Find Academic Supervisors

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.

David J. SmithView profile

Professor

• Early Modern Music
• Keyboard Music
• Scholarly Editing
• +3 more

David J. Smith is a Professor and Head of Music in the Department of Humanities at Northumbria University, leading the development of its new Music degree program. Previously, he held the position of Head of Music and Master of Chapel and Ceremonial Music at the University of Aberdeen. His research focuses on early modern English instrumental music, particularly keyboard works of the late 16th and early 17th centuries, with expertise in scholarly editing and historical performance practice. Key topics include the cultural context of keyboard music, religious and political influences on composers like Peter Philips and Richard Dering, and the role of networks in musical transmission. David studied at the University of Oxford as an organ scholar and later pursued graduate studies there. His academic contributions include AHRC-funded research on digital editions of early keyboard music and collaborative projects like Networks of Music and Culture in the Late Sixteenth and Early Seventeenth Centuries. He currently supervises PhD students exploring topics such as Tudor organ design, Arts Council policy, and music theory. A performer himself, he co-founded the baroque ensemble AB24 and has recorded works by Philips and Dering. His publications span musicological analyses, editorial methodologies, and performance studies, with recent works including *Editing English Consort Music* (2024) and studies on Byrd's ornamentation (2023). He actively participates in international conferences and editorial boards, contributing to the Taylor & Francis and Scottish Music Review. David’s work bridges academic research, performance, and editorial practice, reshaping understanding of early English music’s cultural and social dimensions.

Marek ŠtrbákView profile

Assistant Professor

• Organ Performance
• Church Music
• Classical Music
• +3 more

Marek Štrbák is an Assistant Professor at the Academy of Performing Arts in Bratislava's Faculty of Music and Dance, specializing in the Department of Keyboard Instruments. He holds doctoral degrees in artistic studies and philosophy, focusing on the educational and pedagogical roles of organists and church musicians in Germany and Slovakia. His academic background includes studies at the University of Music and Performing Arts in Vienna (with Prof. M. Radulescu), Stuttgart (Prof. L. Lohmann), and Strasbourg (Prof. Ch. Mantoux). He has completed doctoral research at the University of Constantine the Philosopher in Nitra (2014) and artistic doctoral studies at the Academy of Performing Arts Bratislava under Prof. J.V. Michalek (2019). Štrbák is a sought-after organist with extensive international concert activity, collaborating with orchestras like the Slovak Philharmonic and the State Chamber Orchestra Žilina. His repertoire spans all historical periods, emphasizing works by Slovak composers, including premieres of their organ pieces. He has participated in masterclasses with renowned artists such as Jon Laukvik and Lorenzo Ghielmi and is a laureate of major national and international competitions. His artistic activity includes regular performances, masterclasses, and advocacy for Slovak musical heritage. Despite his prolific career, no specific grant or lab affiliations are explicitly mentioned in the text.

• Keyboard Instruments
• Conducting
• Composition
• +8 more

Univ.-Prof. Dr. Bartolo Musil is a Professor at the Music and Arts University of the City of Vienna (MUK), affiliated with the Faculty of Music. He has been active since September 2024 and is involved in academic leadership roles. His professional engagement spans multiple disciplines within music and performing arts. His teaching and research interests include Keyboard Instruments, Conducting, Composition, Jazz (including Jazz-Piano, Jazz-Bass, Jazz-Trumpet, Jazz-Trombone, Jazz-Saxophone, Jazz-Drums, Jazz-Guitar, Jazz-Singing, and Jazz-Composition & Arrangement), Early Music (Harpsichord, Fortepiano, Historical Violin, etc.), Voice and Opera (Solo Singing, Song and Oratorio, Opera, Classical Operetta), Musical Theatre, Drama, Contemporary Dance, and Pedagogical Study Programmes such as Music Education and the Master of Arts Education (MAE). He contributes to the Doctoral Programme at MUK, focusing on artistic-scholarly research and supervision of PhD projects. Bartolo is also involved in international academic relations, including Erasmus+ programmes and other exchange initiatives.

