Find Academic Supervisors

Matthew SantaView profile

Professor

• Music Theory
• Post-Tonal Analysis
• Diatonic Set Theory
• +4 more

Matthew Santa serves as Professor of Music Theory and Chair of the Music Theory and Composition Area at Texas Tech University School of Music, with prior teaching appointments at Queens College and Hunter College. His leadership shapes curriculum development and academic initiatives within the department. Academic credentials include advanced degrees from Louisiana State University and The City University of New York, establishing foundational expertise in theoretical frameworks and analytical methodologies. Research focuses on post-tonal analysis , diatonic set theory , and parsimonious voice leading , bridging complex theoretical concepts with practical pedagogy. His work integrates popular music analysis and metrical studies, emphasizing accessibility for diverse learners through innovative teaching resources. Publications demonstrate evolving scholarly trends from late-20th century set theory toward contemporary applications in musical form and rhythm. Recent textbooks synthesize Rothstein, Krebs, and Mirka's theories into unified analytical approaches for undergraduate and graduate education. Scientific recognition includes: MTSNYS Young Scholar Award (1998) Mentorship encompasses graduate and undergraduate students across composition and theory disciplines, though specific advisees aren't documented in source materials. No grant funding details appear in available records. Collaborative projects include the Flute/Theory Workout series with Lisa Garner Santa and Thomas Hughes, blending performance technique with theoretical concepts through MIDI accompaniment systems.

Gary ScavoneView profile

Professor

• Music Technology
• Musical Acoustics
• Acoustical Signal Processing
• +3 more

Dr. Gary Scavone is a Professor and Department Chair in the Music department at McGill University's Schulich School of Music. He holds a PhD in Computer-Based Music Theory & Acoustics and MS in Electrical Engineering from Stanford University, alongside degrees from Syracuse University in Music and Electrical Engineering. His research focuses on music technology, including acoustic modeling, sound synthesis, and instrument design. He directs the Computational Acoustic Modeling Laboratory (CAML), which explores advanced techniques for simulating musical instruments and developing software tools. As a saxophonist, he specializes in contemporary concert music performance. Research interests include physically-based sound synthesis, wind instrument acoustics, and digital waveguide modeling. He has contributed to studies on brass and woodwind impedance measurements, violin soundpost dynamics, and free-reed instrument modeling. His work bridges engineering and artistry, with applications in music pedagogy, instrument design optimization, and virtual acoustic replication. Key contributions include open-source projects for wind instrument modeling and the development of tools for automated timbre assessment. His research often combines experimental methods with computational simulations, addressing challenges in both theoretical and applied music acoustics. Current projects focus on deep learning for friction modeling, impedance measurement systems, and cross-cultural instrument analysis.

Helen ReesView profile

Professor

• Chinese music
• Music of ethnic minorities in southwest China
• Ritual music
• +5 more

Helen Rees is Professor of Ethnomusicology at UCLA and Director of the World Music Center, specializing in Chinese musical traditions with emphasis on southwest China's ethnic minorities, ritual practices, and intellectual property frameworks within intangible cultural heritage policies. Her academic foundation includes: B.A. in Chinese, Oxford University, 1987 M.A. in Chinese, Oxford University, 1991 Ph.D. in Music, University of Pittsburgh, 1994 Diploma in flute teaching, Royal College of Music, London Diploma in baroque flute performance, Trinity College, London Diploma in recorder teaching and performance, Trinity College, London Rees's research integrates fieldwork from southwest China and Shanghai to examine tourism's impact on musical traditions, organology (instrument studies), and transnational transmission of Asian musics. Recent scholarship critically engages East Asia's intangible cultural heritage policies and material culture frameworks, reflecting deep interdisciplinary connections between musicology, anthropology, and legal studies. Her publication trajectory reveals consistent focus on Naxi musical traditions and evolving methodological approaches—from historical analysis in Echoes of History (2000) to contemporary multimedia projects like the award-winning documentary Playing the Flute in Shanghai (2021) and the cross-cultural edited volume Instrumental Lives (2024), demonstrating expanding scope from regional studies to pan-Asian material culture networks. Through the World Music Center, Rees bridges academic research and public engagement by facilitating international cultural exchanges at venues including the Smithsonian Folklife Festival, while maintaining active performance practice in Chinese flutes and recorder as integral to her scholarly methodology.

