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Rachael GunnView profile

Lecturer

• Breaking
• Hip-Hop Culture
• Cultural Politics
• +5 more

Rachael Gunn is a Lecturer in the School of Communication, Society and Culture at Macquarie University, specializing in interdisciplinary research on breaking (breakdancing) and hip-hop culture. She holds a PhD in Cultural Studies (2017) and a BA (Hons) in Contemporary Music (2009), both from Macquarie University. A practising breaker under the name 'Raygun,' she has competed internationally, including representing Australia at World Breaking Championships (2021–2023) and winning the 2023 Oceania Breaking Championships. She is affiliated with Macquarie University's Performance and Expertise Research Centre. Education: PhD in Cultural Studies, Macquarie University (2017) BA (Hons) in Contemporary Music, Macquarie University (2009) Research Interests: Breaking, street dance, and hip-hop culture; youth cultures; gender performance; ethnography; and methodological dynamics between theory and practice. Her work examines cultural politics, visibility, and the intersection of sportification with breaking's subcultural identity. Articles Overview: Her recent publications analyze tensions in Sydney's breaking scene, the political implications of breaking's Olympic inclusion, and hip-hop's diasporic dimensions. She co-edits special issues on dance and protest, emphasizing interdisciplinary approaches to cultural studies. Grants & Projects: "Spaces for Street Dance - research and feasibility study" (2023) Labs/Teams: Member of Macquarie University's Performance and Expertise Research Centre, collaborating on global street dance research and advocacy initiatives. Media Engagement: Regularly consulted by ABC News, ABC Sport, Triple J Hack, and others on breaking's cultural and Olympic challenges.

Catherine McNamaraView profile

Professor

• Applied Theatre
• Drama Education
• Gender Studies
• +7 more

Professor Catherine McNamara is Head of the Guildford School of Acting (GSA) at the University of Surrey, a leading institution in performing arts education. She plays a pivotal role in shaping the academic and student experience for over 650 students and 50 staff, ensuring excellence in training for careers in the creative and cultural sectors. Prior to this, she held significant leadership positions, including Head of School (Art, Design and Performance) at the University of Portsmouth (2019–2022) and various senior roles at the Royal Central School of Speech and Drama. MA, Drama and Theatre, Royal Holloway, University of London PGCE, Drama, Royal Central School of Speech and Drama PG Cert LTHE Her research is deeply rooted in social justice, focusing on Applied Theatre , gender studies , and trans and non-binary experiences in education and performance . She investigates how theatre and arts practices can empower marginalized communities, foster inclusivity, and address critical social issues. Her work often involves direct community engagement and has been recognized in the REF2014 Impact Case Study. Her recent publications and projects reveal a strong trend towards using creative, arts-based methodologies to tackle pressing social problems. A central theme is the use of interactive storytelling and digital resources—such as Cold Chips & Money —to educate young people about child criminal exploitation and County Lines. Another major strand explores trans-inclusive performance practices, co-producing trans history, and developing models for supporting LGBTQ+ youth through arts-based youth work. Fellow of the Higher Education Academy (PFHEA) McNamara actively supervises PhD students in areas of applied theatre, gender, and trans experiences. Her leadership in major funded projects, such as the Wellcome Trust’s 'Rethinking Sexology' and her own 'Tackling Child Criminal Exploitation' initiative, demonstrates a strong record of securing research funding and leading interdisciplinary, community-engaged teams. She collaborates with organizations like Gendered Intelligence, the Active Communities Network, and policing and safeguarding professionals. She is a co-founder of Gendered Intelligence , a national organization dedicated to improving the lives of trans, non-binary, and gender-diverse people. She also contributes to institutional governance as a member of the Faculty of Arts & Social Sciences Equality, Diversity & Inclusion committee and the University Academic Leaders Forum. Her work bridges academia, community activism, and public policy, making a tangible impact on both educational practice and societal understanding.