• Piano
• Conducting
• Composition
• +4 more

Helga Arias, MA, is a Lecturer at the Music and Arts University of the City of Vienna, affiliated with the Faculty of Music since September 2024. Her roles span diverse disciplines, including Piano Accompaniment, Jazz-Piano, Jazz-Bass, and Early Music instruments such as Harpsichord and Historical Violin. She contributes to academic diploma programs like Classical Operetta and the Certificate of Ensemble Playing. Her teaching areas include Jazz, Early Music, and various keyboard and wind instruments. She is involved in the university's international programs, including Erasmus+ exchanges and collaborative initiatives with partner institutions. While no specific doctoral supervision or grants are detailed, her expertise aligns with the university's focus on artistic-scholarly research and performance excellence. Helga Arias actively participates in the university’s pedagogical study programs, such as Music Education and the Master of Arts Education (MAE). Her work emphasizes interdisciplinary approaches to music performance, historic instrument techniques, and contemporary jazz practices.

Wolfgang KogertView profile

Professor

• Organ Performance
• Historical Music Interpretation
• Contemporary Music Composition
• +3 more

Wolfgang Kogert is a Professor of Organ at the Mozarteum University Salzburg since 2015 and holds a concurrent professorship at the Freiburg University of Music since 2020. He serves as organist for the Vienna Hofburgkapelle and has performed globally with orchestras like the Vienna Radio Symphony Orchestra and Sydney Symphony Orchestra. Education includes studies in Vienna, Stuttgart, and Detmold. Notable accolades include winning the 2006 International Wedstrijd Musica Antiqua and a 2013 residency at Paris' Cité Internationale des Arts. His research focuses on bridging early music traditions (medieval to baroque) with contemporary compositions, particularly in electroacoustic and algorithmic domains. Recent work emphasizes premiering new organ works by Cerha, Lang, and Essl, often integrating electronics and spatial soundscapes. Collaborations with composers like Mitterer and Pagh-Paan highlight experimental techniques. Recordings span Hindemith's Sancta Susanna to algorithmic works like ORGANO/LOGICS. Publications include critical editions of Josef Matthias Hauer's organ music and essays on Friedrich Cerha's compositions. He frequently discusses organ pedagogy and 21st-century repertoire expansion in journals like Das Orgelforum.

Danny GrissettView profile

Professor

• Jazz Piano
• Improvisation Techniques
• Music Education
• +3 more

Danny Grissett is a full-time Professor of Piano and Head of the Institute for Keyboard Instruments at the Faculty of Music Education, JAM MUSIC LAB Private University for Jazz and Popular Music. He holds a Master of Fine Arts in Jazz Keyboard Performance from the California Institute for the Arts (2000) and a Bachelor of Arts in Music Education from California State University Dominguez Hills (1998). His artistic expertise spans piano performance, jazz improvisation, and contemporary pedagogical methods. Research interests include evolving harmonic structures in contemporary jazz, rhythm experimentation, and the interplay between improvised and composed elements. His work frequently explores cross-cultural collaborations and the integration of traditional jazz practices with modern techniques. Grissett has released nine notable albums since 2005, focusing on innovative jazz compositions and ensemble dynamics. He has held residencies at institutions like the Prince Claus Conservatory (Netherlands), Paekche Institute (South Korea), and JazzInty Slovenia. Additionally, he leads masterclasses in composition and improvisation worldwide. He has served as a featured soloist with RTS Big Band (Belgrade) and is a longstanding member of Klavier/Tom Harrell and Klavier/Vanessa Rubin ensembles. Teaching roles include adjunct positions at New School University (2005-2012) and Eastman School of Music (2011).

