Find Academic Supervisors

• Ancient Philosophy
• Ancient Aesthetics
• Greek Tragedy
• +6 more

Stefan Büttner is Professor of Classics (Greek) at the University of Vienna , serving as Deputy Head of the Department of Classical Philology, Medieval and Neo-Latin Studies. His academic career spans institutions including Philipps University Marburg, University of Konstanz, and University of Vienna since 2011. Born 1986–1997: Studied Classical Philology and Philosophy at Johannes Gutenberg University Mainz, Ludwig Maximilian University Munich, and Philipps University Marburg. 1997: Doctorate at Marburg on Plato's Literary Theory. 2007: Habilitation in Classical Philology. 2011: Appointed Professor at University of Vienna. His research focuses on Ancient Philosophy , Antique Aesthetics , Greek Tragedy , and Reception History . Current projects include analyzing the modern self-perception of antiquity , the Euripides reception , and Artes Liberales educational programs . Recent publications explore: Euripides 's shifting image from antiquity to modernity. Mimesis in Platonic dialogues. Homeric elements in Aristotle's Rhetoric. Symmetry as a foundational concept in ancient aesthetics. He serves on editorial boards for Wiener Studien für Klassische Philologie and Eisodos. Zeitschrift für Antike Literatur und Theorie , and chairs the Society for Ancient Philosophy Austria . Supervised theses at University of Vienna include topics on Aristotelian analytics, Platonic deconstruction, and Chrysippus' Medea adaptation. Büttner leads research seminars on ancient rhetoric, metaphor theory, and the interplay of philosophy and tragedy. He co-founded the book series Philosophie und Literatur and Studien zu Literatur und Erkenntnis , emphasizing interdisciplinary approaches to classical studies.

Jennifer S ThomasView profile

Academic

• Renaissance Music
• Musicology
• Database Methodologies
• +5 more

Jennifer S Thomas is an Associate Professor Emeritus in the School of Music at the University of Florida, specializing in Renaissance musicology. Her work focuses on the motet, repertory formation, and methodologies enabled by large musicological databases. She earned her Ph.D. at the University of Cincinnati’s College-Conservatory of Music, receiving prestigious awards including the Distinguished Dissertation Award and Corbett Ph.D. Award. Her research explores Renaissance polyphony, Josquin Des Prez, and the social/musical contexts of motets. She has presented at major conferences like the American Musicological Society Annual Meeting and contributed to international publications. Thomas teaches music history courses with an emphasis on early music and directs the University of Florida Motet Choir. Her service roles include positions in the American Musicological Society and community organizations focused on literacy and welfare initiatives. Thomas’s scholarly contributions include a comprehensive motet database and analyses of Renaissance music sources. Her articles bridge musicology with cultural history, emphasizing textual analysis, source criticism, and digital methodologies. Awards reflect her impactful contributions to music scholarship and pedagogy.

Julie E. CummingView profile

Professor

• Musicology
• Renaissance Music
• Medieval Music
• +5 more

Julie E. Cumming serves as Professor in the Department of Music at McGill University's Schulich School of Music, currently on sabbatical for the 2024-2025 academic year. Her distinguished career at McGill began in 1992 following seven years at Wellesley College, with significant leadership roles including Interim Dean (2016-2017) and Associate Dean of Research and Administration (2011-2016). BA in Music and Medieval Studies, Barnard College, Columbia University (1980) MA in Musicology, University of California, Berkeley (1982) PhD in Musicology and Medieval Studies, University of California, Berkeley (1987) A leading scholar in Medieval and Renaissance musicology, Professor Cumming's research encompasses polyphonic analysis, historical improvisation, music notation (1100-1600), and digital humanities applications. Her groundbreaking work includes re-examining madrigal origins through empirical evidence and mapping 16th-century musical transmission across cultures. She pioneered computational musicology through the ELVIS project, creating the first large-scale data-driven analysis of musical style. Her recent publications demonstrate an innovative fusion of traditional musicological methods with cognitive science and big data approaches, particularly in analyzing compositional processes and musical cognition in Renaissance contexts. Current projects focus on distributed cognition in early modern performance practices and developing international metadata standards for musical sources through the LinkedMusic initiative. Professor Cumming has received multiple prestigious teaching awards: Schulich School of Music Full-Time Teaching Award (2007) McGill’s David Thomson Award for Excellence in Graduate Teaching and Supervision (2015) Northeastern Association of Graduate Schools Teaching Award, doctoral level (2017) She has supervised over 20 PhD dissertations on diverse topics including Renaissance counterpoint treatises, music and plague, and espionage in Elizabethan England, with former students now holding faculty positions at University of Toronto, University of Aberdeen, and Brandeis University. Her research funding includes: Principal Investigator: Digging into Data Challenge Grant "ELVIS" (2012-2014) Co-investigator: SSHRC Major Collaborative Research Initiative "Making Publics" (2005-2010) Co-leader: SSHRC Partnership Grant "SIMSSA" (2014-2023) Co-investigator: SSHRC Partnership Grant "LinkedMusic" Professor Cumming co-founded and leads the SIMSSA research team, an international consortium developing open-source tools for music score analysis and source linking, while directing the ELVIS project's continued development of vertical interval succession databases for Renaissance music analysis.