• Theatre Studies
• Performing Arts
• Gender Studies
• +7 more

Ebru Gökdağ is a Professor at Anadolu University’s State Conservatory, Department of Stage Arts, since 2016. She earned her doctorate in Theatre from the University of Nebraska-Lincoln and has held academic positions at Anadolu University since 2002. Doctorate: University of Nebraska-Lincoln (1997-2002) Postgraduate: Texas A&M University-Commerce (1994-2000) Undergraduate: Anadolu University (1989-1993) Her research focuses on Theatre Studies , Gender Dynamics in Performing Arts , and Cultural Representation in Opera . She has explored Sexual Harassment Prevention in theatre environments and Traditional Rituals like Cem Ceremonies. Recent publications examine Opera Cross-Cultural Influence , Gender Equality in Turkish theatre, and Community-Based Performance techniques. She has also presented at conferences in Kazakhstan, Cyprus, and Slovenia. She has advised 8 theses on topics ranging from Augusto Boal’s Methods to Sexual Harassment in Performing Arts and Opera Analysis . She led projects like TÜBİTAK’s Cem Ceremonies Study and multiple Erasmus-funded initiatives. Her career spans roles as Head of Department (2017-2025) and board member in academic councils. She actively participates in international theatre festivals and conferences.

Youngmoo KimView profile

Professor

• Machine Learning
• Audio Signal Processing
• Human-Computer Interaction
• +5 more

Youngmoo Kim is Professor of Electrical and Computer Engineering at Drexel University, where he directs the Expressive and Creative Interactive Technologies (ExCITe) Center. His leadership extends to the Music & Entertainment Technology Laboratory (MET-lab), focusing on machine listening, robotics for expressive interaction, and STEM education through music technology. Education: PhD, Media Arts & Sciences, MIT (2003) MS, Electrical Engineering, Stanford University MA, Music, Stanford University BS, Engineering, Swarthmore College BA, Music, Swarthmore College Research Focus: Kim's interdisciplinary work bridges audio signal processing, machine learning for music information retrieval, human-robot interaction, and acoustic synthesis. His lab develops novel interfaces including brain-controlled robotics, augmented instruments, and AI-driven music systems, while championing K-12 STEAM education through technological innovation. Publication Trends: Recent articles demonstrate strong convergence of deep learning with music technology, particularly in neural audio synthesis, instrument recognition, and robotic control systems. Emerging themes include differentiable physical modeling of instruments, neuroadaptive interfaces using fNIRS/tDCS, and computational approaches to creative collaboration. Awards & Honors: 2021 College of Engineering Inclusive Excellence Award 2013 Apple Distinguished Educator 2012 Lindback Foundation Distinguished Teaching Award 2012 Philadelphia Geek Awards Scientist of the Year 2007 NSF CAREER Award Leadership & Funding: Kim has secured research support from the National Science Foundation and Knight Foundation. His ExCITe Center serves as an interdisciplinary hub for creative technology development, while MET-lab advances audio-machine intelligence through collaborations across engineering, computer science, and performing arts.

• Ethnomusicology
• Hindustani Classical Music
• Rhythmic Analysis
• +4 more

Professor Martin Clayton is a leading scholar in Ethnomusicology at Durham University's Department of Music. He holds a BA in Music/Hindi (SOAS, 1988) and a PhD in Ethnomusicology (SOAS, 1993). His work focuses on Hindustani classical music, rhythmic analysis, and embodied musical interaction. He has directed major research projects like the EU-funded EnTimeMent and AHRC-funded 'Interpersonal Entrainment in Music Performance.' Clayton is a Fellow of the British Academy (2020) and former editor of the British Journal of Ethnomusicology. His research explores cross-cultural musicology, computational analysis of performance, and rhythmic entrainment across global traditions. Education: Bachelor of Arts in Music and Hindi (SOAS, University of London, 1988) Doctor of Philosophy in Ethnomusicology (SOAS, University of London, 1993) Research Interests: Clayton’s work bridges ethnomusicology with computational methods, focusing on rhythmic structures in Indian classical music, embodied performance practices, and cross-cultural musical interactions. His studies analyze gesture-sound relationships, temporal frameworks in rag performance, and the social dimensions of musical entrainment. Recent projects integrate machine learning and computer vision to classify ragas and analyze performer movements in ensemble contexts. Publications Overview: His 15+ years of research span theoretical works (e.g., Time in Indian Music , 2000), edited volumes (e.g., Experience and Meaning in Music Performance , 2013), and interdisciplinary studies combining ethnography with computational analysis. Recent work emphasizes multimodal data collection to study synchronization in global music traditions, including Japanese gagaku and Indian khyal. Awards: British Academy Fellowship (2020), Leverhulme Trust Major Research Fellowship Advising & Grants: Supervised doctoral students focusing on Indian music, global guitar practices, and embodied music interaction. He led a £1.2M AHRC grant (2016–2018) on interpersonal entrainment and co-investigated projects on Khyal music and South Asian cultural networks. Labs/Teams: Collaborates with interdisciplinary teams on projects like the Interpersonal Entrainment in Music Performance (IEMP) initiative, developing tools such as the movementsync R package for synchrony analysis. Active in global music research networks, including ESEM and the British Forum for Ethnomusicology.