Tilman SkowroneckView profile

Senior Lecturer

• Performance Practices
• Historical Keyboard Studies
• Musicology
• +3 more

Tilman Skowroneck is a Senior Lecturer in Musical Performance at the Academy of Music and Drama, University of Gothenburg. He is also a freelance musician, scholar, and translator specializing in historical keyboard instruments and performance practices. His research focuses on Beethoven's pianism, Viennese fortepianos, and 18th- and 19th-century musical expression. Skowroneck holds a doctoral degree from the University of Gothenburg and has held a postdoctoral fellowship from the Swedish Research Council (2009–2011). He has been an associate researcher at the Orpheus Institute in Ghent (2016–2022) and co-edited Keyboard Perspectives (2016–2024). His 2010 book Beethoven the Pianist , published by Cambridge University Press, is a seminal work in the field. Research Interests His work bridges musicology and performance, emphasizing philology, instrumentology, and historical performance practices. Key areas include Beethoven’s relationship with fortepianos, C.P.E. Bach’s pedagogical writings, and French musical culture in the 19th century. He collaborates with institutions like Cornell University and the Westfield Center for Historical Keyboard Studies. Grants & Projects Recipient of a Swedish Research Council postdoctoral fellowship (2009–2011) for research on Viennese fortepianos. Current projects include reenacting historical performance techniques and studying Beethoven’s Parisian ambitions. Labs/Teams Affiliated with the Declassifying the Classics research cluster at the Orpheus Institute and the Westfield Center . Collaborates on publications, recordings, and artistic research in historical keyboard performance.

• Ancient Music
• Music Archaeology
• Classical Philology
• +4 more

Stefan Hagel serves as Privatdozent and Deputy Head of the Department of Ancient Sciences at the Austrian Academy of Sciences (ÖAW), where he leads the Research Group Ancient Music. His academic appointment is formally affiliated with the University of Vienna, reflecting his dual institutional presence in Austria's scholarly ecosystem. Institution: Austrian Academy of Sciences / University of Vienna Position: Privatdozent, Deputy Department Head, Group Leader Research Focus: Ancient Music Archaeology and Digital Humanities Hagel's research bridges classical philology, archaeology, and computational methods to reconstruct ancient musical practices. His work centers on Greek and Roman music theory, instrument reconstruction (particularly lyres and auloi), and the application of digital tools to analyze ancient musical systems. His methodology combines physical reconstructions with textual analysis and software development, creating interdisciplinary pathways for understanding antiquity's sonic dimensions. Hagel frequently demonstrates his findings through international lecture-concerts, making ancient music tangible for academic and public audiences alike. His recent publications reveal a trajectory toward increasingly sophisticated technological integration, examining water organs, solmisation systems, and cross-cultural musical exchanges across the Mediterranean and Near East. Hagel's scholarship demonstrates how computational approaches can resolve longstanding questions about instrument mechanics, tuning systems, and performance practices that traditional philological methods alone cannot address. Major Projects: 'Ancient Music Beyond Hellenisation', 'DiAGRAM' (Digitising Aspects of Graphical Representation in Ancient Music) Software Development: Classical Text Editor (critical editions platform), MultiKey (keyboard utility) As an active participant in the European Music Archaeology Project, Hagel collaborates internationally to reconstruct ancient soundscapes. His work with physical instrument reconstructions provides empirical data for theoretical models, while his digital humanities initiatives create infrastructure for future research. Though not explicitly mentioned in the materials, his leadership position suggests involvement in mentoring junior researchers and securing research funding for his specialized field.

Friederike HeumannView profile

Professor

• Early Music
• Viola da gamba performance
• Historical String Chamber Music
• +5 more