Gabriele TaschettiView profile

Researcher

• Musicology
• Renaissance Music
• Baroque Music
• +7 more

Dr. Gabriele Taschetti is a musicology researcher at the University of Regensburg's Institute of Musicology within the Faculty of Philosophy, Arts, History, and Social Sciences. He currently leads the DAAD-funded project "Incomplete musical treasures at the Bischöfliche Zentralbibliothek in Regensburg," focusing on early modern musical manuscripts, and serves on the scientific committee for the complete works editions of Tomaso Cecchini and Giovanni Battista Riccio. His academic background includes a Ph.D. in Musicology from the University of Padua (2023), where his dissertation analyzed the motet anthology Symbolae diversorum musicorum (Venice, 1621). He has conducted seminars at Geneva's Haute École de Musique (2021) and Milan's Pontifical Ambrosian Institute of Sacred Music (2023). Taschetti's research centers on Renaissance and Baroque musicology, with expertise in musical patronage networks, contrafacta practices, incomplete musical works, historical music inventories, and digital analysis tools. His work frequently examines Venetian publishing traditions, sixteenth-century madrigals, and Giuseppe Tartini's legacy, bridging archival research with computational methods through projects like ITMI and CRIM. Analysis of his recent publications reveals consistent focus on Tomaso Cecchini's output, manuscript transmission in early modern Italy, and the interplay between sacred texts and musical composition. His scholarship increasingly incorporates digital humanities approaches, particularly in analyzing textual-musical relationships and reconstructing lost musical contexts. Scientific recognition includes: ICCC Japan 2019 composition award His primary research funding comes from the DAAD grant for Regensburg manuscript studies, supplemented by contributions to collaborative projects ITMI (Italian Music Treatise Index) and CRIM (Renaissance Imitation Mass Citations). Though no formal student advisement is documented, his seminar leadership at international institutions demonstrates pedagogical engagement. His work operates within international editorial collectives rather than dedicated laboratories, emphasizing cross-institutional collaboration in musicological research.

Diana RosenblumView profile

Lecturer

• Music Composition
• Music Theory
• Contemporary Classical Music
• +3 more

Diana Rosenblum is a composer and music theorist currently serving as a Lecturer in Composition at Nazareth University's School of Music. Her work merges contemporary tonal idioms with complex contrapuntal techniques, including canons and fugues. Ph.D. in Composition from Eastman School of Music M.M. in Music Composition from University of Oregon A.B. in Philosophy from Princeton University Rosenblum's research focuses on: Imitative counterpoint Chromatically dense harmonic language Archetypal phraseology Polyphonic structures Her compositions have been performed internationally by ensembles such as the Baltimore Symphony Musicians and cellist Matt Haimovitz. Scientific awards include: Wayne Brewster Barlow Prize (twice) Belle S. Gitelman Award (twice) Anthony and Carolyn Donato Prize Finalist for Eastman’s Teaching Assistant Prize for Excellence Pi Kappa Lambda induction Rosenblum has collaborated with ensembles like Khroma Quartet, OSSIA New Music, and the Whistling Hens. Her work engages with both historical and modern compositional techniques, bridging theoretical scholarship and creative practice.

Jesse RodinView profile

Professor

• Josquin des Prez and his contemporaries
• Franco-Flemish polyphony of the 15th century
• Music in Renaissance Rome
• +4 more

Jesse Rodin, Osgood Hooker Professor of Fine Arts at Stanford University's Department of Music, specializes in 15th-century Franco-Flemish polyphony, Renaissance Rome musicology, and performance-based research. His work integrates digital humanities tools like the Josquin Research Project and Mapping the Musical Renaissance to democratize access to historical musical corpora. Ph.D., Harvard University (2007) B.A., University of Pennsylvania (2000) Research focuses on embodied musical experiences through source immersion, notation fluency, and historical performance recreation. His 2024 monograph The Art of Counterpoint from Du Fay to Josquin examines temporal structures in polyphony. Publications span critical editions, historiographical essays, and sensory artifact analysis. 2021-2025 Cut Circle projects include the complete Josquin des Prez recordings, anonymous masses, and Ockeghem song cycles. Scientific awards highlight Guggenheim and Noah Greenberg Fellowships, with Gramophone Editor’s Choice and Diapason d’Or for ensemble work. Organizes symposia on medieval notation pedagogy Advises doctoral students in musicology Teaches courses like Music History to 1600 and Renaissance Notation Co-directs Mapping the Musical Renaissance and edits freely accessible editions for Cut Circle performances. Professional roles include American Musicological Society Council membership and Journal of Musicology editorship (2015-2019).

Stephen D. EmmonsView profile

Professor

• Composition
• Music Theory
• Renaissance Music
• +3 more

Dr. Stephen D. Emmons is a Professor of Music at Angelo State University within the Department of Visual and Performing Arts. A native of San Antonio, Texas, he teaches music theory and history while maintaining an active composition career. His scholarly and creative work bridges historical and contemporary musical practices. Dr. Emmons' research interests focus on composition that integrates Renaissance and Baroque techniques with minimalist approaches . His works incorporate driving rhythms, minimalist ostinatos, bright tertian harmonies, modal scales, and imitative counterpoint, often drawing from early American hymnody. His creative output spans band, choral, chamber, and solo pieces that have been published by Cimarron Music Press, Potenza Music, and National Music Publishers. Analysis of his recent compositions reveals a consistent exploration of historical musical forms through contemporary lenses , with particular attention to programmatic elements and emotional expression. His works frequently employ arch forms, variations on historical themes, and psychological narratives. Member of ASCAP Institutional Representative to the National Association of Schools of Music Dr. Emmons has developed significant collaborations with faculty colleagues, particularly with Dr. Timothy Bonenfant who has premiered several of his clarinet and bass clarinet works. His educational contributions include two open-access music theory textbooks available through the OERTX Repository: A Survey of Music Theory for the College Classroom and A Survey of Form in Music for the College Classroom . His compositions and performances are documented on his YouTube channel, providing broader access to his creative output.