Simon MawhinneyView profile

Professor

• Composition
• Computer-assisted composition
• Electronic Music
• +3 more

Simon Mawhinney is a Professor in the School of Arts, English and Languages at Queen's University Belfast, specializing in composition with a focus on instrumental and electronic media. His work bridges complexist music, post-spectral harmonies, and cultural cantillation influences. Notable collaborations include projects with ensembles in Germany, France, and Iceland. He holds a Queen’s University Teaching Award (2012) and has pioneered modules on Messiaen’s music. His research explores new music performance, computer-assisted composition (using OpenMusic), and experimental technologies. Current roles include PhD supervision in composition, convening MA research methods modules, and undergraduate composition instruction. Key achievements include commissions from Ensemble Caput (Iceland) and Garth Knox/Quatuor Béla, resulting in works such as Marlacoo and a viola d’amore/string quartet piece premiered in Paris (2013). Recent projects involve recordings with pianist Mary Dullea and bass flutist Kolbeinn Bjarnason. His fingerprint research areas include labour studies in composition, technical performance practices, and avant-garde instrumentation. Over 35 compositions span decades, with 2016-2019 works emphasizing electronic integration and algorithmic processes. Awards include the AIC Composition Prize (2001) and Ann Driver Trust Award (2000). Professional service roles include Elected Member of the Academic Council since 2010 and Exams Liason Officer (2009-2011). Teaching: Undergraduate modules on Messiaen, Beethoven's late works, and composition techniques Research: Focus on postwar modernism, new musical technologies, and performance-based creation Public Engagement: Active in festivals, radio interviews, and international recitals

Christopher G. WrightView profile

Associate Professor

• STEM Equity
• Engineering Education
• Racial Identity
• +2 more

Christopher G. Wright is Associate Professor, Associate Dean for Diversity Equity and Inclusion, and PhD Program Director in Drexel University's School of Education. His research investigates equity in STEM education through frameworks like culturally sustaining pedagogies, with focus on identity formation for underrepresented groups in engineering contexts. Research examines racial and gender equity in engineering education, identity development in STEM, and culturally responsive teaching practices. Recent publications analyze teacher identity formation, counter-narratives of Black female educators, and engineering design pedagogy in urban elementary settings. Articles consistently explore themes of racial equity, identity negotiation, and transformative learning environments. Education: PhD (Tufts University) MS (University of Maryland) B Arch (Hampton University) Funded Grants: Workshop for Writing Grants for Early Career Scholars in STEM and Learning Sciences Focused on Racial Equity (NSF #2133577) Collaborative Research: Using Culturally Sustaining Learning Environments to Explore Computational Learning & Identity (NSF #1842272) CAREER: Investigating the Engineering Expansive Learning Spaces for Boys of Color (NSF #1554194)

