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Martin JonesView profile

Professor

• Piano Performance
• Chamber Music
• Film Music Composition
• +3 more

Martin Jones is a Professor in the Department of Music at Augusta University's Pamplin College of Arts, Humanities, and Social Sciences. With a DMA in Keyboard Instruments from Johns Hopkins University (1993), he specializes in piano performance, film music composition, and chamber music pedagogy. B.M. in Music from California State University (1988) M.Mus. in Keyboard Instruments from Johns Hopkins University (1990) His research focuses on keyboard repertoire interpretation, with recent publications including French Four Hand Piano Music (2023) and analytical studies of Rachmaninoff and Debussy's piano works. He also contributes to cinematic music through original film scores like Ensorcelled (2020) and Augusta Gives Back to the Future (2020). As a performer, Professor Jones has presented solo recitals featuring classical and contemporary works. His scholarship demonstrates expertise in both traditional piano pedagogy and innovative applications of music in visual media. He has served as a reviewer for professional organizations since 2015.

Andrzej Mikołaj SzadejkoView profile

Professor

• Musicology
• Organology
• Historical Performance Practice
• +3 more

Andrzej Mikołaj Szadejko is a Professor at the Academy of Music in Gdańsk and a visiting professor at institutions in Germany, Finland, and the USA. As a composer, conductor, organist, and musical organizer, he maintains an active international career spanning over three decades with performances across Europe and North America. His academic foundation includes graduate studies at the Academy of Music in Warsaw and the Hochschule für Alte Musik Schola Cantorum Basiliensis in Basel, Switzerland, complemented by 30 master classes across Europe. His scholarly pursuits focus on historical organology, Baroque performance practice, and sacred music, with specialization in Pomeranian composers from the Baltic region. Szadejko's research manifests through premiere recordings of rare Baroque works, particularly in the acclaimed Musica Baltica and Gdańsk Organ Landscape series. These projects bridge musicology and performance, emphasizing historical authenticity in organ construction and vocal interpretation. His output reveals consistent focus on liturgical contexts, Baltic musical heritage, and the intersection of organology with compositional practices. Scientific recognition includes: Winner of multiple international organ competitions Opus Klassik award (2022) for Best World Premiere Nominations for Fryderyk awards As founder and director of the Goldberg Baroque Ensemble, Szadejko mentors musicians in historical performance techniques while securing institutional support through scholarships from Polish and international bodies. His organizational leadership extends to major festivals like ORGANy PLUS+ and Moniuszko initiatives, demonstrating commitment to community engagement. Szadejko serves as curator of the organ at St. John's Center in Gdańsk and consults on organ projects across three countries, maintaining active roles in both academic and public musical spheres.

Natalia HyżakView profile

Adjunct Professor

• Historical Performance
• Musicology
• Baroque Music
• +3 more

Natalia Hyżak is an Adjunct Professor at the Institute of Instrumental Studies, Paderewski Academy of Music in Poznań, specializing in harpsichord performance and historical interpretation practices. She has earned a doctorate (2017) and master's degree (2008) in instrumental studies from the Paderewski Academy, complemented by a Master in harpsichord from Haute Ecole de Musique de Genève (2011). Doctorate: Paderewski Academy of Music in Poznań (2017) Master's: Paderewski Academy of Music in Poznań (2008) Master's: Adam Mickiewicz University, Poznań (2008) in Polish philology with specialization in film studies, TV, and media culture Master's: Haute Ecole de Musique, Geneva (2011) Her research focuses on historical performance practices, Baroque music, and chamber ensemble methodologies. She actively collaborates with international institutions like the International Institute of Ancient Music in Vannes (France) and the Canto Fiorito early music ensemble. Hyżak has received prestigious awards including the 2013 Paderewski Academy Rektor's Award and the 2011 Michel et Marinette Extermann Prize in Switzerland. She has coordinated international academic collaborations since 2012. She teaches courses on figured bass, historical music treatises, improvisation, harpsichord techniques, and historical performance practices. Her expertise bridges artistic performance with academic pedagogy.

Joanna BalewskaView profile

Adjunct Professor

• Instrumental Studies
• Classical Piano
• Harpsichord Performance
• +4 more

Joanna Balewska, Adjunct Professor at the Institute of Instrumental Studies (Paderewski Music Academy in Poznań), is a distinguished pianist and harpsichordist specializing in chamber music and instrumental accompaniment . With habilitation awarded in 2018, she combines academic duties with active performance and pedagogical roles at Poznań's Secondary General Music School. Her career spans from baroque to contemporary works, particularly focusing on wind instrument collaborations and Polish compositions. Academic Affiliation: Paderewski Music Academy in Poznań Specializations: Piano, Harpsichord, Chamber Music Key Collaborations: Poznań Philharmonic, Łódź Music Academy, Polish National Heritage institutions Her research and practice emphasize cross-cultural musical synthesis , evidenced by projects like the Tôn-Thât Tiêt recordings and Balkan contemporary music collaborations. She has participated in doctoral committees and international masterclasses with renowned artists including Robertas Beinaris and Maurice Bourgue. Scientific recognitions include multiple teaching awards and the prestigious 2013 Zasłużony dla kultury polskiej distinction. Her discography spans modern compositions for saxophone/piano, oboe/keyboard, and operatic music applications, reflecting her commitment to expanding instrumental repertoire through performance-based scholarship.