Professor Friederike Heumann is a renowned violist da gamba specializing in historical string chamber music at the University of Music Würzburg. Previously, she taught at the Munich University of Music and Performing Arts, where she continues to maintain teaching responsibilities. She is internationally recognized for her expertise in early music performance. Her educational background includes studies at the Schola Cantorum Basiliensis with Jordi Savall and Paolo Pandolfo, where she completed a soloist diploma in early music. Following her studies, she received a scholarship at the Cité Internationale des Arts in Paris, establishing her career as a freelance musician. Professor Heumann's research interests focus on historical performance practice, particularly the viola da gamba repertoire from the Renaissance and Baroque periods. She has pioneered innovative approaches to 17th-century instrumental music, blending scholarly rigor with artistic expression. Her work explores the intersections between historical techniques and contemporary performance practices, with special emphasis on improvisation within the stylus phantasticus tradition. Her discography reveals a systematic exploration of historical repertoire, progressing from foundational works by Buxtehude and Erlebach to more experimental projects incorporating Mediterranean musical traditions. Her recordings demonstrate increasing sophistication in historical reconstruction while maintaining artistic vitality, with recent projects expanding into cross-cultural musical dialogues. Diapason d'or award for L'Harmonie des Nations 4 clés de Télérama for multiple recordings Choc du Monde de la Musique recognition 10 de Répertoire/Classica distinction 5 Étoiles de Goldberg accolade Premio Bonporti first prize with ensemble Le Nuove Musiche Professor Heumann actively mentors students through her teaching positions at both Würzburg and Munich institutions, while also conducting international masterclasses. She serves on juries for major early music competitions, contributing to the development of the next generation of performers. Her ensemble Stylus Phantasticus functions as both a performance vehicle and pedagogical laboratory for exploring historical chamber music practices. Through her ensemble Stylus Phantasticus, Professor Heumann has created a dynamic performance platform that bridges scholarly research and artistic expression. The ensemble regularly collaborates with leading vocal soloists and instrumentalists, presenting innovative programs that explore the boundaries of historical performance while maintaining rigorous scholarly foundations.

• Musicology
• French Symphony
• 19th Century Music
• +5 more

Muriel BOULAN is an Associate Professor of Musicology at Sorbonne University and a researcher at the Institute for Research in Musicology (UMR 8223). She holds a Doctorate in Music and Musicology from Paris-Sorbonne University (2011) with her thesis focusing on The French Symphony between 1830 and 1870 . She has been co-editor-in-chief of the music analysis and theory journal Musurgia since 2017 and created the French Symphony Repertoire Database. Her research interests center on French symphonic music of the 19th century, with particular focus on composers such as George Onslow, Félicien David, Louise Farrenc, and Anton Reicha. She has conducted extensive research on symphonic form, cyclic structures, and the historical development of French symphonic traditions. Her work also encompasses Rameau studies, music theory of the 19th century, and women composers in French musical history. Her scholarly output demonstrates consistent focus on French symphonic traditions from the early Romantic period through the late 19th century, with increasing attention to issues of gender in music history (particularly regarding Louise Farrenc) and theoretical approaches to musical form. Her work bridges historical musicology with analytical approaches, often connecting compositional practice with theoretical writings of the period. BOULAN has been actively involved in research valorization through public lectures and concert program notes for institutions including the Musée d'Orsay and the Paris Orchestra. She has delivered numerous "Clefs d'écoute" (listening keys) presentations at venues including the Auditorium de Lyon and Philharmonie de Paris, making scholarly research accessible to general audiences. She is affiliated with multiple research teams at IReMus, including those focused on editing and valorizing musical heritage, writing about music and musicology, analyzing music through theoretical frameworks, and studying historical, cultural, and social contexts of music. Her work particularly emphasizes gender studies within music history and institutional frameworks of musical production.

• Musical Tuning
• Music Technology
• Decolonization of Music Curriculum
• +3 more

Dr Philip Brissenden is a Senior Lecturer and Programme Leader of the MA Music suite of programmes at the University of Salford within the School of Arts, Media and Creative Technologies. His academic career spans musical performance, composition, and technology, with a specialized focus on musical tuning systems and curriculum development. His research interests include: Career-long investigation into musical tuning perception across cultures Decolonization of music curriculum through cross-cultural interviews and analysis Invention and patenting of novel musical instruments (The Raph) Development of virtual interfaces for alternative tuning systems Historical analysis of music technology evolution Brissenden's recent work demonstrates a clear trajectory toward decolonizing music education, combining theoretical analysis with practical curriculum development. His 2024 publications show particular emphasis on understanding tuning enculturation and developing alternative tuning practices through a series of undergraduate lectures. His research bridges music theory, cultural studies, and technology, creating innovative approaches to music education that challenge Western-centric paradigms. His scholarly contributions include: Patented musical instrument (The Raph, secured 2012) Extensive decolonization research through alumni and practitioner interviews Undergraduate lecture series on musical tuning systems Historical analysis of sampling technology (1940-1985) Evolutionary analysis of heavy metal culture As an active performer and composer, Brissenden works with the Adelphi Contemporary Music Group and collaborates with international artists from diverse cultural backgrounds including Bengal, Sri Lanka, and Iran. His pedagogical approach emphasizes practical application of theoretical concepts, particularly through his work with alternative tuning systems and instrument design.