Ansuman BiswasView profile

Lecturer

• Interdisciplinary Arts
• Performance Art
• Cultural Hybridity
• +7 more

Ansuman Biswas is a Lecturer in Live Art and Contemporary Performance at Queen Mary University of London’s School of English and Drama. He holds a BA (Hons) in Drama from Dartington College of Arts and has a multifaceted career spanning music, theatre, visual art, and interdisciplinary collaborations. His work bridges science, art, and spirituality, emphasizing improvisation, consciousness, and Indian philosophical traditions. Notable roles include serving as External Examiner at Westminster University, Co-Chair of the Live Art Development Agency, and Trustee of Longplayer. His research explores vipassana meditation’s impact on artistic practice, with projects like the Horniman Museum’s Time Sculptor examining time manipulation through performance, installations, and poetry. Biswas has held residencies globally, collaborating with institutions like the European Space Agency, Schumacher College, and the National Institute of Medical Research. His creative practice includes composing for major theaters (e.g., Shakespeare’s Globe, Royal National Theatre) and touring with artists like Björk and Oasis. Biswas’s work often challenges boundaries between disciplines and cultures, fostering innovative intersections between art, technology, and ecology. Education: BA Hons in Drama from Manchester University and Music at Dartington College of Arts. Previous academic roles include Senior Lecturer at Dartington College of Arts (developing an MA in Arts & Ecology), Creative Director of the Tagore Centre UK (2013–2016), and Lecturer at Guildhall School of Music and Drama (2017–2020). He has pioneered interdisciplinary projects at Hewlett-Packard’s Bangalore lab and been an artist-in-residence at NASA-related initiatives. His artistic collaborations span diverse fields, from neuroscientists in Arizona to nomadic shamans in the Gobi Desert. Research focuses on listening as a transformative practice, improvisation’s role in uncovering unconscious creativity, and the application of meditation principles in art. Recent work includes the pandemic-era Infectious Air series exploring Zoom-based improvisation and the Social Intimacy project with Theatre of Research. His projects often involve experimental venues (e.g., Gothic towers, underwater sculptures) and emphasize ethical engagement with communities and environments. Publications span performance theory, musicology, and interdisciplinary art criticism, with notable contributions to Posthuman Spiritualities in Contemporary Performance and Music & Consciousness . His artistic works have been exhibited at Tate Modern, the Whitechapel Gallery, and festivals worldwide. Biswas’s pedagogical approach integrates experiential learning, mentorship, and cross-cultural dialogue, reflecting his commitment to fluid identity and collaborative innovation.

Marie HayView profile

Senior Lecturer

• Contemporary Dance
• Dance and Speech Integration
• Practice-Based Research
• +7 more

Marie Hay is a Senior Lecturer in Dance at De Montfort University (DMU), affiliated with the School of Humanities and Performing Arts within the Faculty of Arts, Design and Humanities. She is a key member of the Centre for Interdisciplinary Research in Dance (CIRID), the Institute of Drama, Dance and Performance Studies, and the Institute of Creative Technologies (IOCT). As Programme Leader for undergraduate dance programmes, she plays a central role in curriculum development, outreach, and advancing decolonising initiatives in dance education. Her educational background includes a BA (Hons) in Contemporary Dance, an MA in Dance, and a PGCertHE, all from DMU. She was awarded the DMU Teacher Fellow in 2011 and is a Fellow of the Higher Education Academy. Marie's research centers on the integration of speech and movement in contemporary dance, exploring themes of being, identity, and self-disclosure through her innovative 'speakingdance' practice. Her work bridges philosophy, performance, and pedagogy, with a strong focus on autonomy, embodiment, and feminist perspectives. She has developed frameworks for autonomous learning and assessment that have been applied across dance and media technology, influencing both higher and secondary education. The 15 most recent articles reflect a deep engagement with interdisciplinary inquiry, combining dance, philosophy, education, and somatic practices. They reveal consistent exploration of ontology, autobiographical performance, and pedagogical innovation, often grounded in Heideggerian thought and practice-based research methodologies. DMU Teacher Fellow (August 2011) Fellow of the Higher Education Academy (2006 – present) Marie has led multiple internally and externally funded research projects, including those supported by the Centre for Excellence in Performance Arts, Research in Teaching Awards, and PALATINE. She has supervised research students and collaborated with colleagues such as Dr. Lucy Mathers. Her consultancy includes advising Babington College on feedback strategies and serving as an assessor for the BBC Performing Arts Fund. She has also contributed as a reviewer for academic conferences and journals. She is actively involved in research groups such as CIRID, IOCT, and the Institute of Drama, Dance and Performance Studies, where she contributes to interdisciplinary collaborations, performance events, and knowledge exchange. Her international performances and teaching engagements—in Prague, Croatia, Beijing, and London—demonstrate the global reach of her artistic and scholarly practice.

Jonathan ColeView profile

Professor

• Contemporary Music
• Experimental Composition
• Music-Theatre
• +4 more

Professor Jonathan Cole is a composer, teacher, and conductor at the Royal College of Music (RCM), where he has taught since 2005 and served as Head of Composition since 2022. His work bridges experimental composition, music-theatre, and site-specific pieces, earning acclaim from the London Sinfonietta, which premiered three of his works and recorded Testament with Oliver Knussen. Born 1970, Cole studied under Simon Bainbridge, Malcolm Williamson, and Louis Andriessen 1997-2006: Works like Ouroboros II and Testament nominated for RPS Awards 2006: Shift toward Luigi Nono-inspired works, exploring score-performer dynamics and London's environmental sounds 2009-2013: Composer-in-association with London Contemporary Orchestra, premiering burburbabbar za (wordless opera) Co-founded re:sound collective in 2012 for unconventional venue performances Cole’s compositions, such as Lucier Clock (2021) and 50 Florentine Breaths (2016), emphasize spatialization, breath techniques, and the tension between structure and decay. His 2025 co-authored article Personal realities I examines artistic identity in conservatoires. Scientific Awards: Royal Philharmonic Composition Prize (1999) RCM Fellowship (2018) RPS Award Nominations for Ouroboros II and Testament Cole mentors research students like Daniel Musashi and has led educational grants such as the Leverhulme LPO Young Composers Scheme (2007-2012). He collaborates with ensembles including the London Sinfonietta, BBC Philharmonic, and Chicago Symphony Orchestra.