• Music Performance
• Music Education
• Classical Music
• +3 more

Anneleen Lenaerts has been a lecturer at the Music and Arts Private University of the City of Vienna since September 2023. Her work spans multiple disciplines within music and performing arts, including keyboard instruments, vocal training, and ensemble coordination. She contributes to programs such as piano, composition, orchestral conducting, and historical performance practices. Her role involves teaching, mentoring, and fostering artistic development in both classical and contemporary contexts. As part of the university's faculty, she engages with areas like musicology, pedagogy, and collaborative performance, reflecting the institution's interdisciplinary focus. This aligns with the broader priorities of the university in advancing music and arts education through rigorous academic and practical training.

Naoko AkutagawaView profile

Lecturer

• Early Music
• Baroque Music
• Chamber Music
• +3 more

Naoko Akutagawa serves as a repetiteur specializing in harpsichord at the University of Music Würzburg (Hochschule für Musik Würzburg), Germany. Her office is located in the Bibrastraße building (Room B 109), with consultation hours by appointment. She operates within the Department of Chamber Music and Repetiteur under the institution's teaching faculty structure. Her expertise centers on historical performance practices with emphasis on: Baroque-era keyboard repertoire and techniques Vocal and instrumental accompaniment for early music Chamber music coaching across historical periods Harpsichord pedagogy and continuo realization No publications or scientific awards are documented in institutional records. Her role focuses on practical coaching rather than academic research output, with no publicly listed advisees or formal students. She actively supports vocal and instrumental training through collaborative performance practice within the conservatory environment.

Lambert T. OrkisView profile

Professor

• Collaborative Piano
• Chamber Music
• Period Instrument Performance
• +3 more

Lambert T. Orkis serves as Professor of Keyboard Studies at Temple University's Boyer College of Music and Dance, internationally renowned for collaborative piano performances on period and modern instruments through partnerships with Anne-Sophie Mutter (since 1988) and Mstislav Rostropovich (11+ years). Education: Master of Music (MM), Temple University Diploma, [Institution unspecified] Bachelor of Music (BM), Curtis Institute of Music His artistic focus bridges historical performance practice and contemporary repertoire, specializing in collaborative piano across solo recitals, chamber ensembles, and period-instrument trios. As founding member of The Kennedy Center Chamber Players and Castle Trio, he champions works from Baroque to modern eras while premiering compositions by Crumb, Wernick, and Primosch. His performance philosophy integrates technical mastery with deep stylistic interpretation across diverse acoustic contexts. Recent recordings like "From Hammers to Bytes" (2002) and "Recital 2000" reveal his dual commitment to 20th-century avant-garde works and historical performance exploration, particularly through period-fortepiano interpretations of Beethoven and Gottschalk. Award highlights: Grammy Award for Best Chamber Music Performance (Beethoven sonatas with Mutter) Choc de l'année award (Mozart sonatas with Mutter) Three Grammy nominations Germany’s Cross of the Order of Merit Temple University Faculty Creative Achievement Award No verifiable information exists regarding student advising or research grants in the source material, though his role as clinician/adjudicator suggests pedagogical engagement. Orkis co-founded The Kennedy Center Chamber Players and Castle Trio (period instruments), performing with Vertavo, Emerson, and Curtis string quartets while serving as Principal Keyboard of the National Symphony Orchestra (Washington, D.C.). His current artistic work emphasizes cross-era dialogue through period-instrument recordings and contemporary commissions.

Daniel-Ben PienaarView profile

Professor

• Classical Piano Performance
• Historically Informed Performance Practices
• Early Music on Modern Instruments
• +3 more

Daniel-Ben Pienaar is a Professor at the University of London and an Extraordinary Professor at the University of Stellenbosch, renowned for his unconventional interpretations of German classical piano repertoire. He holds a Fellowship at the Royal Academy of Music, where he lectures and supervises doctoral students exploring historical recordings, canonical repertoire relevance, and performance practice critiques. His discography includes groundbreaking recordings of pre-Bach keyboard works (e.g., Orlando Gibbons, Gaspard Le Roux) and complete cycles of Haydn, Mozart, Beethoven, and Schubert sonatas. He advocates for early music performed on modern pianos, challenging Historically Informed Performance norms while innovating in recording aesthetics through self-production techniques. Awarded the Queen’s Commendation (1997), Pienaar’s work emphasizes experimental studio practices, technical expressivity, and the interplay between personal artistic identity and performance craft. He critiques pedagogical orthodoxies and reimagines the role of canonical works in contemporary practice.