Sławomir KaczorowskiView profile

Professor

• Contemporary Composition
• Instrumental Music
• Choral Music
• +2 more

Professor Sławomir Kaczorowski, Ph.D., has been a faculty member at the Grażyna and Kiejstut Bacewicz Academy of Music in Łódź since 1981, where he teaches composition and served as Head of the Department of Composition from 2011 to 2021. He previously held significant leadership roles including Vice-Rector for Artistic and Teaching Affairs (1999-2005) and Vice-Dean of the Faculty of Composition, Music Theory, Music Education and Rhythmics (1996-1999). His educational background includes diplomas in music theory (1981) and composition under Professor Bronisław Kazimierz Przybylski (1981) from the State Higher School of Music in Łódź. Awarded the title of professor by the President of Poland in 2002, he remains an active academic leader currently serving as chairman of the Art Section of the Polish Accreditation Commission. Kaczorowski specializes in contemporary composition with emphasis on instrumental works, chamber music, and choral compositions. His research interests manifest in diverse output featuring piano, accordion, and mixed ensembles, with notable focus on tango-inspired forms and liturgical reinterpretations. He pioneered the MUSICA MODERNA sessions promoting new music through biannual concerts and lectures. Analysis of his 15 most recent compositions reveals consistent exploration of Polish contemporary classical traditions with strong emphasis on instrumental timbre, cross-genre fusion (particularly tango elements), and innovative approaches to sacred music forms. His works demonstrate technical mastery across diverse ensembles from solo piano to full orchestral settings. Silver Medal for Merit to Culture – Gloria Artis (2021) Numerous national composition competition awards Jury membership at international competitions including the T. Baird Young Composers' Competition (Warsaw 2018) and National Association of Composers USA competitions (2017-2018) Professor Kaczorowski has mentored award-winning composers including Grzegorz Duchnowski and Tomasz Szczepanik. His institutional leadership includes directing the Grażyna Bacewicz International Composition Competition (2012, 2015, 2019) and serving as president of the Łódź Branch of the Polish Composers' Union until 2022. He maintains active artistic engagement through premieres across Europe, China, and the United States. His creative work is organized through departmental initiatives including the Department of Composition's performance series and collaboration with the Artur Rubinstein Łódź Philharmonic. Current activities focus on expanding Polish contemporary music's international presence through competitions and cross-border artistic exchanges.

Christopher CastroView profile

Assistant Professor

• Music Composition
• Music Theory
• Western Art Music
• +3 more

Christopher Castro serves as an Assistant Professor of Composition at Chapman University's College of Performing Arts. A composer and double bassist from Brooklyn, New York, he combines academic rigor with avant-garde experimentation. Ph.D. in Composition and Theory from University of California, Davis Bachelor of Music from Juilliard School (Double Bass & Composition) His research bridges Western Art Music traditions with contemporary innovations , creating works that merge: Johannes Ockeghem's polyphonic complexity John Coltrane's spiritual intensity Modernist structural experimentation Historical reconstruction techniques Jazz-classical hybrid forms Interdisciplinary performance formats Recent compositions demonstrate trends in flexible instrumentation , text-music relationships , and genre synthesis . His output spans chamber works, orchestral pieces, and vocal compositions with equal mastery. Scientific recognition includes: 2023 Fromm Music Foundation Commission (Harvard University) Chamber Music America's 2021 Classical Commissioning Award As a new music advocate , Castro collaborates with ensembles like: Left Coast Chamber Ensemble (artistic advisory board) New Mexico Contemporary Ensemble Los Angeles Philharmonic's Upbeat Live series Lyris Quartet and Sharon Harms

Naomi MatsumotoView profile

Professor

• Opera Studies
• Music History
• Baroque Period
• +4 more

Dr. Naomi Matsumoto is a Reader in Music at Goldsmiths, University of London , specializing in opera studies, music historiography, and Baroque performance practices. She serves as Convenor of the Integrated Degree in Music and International Admissions Tutor, bridging academic administration with research leadership. Key affiliations: Royal Musical Association, Society for Seventeenth-Century Music, Japan Musicological Society Fellowships: Royal Society of Arts, Royal Historical Society Research Interests include: Operatic madness from Monteverdi to Donizetti Baroque performance conventions and manuscript studies Transnational reception of Western opera in Japan Interdisciplinary work with medical history and cultural studies Her publications focus on Lucia di Lammermoor , Carmen , and Madama Butterfly , examining their cultural adaptations and diagnostic representations. Recent projects explore Wagner's influence on Japanese theatre and Bess of Bedlam's identity crisis. Scientific Awards : Overseas Research Scholarship British Federation of Women Graduates Award Gladys Krieble Delmas Foundation Award Daiwa Anglo-Japanese Foundation Award Japan Society for the Promotion of Science Award Royal Musical Association Prize As an educator , she supervises areas in 17th-19th century Italian opera, intercultural reception studies, and Baroque performance. She contributes to critical editions and liner notes for major musical releases.