Thokozani MhlambiView profile

Lecturer

• Ethnomusicology
• African Studies
• Creative Arts
• +3 more

Dr. Thokozani Mhlambi is a creative musician, composer, and interdisciplinary artist affiliated with the University of Bayreuth through its Bayreuth Academy. His work bridges African philosophies, historical narratives, and experimental music, using baroque cello, vocals, and reed ensembles to reimagine cultural legacies such as the Zulu capital Umgungundlovu. He has performed globally at institutions like MoMA (New York), Zeitz MOCAA (Cape Town), and Savvy Contemporary (Berlin), while engaging in cross-cultural collaborations with artists like Angel Bat Dawid and Douglas R Ewart. PhD in Music from University of Cape Town Visiting lecturer at universities in Finland, Brazil, and USA His research integrates ethnomusicology , sound art , and interdisciplinary practice , focusing on reinterpreting African history through avant-garde techniques and non-traditional rhythms. Projects like Playing with Tape and Umgungundlovu Suite highlight his exploration of sonic storytelling and creative methods. Recent article trends reveal a consistent focus on historical reclamation , experimental composition , and African sonic identity , often blending Western classical instruments with African narratives. Scientific Awards Artist-in-Residence at Cite International Des Arts (Paris, 2020), supported by the Institut Français Invited contributor to the Dutch Art Institute’s Roaming Academy (2019) As a lecturer, Mhlambi has mentored in international academic settings, though specific advisees are not listed. His practice also intersects with grants from cultural institutions supporting artistic research and residencies. Labs & Collaborative Platforms He collaborates with the Africa Multiple Cluster of Excellence (Bayreuth), University of Cape Town, and the Association for the Advancement of Creative Musicians (Chicago), engaging in sound-based reimaginings of historical sites and cultural identities.

Dorra YAHIAOUIView profile

Professor

• International Business
• Human Resource Management
• Organizational Behavior
• +6 more

Dorra YAHIAOUI is a senior professor and director of the Center for Research and Excellence in International Business at Kedge Business School. She also serves as head of the "Human Resource Management" research group at EuroMed Research Business Institute, where she contributes to advancing research in international business practices and human resource management across diverse cultural contexts. Her educational background includes: PhD in Management Sciences from the University of Lyon III (France) ITP certification from the International Teachers Program at London Business School MBTI (Myers Briggs Type Indicator) certification from The Myers Briggs Company France Women in Education Leadership certification from Harvard University Graduate School of Education Dorra YAHIAOUI's research focuses on international comparisons of managerial practices, the innovation process within multinationals, parent-subsidiary relationships, internationalization strategy, and management in the Middle East, Africa, and Asia. Her work bridges theoretical frameworks with practical applications in cross-cultural business environments, examining how organizations adapt their human resource practices across different national contexts. She has made significant contributions to understanding the complexities of managing multinational enterprises during periods of turbulence and crisis. Her recent publications demonstrate a strong focus on international business challenges, human resource management in multinational contexts, sustainability issues, and consumer behavior in post-pandemic environments. The research spans diverse geographical regions including Asia-Pacific, Middle East, Africa, and Europe, reflecting her global perspective on business management. Key themes include digital transformation, organizational resilience during crises, cross-cultural management practices, and sustainable business practices across different institutional contexts. Dorra YAHIAOUI has served as a visiting professor at various partner universities in Russia, the United States, Italy, Cyprus, Lebanon, the United Arab Emirates, Togo, Cameroon, and other countries, sharing her expertise internationally. She also works as an international consultant for several major groups across different countries, applying her research insights to real-world business challenges.