Sinae LeeView profile

Lecturer

• Piano Performance
• Classical Music
• Romantic Music
• +3 more

Sinae Lee is a Lecturer in Keyboard Studies & Collaborative Piano at the Royal Conservatoire of Scotland (RCS), UK. She is an internationally recognized pianist renowned for performances with orchestras such as the Royal Scottish National Orchestra and Korean Symphony Orchestra. Her roles include soloist, chamber musician, and educator, with expertise in Romantic and contemporary repertoires. Education: South Korean-born, she studied at Yewon School, Seoul Arts High School, Seoul National University (BA with Distinction), and RCS (MMus with Distinction via Inches Carr Trust scholarship). Mentors included Hwa-Young Yi, Philip Jenkins, and others. Research interests focus on piano performance, particularly Karol Szymanowski and Franz Liszt. She recorded the first complete Szymanowski piano works (2006) and celebrated Liszt’s bicentenary with the Années de pèlerinage cycle (2012). These albums received critical acclaim, including Gramophone and BBC benchmarks. Awards span competitive victories (London Intercollegiate Beethoven) to prestigious recording accolades. She collaborates with ensembles like Glasgow New Music Expedition and adjudicates major competitions including Eurovision Young Musicians and BBC Young Musician.

Elizaveta MillerView profile

Assistant Professor

• Early Music
• Historical Performance Practice
• Keyboard Instruments
• +3 more

Elizaveta Miller is an Assistant Professor and Area Coordinator (Early Music & Harpsichord) at McGill University's Schulich School of Music. She specializes in historical keyboard instruments, including harpsichord, fortepiano, clavichord, and organ, with a repertoire spanning six centuries of music. Previously, she held a 9-year teaching position at the Moscow State Conservatory's historical instruments department before leaving Russia in March 2022 in solidarity with Ukraine. Her performances include collaborations with renowned conductors such as Václav Luks and Reinhard Goebel, and appearances at festivals like Bruges MA Festival and Beethovenfest Bonn. She is a recipient of the 2013 Bruges Musica Antiqua Competition first prize. Her research and performance interests focus on Early Music, historical performance practices, and interdisciplinary connections between historical and contemporary music.

• Historical Performance Practice
• 18th-Century Music
• Opera History
• +6 more

Associate Professor Erin Helyard is a prominent scholar-performer at the University of Sydney's Sydney Conservatorium of Music, specializing in historical performance practice and 18th-century music. He holds an Associate Professorship and is Artistic Director of Pinchgut Opera and Orchestra of the Antipodes, renowned for historically informed performances. His research bridges musicology and performance, focusing on opera history, music-economics intersections, and gender studies in classical music. Educations: Sydney Conservatorium (BMus with honours/medal), McGill University (MMus, PhD) Awards: 3 Helpmann Awards (Best Opera 2015-2017), MAA Achievement Award (2018) Research interests include 17th-19th century opera, Bourdieu's sociological frameworks, music notation history, and feminist musicology. Recent projects include an ARC-funded study on 18th-century print culture and a monograph on Muzio Clementi's piano pedagogy. His performances with leading orchestras and ensembles emphasize interdisciplinary approaches to early music revival. Key grants: ARC Discovery Grant (2017) for transdisciplinary print culture research Collaborations include the Australian Chamber Orchestra and pianist Stephanie McCallum, producing recordings that blend historical scholarship with contemporary performance. He actively supervises HDR students in musicology and performance studies.

Ilia KulikovView profile

Lecturer

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

Ilia Kulikov is a Lecturer in Early Music at the University of the Arts Bremen, specializing in harpsichord, continuo playing, and historical performance practices. His artistic focus includes solo and ensemble performances with renowned groups across Germany, including appearances at Musikfest Bremen, the Greifswalder Bachwoche, and Musicadia Bremen. Master of Arts: Harpsichord and Continuo at Hamburg University of Music and Theatre (2021–2023) Bachelor of Arts: Historical Keyboard Instruments at Bremen University of the Arts (2017–2021) Musicology Diploma: Moscow Conservatory (2012–2017) His research interests center on Baroque performance practices, historical instrument pedagogy, and interdisciplinary approaches to early music interpretation. Notable collaborations include recordings with ensembles like Respiro and NeoBarock Köln. Recent work includes the 2022 chamber music competition victory with Ensemble Caos limitato. He frequently performs in innovative programs such as the 'Schumann 3D: Old music in new ways' event at the University of the Arts Bremen.