Steven D. ZohnView profile

Professor

• Musicology
• Baroque Music
• Bach Family
• +6 more

Steven D. Zohn is the Laura H. Carnell Professor at Temple University’s Boyer College of Music and Dance. He holds a PhD and MA in musicology from Cornell University and an AB in music from Vassar College. As a leading Telemann scholar, his research spans intersections of style and genre, print culture, reception history, domestic music-making, historical performance practices, and music as intellectual property. PhD, Musicology, Cornell University MA, Musicology, Cornell University AB, Music, Vassar College Zohn’s research emphasizes Telemann’s instrumental works, sacred vocal music, and cultural contexts, as well as Bach family studies and Enlightenment-era salon culture. His publications include influential books like Music for a Mixed Taste and Telemann Studies , alongside critical editions and articles in Journal of the American Musicological Society and Oxford Handbooks Online . In 2022, he received the Georg Philipp Telemann Award from Magdeburg for his contributions to Telemann research. Other accolades include the Noah Greenberg Award and the William H. Scheide Prize. He co-edits the Bach Perspectives series and serves on editorial boards, including Telemann’s Musikalische Werke . Zohn also performs on historical flutes with ensembles like Night Music and Philadelphia Bach Collegium, with recordings on Acis, Avie, and Chandos labels. His courses explore domestic musicking, Bach’s cantatas, and unaccompanied instrumental works.

• Music Composition
• Ethnomusicology
• Music Psychology
• +3 more

Dr. John Hails is a Senior Lecturer and Reader in Music at Edinburgh Napier University , where he teaches aesthetics, music psychology, composition, and ethnomusicology. He holds a PhD in Music from Durham University (2008) and has trained under notable composers like Brian Ferneyhough and Richard Barrett. His research focuses on experimental composition, marginal musical practices, and interdisciplinary aesthetics. Educations: Bachelor’s and Master’s training at Durham University and University of Huddersfield PhD by Portfolio of Compositions (Durham University, 2008) Research Interests: John’s work explores unorthodox intonations, fixed media installations, and the intersection of composition with philosophy and ethnomusicology. He actively presents at international conferences on topics like post-structuralist critiques in music education and communal performance practices. Notable Works: His compositions have been performed by ensembles like the London Sinfonietta and broadcast on BBC Radio 3. Key pieces include enlightenment (microtonal trumpet and media) and Nine for ones in nine , reflecting his experimental approach. Awards & Grants: While no explicit awards are listed, his research is funded by Edinburgh Napier University. He is a core member of the Applied Music Research Centre . Supervision & Grants: He has supervised over 15 postgraduate projects, including PhDs on topics like Musical Cultures of Melanesia and Dialogical Music Systems . His supervisory roles span composition, ethnomusicology, and interdisciplinary studies. Labs/Teams: Active in the Applied Music Research Centre , focusing on creative practice and experimental music dissemination.

Andrew KillickView profile

Senior Lecturer

• Ethnomusicology
• Korean Traditional Music
• World Music Analysis
• +4 more

Dr Andrew Killick is a Reader in Ethnomusicology at the University of Sheffield’s School of Languages, Arts and Societies, and Director of the MA in Traditional and World Music (distance learning). His research focuses on Korean traditional music, global notation systems, and world music analysis. He holds a BMus from the University of Edinburgh, an MA from the University of Hawaii, and a PhD from the University of Washington, with extensive fieldwork in Korea. His work emphasizes holistic musicological approaches, including the development of Global Notation , a universal music transcription system. He has published widely on topics such as Korean musical theatre (Ch’angguk), Hwang Byungki’s compositions, and cross-cultural musical analysis. Killick has supervised over 20 PhD students, covering diverse topics from Nigerian popular music to Cretan flute adaptations. Key research areas include ethnomusicological methodology, the interconnectedness of global musical traditions, and the role of notation in preserving cultural heritage. His recent projects explore how musical ideas spread through cultural contact and aim to challenge Eurocentric narratives in world music studies. Education: PhD in Music (Ethnomusicology), University of Washington, 1998 MA in Music (Ethnomusicology), University of Hawaii, 1990 BMus in Music, University of Edinburgh, 1984 Professional Roles: Co-editor, Yearbook for Traditional Music (2007–2010) President, Association for Korean Music Research (2000–2002) Notable Publications: Hwang Byungki: Traditional Music and the Contemporary Composer (2013) In Search of Korean Traditional Opera: Discourses of Ch’angguk (2010) Co-author of Garland Encyclopedia of World Music, Vol. 7: East Asia (2002) Labs/Initiatives: Founder of Global Notation , a project promoting culturally inclusive music transcription