Dorota ZimnaView profile

Professor

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

Dorota Zimna is a university professor and lecturer in the Department of Harpsichord, Organ, and Early Music at the Feliks Nowowiejski Academy of Music in Bydgoszcz since 2005. She holds a PhD in Musical Arts in Instrumental Studies (2015) and is an active performer and researcher in early music. Her educational background includes: Graduate of the Feliks Nowowiejski Academy of Music in Bydgoszcz, harpsichord with Professor Urszula Bartkiewicz (diploma with distinction) Postgraduate Instrumental Studies at the same university PhD in Musical Arts in Instrumental Studies (2015) Professor Zimna's research focuses on Early Music, particularly Baroque repertoire, with an emphasis on harpsichord performance and the reconstruction of historical works. Her work includes the study of François Couperin's instrumental compositions and the preservation of Polish church music heritage. She has participated in numerous master classes and courses for early music ensembles. Her scholarly and creative output centers on Baroque music interpretation and historical reconstruction, demonstrated through publications on Couperin's casting techniques and recordings of Polish Baroque composers. These works bridge academic research with practical performance, highlighting her dual expertise as a musicologist and performer. She has received several prestigious awards, including: Third Prize in the 5th International François Couperin Competition (2015) First Prize at the 12th International Bach Festival in Świdnica (2011) Second Prize and Audience Prize at the 11th International Biagio Marini Competition (2010) Professor Zimna actively mentors through ensemble collaborations and educational initiatives. She has coordinated research projects like "Forgotten Heritage" for digitizing Polish church archives and contributed to publications such as "Polish Keyboard Music" from the Józef Elsner Publishing House. Her leadership extends to directing the Summer Methodical Courses in Early Music in Warsaw and the Early Music Days in Bydgoszcz. She maintains strong affiliations with performance ensembles including Intemperta, Laboratoire de la Musique, and Capella Bydgostiensis, and has served as president of the Academy of Early Music association since 2018, driving institutional support for historical performance practices.

Adam SwayneView profile

Professor

• Piano Performance
• Contemporary Music
• Music and Society
• +3 more

Adam Swayne is Deputy Head of the School of Keyboard Studies and Professor of Piano at the Royal Northern College of Music (RNCM). He holds a MusB (Hons), MMus, DM (Northwestern University, USA), GRNCM, and is a Senior Fellow of the Higher Education Academy (SFHEA). His roles include co-Artistic Director of Riot Ensemble and pianist with the Broken Line Trio. Previously, he taught at the University of Chichester and Junior Royal Academy of Music. Education : MusB (Hons) and MMus from University of Manchester/RNCM Doctorate (DM) from Northwestern University as a Fulbright Scholar Research Interests : Adam focuses on 19th-century concerto performance (e.g., Ferdinand Ries), contemporary music, and the intersection of music and society. He collaborates with composers like Kevin Malone and Nina Whiteman, and his work is documented in albums like 9/11:20 (commemorating the 20th anniversary of the 9/11 attacks) and (speak to me): new music new politics . Notable Articles/Trends : His recent output explores catastrophe responses in music (e.g., Earthed ), avant-garde techniques, and historical rediscovery of classical works. Concertos and ensemble premieres dominate his performance portfolio, emphasizing interdisciplinary and politically charged themes. Awards : Fulbright Scholar Opus Klassik nominations for (speak to me) Siemens Foundation Ensemble Prize (Riot Ensemble) Advising & Grants : Supervises PhD students in piano performance history and cultural studies. Funded by the Arts Council England and Garfield Weston Foundation. External examiner for University of Bristol, Royal College of Music, and Leeds Conservatoire. Labs/Teams : Co-leads Riot Ensemble (internationally touring contemporary music group) and directs RNCM’s Keyboard Studies, fostering innovation in performance and composition.