Stefan MeyView profile

Professor

• Systematic Music Theory
• Music Analysis
• Music History
• +5 more

Prof. Stefan Mey is a Professor of Music Theory at Hanover University of Music, Drama and Media (HMTMH) since 2001. Previously, he taught at Bismarckschule Hannover (2000-2001) and lectured at HMTMH (1998-2001). He holds a diploma in Music Theory from HMT Hannover and studied music theory, linguistics, and German studies in Hanover and Vienna as a German Academic Scholarship Foundation recipient. His research focuses on systematic music theory, tonality theories, Bach counterpoint, and work analysis methods. He teaches music theory in bachelor's/master's programs and leads interdisciplinary courses on topics like JS Bach’s St. Matthew Passion , Schubert’s Winter Journey , and Gershwin’s compositions. He directs the Bridges of Brass project and supervises the student ensemble FüBrass. Mey also oversees the music theory colloquium, including the podcast Pro and Counterpoint . As a trombonist, he performs with the Norddeutsches BlechbläserCollegium and provides piano/organ accompaniment for chamber and choir concerts. His compositions and arrangements focus on brass ensembles and keyboard instruments.

Karen Hite JacobView profile

Lecturer

• Early Music
• Historical Performance Practice
• Keyboard Instruments
• +3 more

Karen Hite Jacob serves as an Instructor in Performing Arts at Belmont Abbey College, where she has been an artist-in-residence since 2001. Founder and director of the nonprofit ensemble Carolina Pro Musica since 1977, she also directs the Gaston Early Music Series (GEMS) funded by the North Carolina Arts Council since 2017. Masters of Arts in Teaching, University of North Carolina Chapel Hill Bachelors of Music, University of North Carolina Greensboro Her scholarly focus centers on Early Music composition and performance practices predating 1800, with specialized expertise in historical keyboard instruments including harpsichord and organ. Jacob actively promotes contextual understanding of music through her philosophy that "Music is never created in a vacuum," emphasizing historical research into performance venues, liturgical functions, and cultural narratives surrounding musical works. Her work bridges academic study with practical performance through period instrument ensembles. Jacob's publications and reviews in journals like Harpsichord & Fortepiano Magazine and the Historical Keyboard Society of North America newsletter demonstrate consistent scholarly engagement with performance practice trends spanning four decades. Her editorial work for the Southeastern Historical Keyboard Society Newsletter (1981-2011) established her as a key contributor to early music discourse. No formal scientific awards are documented in the provided materials, though her sustained leadership in early music preservation through Carolina Pro Musica represents significant professional recognition. Jacob maintains active advising through her ensemble direction, mentoring musicians in historical performance techniques while securing consistent grant funding including North Carolina Arts Council support for GEMS. Her institutional partnership as artist-in-residence since 2001 demonstrates enduring academic integration. As founder and director of Carolina Pro Musica, Jacob leads a dedicated period instrument ensemble specializing in pre-1800 repertoire. The group maintains a concert series in Charlotte and produces educational content through their YouTube channel, creating a comprehensive ecosystem for early music performance, research, and public engagement that extends her classroom teaching into professional practice.

• Historical Performance
• Musicology
• Keyboard Instruments
• +3 more

Terence Charlston is a distinguished Professor of Harpsichord and Chair of Historical Keyboard Instruments at the Royal College of Music (RCM), London. He holds honorary Fellowship status at the RCM (2020) and is a leading expert in early keyboard instruments, specializing in harpsichord, clavichord, and organ performance. His roles include soloist, conductor, academic researcher, and doctoral supervisor. Charlston’s research focuses on 17th- and 18th-century European keyboard music, counterpoint analysis, and historical performance practices. He has pioneered projects involving rare instruments and manuscripts, such as recordings of Carlo Ignazio Monza and William Byrd’s My Ladye Nevell Booke . As a educator, Charlston has shaped historical performance training at institutions like the Royal Academy of Music, founding its Historical Performance Department in 1995. His publications span musicology, performance practice, and instrument studies, with notable works in Early Music and Clavichord International . He actively promotes clavichord revival through recordings (e.g., Froberger: Complete Fantasias ) and collaborations with ensembles like Florilegium. His current research explores counterpoint as an aural experience, bridging historical analysis and contemporary performance. Awards: Honorary Fellowship of the RCM (2020). Students: Supervises Zsombor Toth-Vajna (doctoral candidate). Key Projects: Phylogenetic analysis of Bach’s Well-Tempered Clavier , editions of Locke’s organ music, and clavichord initiatives at RCM. Charlston’s work integrates scholarly rigor with artistic innovation, positioning him as a pivotal figure in early music revival and academic research.