University of Birmingham, 1991) PGCE in Music Education (Birmingham City University, 1991) BMus (Hons) (University of Birmingham, 1984) Fellow of the Learned Society of Wales (2024) Research Interests center on acousmatic music , data sonification (e.g., climate change in Two Lakes ), and cultural-aesthetic inquiry (e.g., Lexicon on dyslexia). His compositions often explore perception-cognition dynamics and technology’s role in musical identity . Recent Articles span acousmatic and instrumental-electronic hybrid works , reflecting trends in spatial audio , environmental data translation , and historical instrument reimagining . Collaborations with institutions like the BBC National Orchestra of Wales and grants from the Wellcome Trust and AHRC highlight his interdisciplinary impact. Scientific Awards Elected Fellow, Learned Society of Wales (2024) PRIX CIME 2023 (International Confederation of Electroacoustic Music) Leverhulme Research Fellowship (2016) Destellos Prize (Mar del Plate, Argentina, 2017) Prix International de Composition Électroacoustique KLANG! (2018) Advising & Grants include supervision of 6 PhD projects (e.g., Exploring Engagement in Technologically Mediated Music ) and leadership in 4 funded initiatives like the Wellcome Trust Lexicon project and AHRC Spatial Audio grant . Labs & Teams include directing Electroacoustic WALES , a collective of composers promoting electroacoustic music, and contributing to Bangor University’s Electroacoustic Music Studios .

Deniz PetersView profile

Professor

• Artistic Research
• Music Aesthetics
• Musical Empathy
• +5 more

Deniz Peters is a Professor at the University of Music and Performing Arts Graz (KUG) in Austria, serving as Head of the Artistic-Scientific Doctoral School KWDS, Chair of Curricula Commission XIII for Dr.artium, and Co-Head of the FWF Project P 34449 'The Epistemic Power of Music'. His academic position is centered at the Center for Artistic Research in Graz, Austria. Peters is an artistic researcher in music with a focus on expression, empathy, improvisation, and the theory and methods of artistic research. His approach of 'artistic exploration towards conceptual refinement' combines artistic practice with aesthetic and phenomenological inquiry. His research examines how musical experience confronts listeners with emotions that may not be their own, distinguishing between musical and social empathy. His scholarly work investigates the relationship between embodiment and musical experience, particularly in electronic music contexts where the coupling of action and sound generation is altered or effaced. Peters' publications reveal how composers', performers', improvisers' and listeners' bodies, as well as works' and technologies' figurative bodies, serve as rich sources of expressive articulation that reclaim performativity. His research projects include the Embodied Generative Music (EGM) project, which explores interactive performance environments and the relationship between dance and sonic perception. Peters' publications span interdisciplinary perspectives including aesthetics, philosophy of mind, phenomenology, dance, interactive performance arts, sociology, computer music, and sonic arts. Head, Artistic-Scientific Doctoral School KWDS Chair, Curricula Commission XIII – Dr.artium Co-Head, FWF Project P 34449 – The Epistemic Power of Music

Christian FenneszView profile

Lecturer

• Electronic Music
• Experimental Composition
• Sound Art
• +3 more

Christian Fennesz is a renowned Austrian guitarist, composer, and electronic musician who joined the Faculty of Performing Arts at the Music and Arts Private University of the City of Vienna as a lecturer in September 2019. Widely recognized as a key figure in electronic music, his innovative work combines traditional guitar techniques with advanced digital signal processing to create unique symphonic soundscapes. He is particularly known for his critically acclaimed albums that have redefined the perception of electronic music. As a lecturer, Fennesz contributes to the university’s mission of exploring new musical expressions and integrating technology with artistic performance. His teaching likely bridges his practical expertise in electronic music with academic frameworks. Research & Artistic Contributions : Fennesz’s work focuses on the intersection of guitar-based composition and electronic music production. His albums demonstrate pioneering approaches to: Transforming analog instruments through digital manipulation Creating immersive ambient environments Developing glitch and microsound aesthetics Integrating mathematical sound patterns Exploring non-linear audio editing Advancing real-time sound processing techniques Scientific Awards : Prix Ars Electronica (for Hotel Paral.lel , 1997) Collaborations & Projects : Fennesz has collaborated extensively with diverse artists including Ryuichi Sakamoto, David Sylvian, Keith Rowe, and Mike Patton. He was a member of the improvisational trio Fenn O'Berg with Peter Rehberg and Jim O'Rourke. His recent works continue to push the boundaries of electronic music through innovative studio releases and live performances.

• Contemporary Music Interpretation
• Percussion Performance
• Electronic Instrumentation
• +3 more

Michael Pattmann is a part-time lecturer in Percussion at the Faculty of Instrumental Training, Folkwang University of the Arts. He specializes in contemporary music interpretation and modern percussion techniques, combining acoustic instruments with electronic systems. Position: Part-Time Lecturer (Honorarprofessor) for Percussion Faculty: Instrumental Training Institution: Folkwang University of the Arts Specialization: Contemporary music performance, electronic instrumentation His research and performance focus includes: Expanding percussion instrumentarium through electronic systems Interpretation of 20th/21st century compositions Collaboration with contemporary composers Improvisational approaches in ensemble settings Michael has performed internationally across Europe, Japan, South Korea, and Latin America, with recordings for radio/television and multiple chamber music collaborations. He teaches at Stockhausen Courses and has been active with new music ensembles since the 1990s. Key affiliations: e-mex neue Musik ensemble (since 1999) oh ton-ensemble Oldenburg (programmatic co-responsibility) ensemble aposthrophe (electronics/trumpet/percussion trio) mp6-multipercussion-ensemble (artistic director)

Leah ReidView profile

Assistant Professor

• Music Composition
• Electroacoustic Music
• Sound Art
• +3 more

Dr. Leah Reid is an Assistant Professor of Composition at the University of Virginia , where she teaches courses in composition and technology. Her work bridges music composition , electroacoustic music , and sound art through explorations of timbre, space, and perception. D.M.A. and M.A. in Music Composition, Stanford University B.Mus, McGill University Reid’s research focuses on the perceptual modeling of timbre and its applications in creating immersive soundscapes. She has developed a multidimensional timbre model to explore relationships between reverberant space and timbre , often using interactive sound installations and electroacoustic techniques . Her recent articles/compositions emphasize spectral density , timbral transformation , and spatial audio design . Reid is a Vice President of the International Alliance for Women in Music (IAWM), Vice President for Programs and Projects for the Society of Electroacoustic Music in the United States (SEAMUS), and Artistic Director of the Boston New Music Initiative (BNMI). She has received commissions from ensembles including Accordant Commons , Jack Quartet , and Yarn/Wire , with presentations at international festivals such as ICMC , ManiFeste , and Tilde New Music Festival . 2022 Guggenheim Fellowship American Prize in Composition Pauline Oliveros Award (IAWM) Fellowships from MacDowell, Yaddo, and Copland House Her collaborative projects and educational outreach highlight her engagement with emerging composers and technology-driven music . Reid’s works are published by Ablaze Records, New Focus Recordings, and BabelScores, reflecting her influence in contemporary acousmatic and electroacoustic circles.