Stephanie DoktorView profile

Assistant Professor

• Critical Race Theory
• Jazz Studies
• Gender Studies
• +3 more

Stephanie Doktor is an Assistant Professor at Temple University's Boyer College of Music and Dance, specializing in Music Theory. Her work interrogates how power structures shape musical sound, with a focus on white supremacy in the early jazz marketplace and gender dynamics in cross-cultural musical contexts. Education: PhD and MA in Critical & Comparative Studies (University of Virginia), Graduate Certificate in Gender Studies (University of Georgia), MA in Musicology (University of Georgia), BM in Vocal Performance (University of North Georgia). Her current book project, Reconstructing Whiteness: Race in the Early Jazz Marketplace (under contract with University of California Press), analyzes whiteness as a cultural and economic construct in jazz's emergence. She combines archival research with spectrogram-based music analysis to expose systemic biases in historical methodologies and pedagogy. Recent publications include analyses of Paul Whiteman's racialized soundscapes (2024), critiques of white feminism in rock covers (2024), and studies of John Powell's racial appropriation (2020). Her work has earned the Irving Lowens Article Award (2022) and Best Essay in Popular Music Scholarship (2021). Scientific Awards Irving Lowens Article Award (2022) Best Essay in Popular Music Scholarship (2021) Doktor revises music theory curricula to center marginalized voices, emphasizing microrhythmic and timbral analysis over traditional methods. She founded the Jazz and Improvisation Study Group for the American Musicological Society and serves as Associate Editor of the Journal of Jazz Studies , prioritizing underrepresented perspectives. Current grants include Faculty Fellowships at Temple University's Center for the Humanities (2024–2025) and the University of Pennsylvania's Wolf Humanities Center (2023–2024). She previously worked with the Debt Collective to address student loan debt and co-founded collaborative initiatives for equitable academic spaces.

Ananda MarinView profile

Associate Professor

• Learning Sciences
• Socio-Cultural Studies
• STEM Education
• +3 more

Ananda Marin is an Associate Professor at the University of California, Los Angeles (UCLA), affiliated with the Graduate School of Education and Information Studies. She holds a doctoral degree from Northwestern University and specializes in learning sciences with a focus on socio-cultural dimensions of learning and development. Her work emphasizes Indigenous and non-dominant communities, exploring practices such as family science activities, Native American STEM participation, and culturally responsive methodologies. Marin employs participatory approaches including community-based design research, discourse analysis, and video-ethnography. Her research investigates how mobility, place, and cultural variability influence knowledge-building, with projects like analyzing forest walks as ecological learning contexts and reimagining STEM education through decolonial frameworks. She advocates for ethical validity in co-research practices and dignity-affirming pedagogies. Key themes in her scholarship include relational ontologies, embodied cognition, and the intersection of globalization with Indigenous epistemologies. Recent work highlights walking methodologies, improvisational dance as enactive cognition, and the role of storytelling in collective learning. Marin’s interdisciplinary contributions bridge cognitive science, cultural studies, and educational equity.

John RinkView profile

Professor

• Performance Studies
• 19th-Century Music (especially Chopin)
• Music Theory and Analysis
• +3 more

Professor John Rink is a leading scholar in music performance studies, 19th-century music (particularly Chopin), and digital musicology. He holds the position of Professor of Music at the University of Cambridge's Faculty of Music and is a Fellow at St John's College. His research bridges historical analysis, performance practice, and digital innovation, with notable projects like the Chopin's First Editions Online and the Online Chopin Variorum Edition . He directed the AHRC-funded Centre for Musical Performance as Creative Practice (2009-2015) and serves as Editor-in-Chief of The Complete Chopin – A New Critical Edition . Education includes studies at Princeton University, King's College London, and a PhD from the University of Cambridge on Chopin's tonal structures and improvisation. He also holds performance qualifications from the Guildhall School of Music & Drama. Notable awards include the Polish Ministry of Foreign Affairs' Bene Merito distinction (2019) for contributions to Poland's international cultural standing. His work emphasizes interdisciplinary collaboration, evidenced by roles in global research networks (e.g., with the Universidade de São Paulo and institutions in China, Singapore, and the UK). Active in performance evaluation, he has served on the jury of the International Chopin Competition since 2015. His teaching focuses on performance studies, music analysis, and digital methodologies. Research outputs include monographs like Chopin: The Piano Concertos (1997) and edited volumes such as Cambridge Companion to Recorded Music (2009). Current projects explore digital editions, performance creativity, and cross-cultural choral development. He leads Cambridge Digital Humanities and has advisory roles in journals like Music & Letters and Musicologist .