• Music Performance
• Flute
• Wind Instruments
• +3 more

Aslıhan And serves as an Associate Professor in the Music Department of Istanbul State Conservatory at Mimar Sinan Fine Arts University, specializing in Wind and Percussion Instruments with emphasis on flute performance. Education: Licence (2004-2008): Mimar Sinan Fine Arts University, Istanbul State Conservatory, Department of Music, Wind and Percussion Instruments Program Degree (2013-2016): Hochschule für Musik und Theater Hamburg, Music (Transverse Flute) Proficiency in Arts (2018-2021): Mimar Sinan Fine Arts University, Institute of Fine Arts, Wind and Percussion Instruments Language Proficiency: English (YDS score 68.75, 2016) Research and Performance Focus: Her expertise centers on advanced techniques in transverse flute performance within both classical and contemporary frameworks. She explores pedagogical methodologies for wind and percussion instruments while contributing to the evolution of performance practices in Turkish musical contexts. Her work bridges traditional conservatory training with modern interpretative approaches, particularly in solo and ensemble wind instrument repertoire.

Vincent RocaView profile

Researcher

• Privacy
• Robust Content Distribution
• Transport Protocols
• +6 more

Vincent Roca is a permanent researcher at Inria , a French national research institute for digital science and technology. Since 2019, he leads the Privatics research team focusing on privacy, previously part of the Planete team (2000-2012) for Internet protocols and applications. His work spans Privacy in smartphones, IoT, and web browsers Design of the ROBERT and CLEA protocols for the French TousAntiCovid app Standardization in IETF working groups, notably on FEC and network coding Co-author of Inria's cybersecurity white book (2019) Instructor of the popular Privacy in the digital world MOOC (14,006 participants) Research Interests include privacy risks in digital technologies, robust content distribution via FLUTE/ALC transport protocols and LDPC-Staircase FEC codes, and network coding for scalable services. His articles focus on privacy in LoRaWAN, contact tracing protocols, GDPR compliance, and FEC optimization. Scientific Awards include the Third Applied Research Price from FIEEC (2014) Knight Medal of the French Order of Merit (2020) Students supervised include PhD candidates in privacy-preserving IoT, secure authentication, and alumni like Samuel Pelissier (LoRaWAN privacy) and Michael Toth (GDPR compliance). Software Contributions include openfec.org (AL-FEC codes) and FLUTE/ALC implementations .

Karl-Heinz SchützView profile

Professor

• Classical Music Performance
• Flute Pedagogy
• Orchestral Studies
• +3 more

Karl-Heinz Schütz is a Professor at the Music and Arts University of the City of Vienna (since 2005) and serves as principal flautist of the Vienna Philharmonic and Vienna State Opera since 2011. He previously held principal positions with the Vienna Symphony Orchestra (2005-2011) and Stuttgart Philharmonic Orchestra (2000-2004). His career spans solo performances with renowned orchestras globally and collaborations with conductors like Daniel Barenboim and Sir Neville Marriner. Education: Studied at Vorarlberg State Conservatory, Basel with Aurèle Nicolet, and Lyon Conservatory (CNSM de Lyon, 2000). Won Carl Nielsen (1998) and Krakow (1999) flute competitions as a student. Artistic Activities: Performs at festivals including Salzburg Festival, Rheingau Music Festival, and Galway Festival. Leads masterclasses at institutions like CNSM Paris, Juilliard School, and Tokyo’s CAMERATA. Artistic director of Landeck’s HORIZONTE festival since 2013. Recordings: Released works by Bach, Brahms, Hindemith, and contemporary composers through labels like CHANDOS and CAMERATA Tokyo. Specializes in Baroque to avant-garde repertoire.

Harry BulowView profile

Professor

• Music Theory
• Composition
• Electronic Music
• +3 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.

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 .

Stefan HagelView profile

Research Fellow

• Ancient Greek Music
• Music Archaeology
• Musical Instrument Reconstruction
• +3 more

Stefan Hagel is a Research Fellow at the Austrian Academy of Sciences and Privatdozent at the University of Vienna, specializing in ancient Greek and Roman music. His work bridges archaeology, philology, and digital reconstruction to analyze ancient musical instruments, notation systems, and performance practices. His research focuses on: Reconstruction of auloi (double-pipes) and hydraulis (water organs) Computational analysis of instrument acoustics Cross-cultural transmission of musical technologies Ancient harmonic theory and notation decipherment He leads major projects including Ancient Music Beyond Hellenisation (ERC Advanced Grant), Digitising Aspects of Graphical Representation in Ancient Music (FWF), and the European Music Archaeology Project . Hagel has developed specialized software for instrument analysis and serves as editor for the Journal of Music Archaeology . His publications demonstrate consistent focus on technical aspects of ancient music through interdisciplinary methodologies.