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Dmitri TymoczkoView profile

Professor

• Composition
• Music Theory
• Geometry of Music
• +5 more

Dmitri Tymoczko is a Professor of Music at Princeton University, where he has taught composition and theory since 2002. His work bridges the gap between academic music theory and contemporary composition, creating a unique interdisciplinary approach that has earned him recognition as a leading figure in modern music scholarship and creation. Tymoczko's research interests focus on the geometric modeling of musical structures, polystylistic composition that draws from genres spanning Renaissance to rock, and the mathematical foundations of tonality. His theoretical work explores how harmonic structures can be represented geometrically, revealing fundamental patterns that connect diverse musical traditions. He approaches composition as 'a logical deduction from absurd premises,' blending rigorous structural thinking with playful musical exploration. His scholarly publications and compositions reveal a consistent interest in the intersection of mathematical precision and expressive freedom. The articles demonstrate expertise across music theory, composition, and the cognitive aspects of musical perception, with recurring themes of geometric modeling, tonal structure, and genre hybridization. His work often challenges traditional boundaries between academic and popular music forms. Guggenheim fellowship Rhodes Scholarship Leonard Bernstein fellowship from Tanglewood Fellowship from the Radcliffe Institute for Advanced Study Block lectureship from the Society for Industrial and Applied Mathematics First music-theory article published in Science magazine Tymoczko maintains an active performance career alongside his academic work, with his compositions performed by leading ensembles including the Brentano Quartet, Newspeak, and Roomful of Teeth. His teaching integrates theoretical insights with practical composition, fostering a generation of musicians who understand music's structural foundations while embracing creative freedom. He has developed innovative tools like the musical programming language 'arca' to explore new compositional possibilities.

R. Luke DuBoisView profile

Associate Professor

• Digital Media
• Human Computer Interaction
• Cyber Physical Systems
• +3 more

R. Luke DuBois is an Associate Professor and Co-Chair of the Technology, Culture and Society Department at the NYU Tandon School of Engineering, where he also directs the Integrated Design & Media program and the Brooklyn Experimental Media Center. He holds a DMA in music composition from Columbia University and is a renowned artist, composer, and performer whose work explores intersections between technology, sound, and visual media. His research focuses on digital media, human-computer interaction, and emerging technologies applied to artistic expression and accessibility. Key roles include directing the SONYC initiative (addressing urban noise pollution via AI) and leading the NYU Ability Project (advancing disability studies through technology). He has collaborated with institutions like the Smithsonian and artists such as Maya Lin, and his work has been exhibited globally, including at the Sundance Film Festival and the Aspen Institute. DuBois co-developed the Jitter software suite for real-time data manipulation and performs in avant-garde groups like Bioluminescence and Fair Use. His artistic practice combines time-lapse phonography, interactive installations, and interdisciplinary projects that critique cultural ephemera while advancing accessibility in STEM and the arts. Recent contributions include browser-based tools for accessible music notation (SoundCells) and sonification techniques for calculus education. He serves on the Board of the ISSUE Project Room and has been featured in major publications like the New York Times and TED Conference talks.

Peter BatchelorView profile

Senior Lecturer

• Electroacoustic Composition
• Acousmatic Music
• Sound Spatialisation
• +12 more

Dr Peter Batchelor is a Senior Lecturer in Music and Music Technology at De Montfort University, affiliated with the Leicester Media School and the Music, Technology and Innovation – Institute of Sonic Creativity (MTI²). He serves as Programme Leader for the BA Music Technology programme and is actively involved in research, teaching, and creative practice. Education: BMus, University of Wales, Bangor (1996) MPhil, University of Wales, Bangor (1997) PhD, University of Birmingham (2004) FHEA (2024) His research and creative work focuses on electroacoustic composition, multichannel sound installations, public art, and aural landscape construction. He explores sound spatialisation, immersion, theories of space and place, and audience engagement through large-scale sonic artworks. His practice integrates technical innovation with artistic inquiry, often using custom Max/MSP tools for spatial audio and generative systems. The 15 most recent publications reflect a consistent trajectory in immersive sound art, emphasizing environmental sonification, spatial perception, and public engagement. Key themes include multichannel deployment (up to 288 channels), interactive and solar-powered installations, and blending natural and synthetic soundscapes. Projects like Dendrophone and Contraption highlight his focus on accessibility, sustainability, and audience interaction in sonic environments. Scientific Awards and Recognitions: Finalist, Sounds Electric ’07 Competition Mention, Concours de Musique Electroacoustique de Bourges (2007, 1998, 1997) 2nd Prize, CIMESP'99, São Paulo Honourable Mention, CIMESP'97, São Paulo Prize, 'Residences' category, Bourges 1997 Peter Batchelor supervises several PhD students including Stefano Catena, Cristiana Palandri, and Michael Uwins. He has secured external funding as Co-Investigator on projects such as Interfaces (EU Culture Project, 2016–2019) and Sensing the Forest (AHRC Early Career Research Grant, 2023–2025). He has delivered keynote and invited talks internationally and serves as a reviewer for Organised Sound and for REF panels. His creative installations have been exhibited globally, from Helsinki to São Paulo, and he develops open-source Max/MSP tools like N-CHAN and CLATTER to support multichannel sound design. He leads the Dendrophone project, a solar-powered, DIY sound installation in Alice Holt Forest that sonifies environmental data (humidity, sunlight, CO2), offering both on-site and live-streamed access. This project exemplifies his commitment to public engagement, ecological awareness, and accessible sonic art.

Michael ClarkeView profile

Professor

• Computer Music
• Electroacoustic Music
• Music Technology
• +6 more

Professor Michael Clarke is a distinguished academic at the University of Huddersfield , serving as Director of IRiMaS (Interactive Research in Music as Sound) and holding leadership roles including former Dean of the School of Music, Humanities and Media and Dean of the Graduate School . His career spans over three decades at Huddersfield, where he has pioneered innovative software for music composition, pedagogy, and analysis. Education: PhD in Music (Durham University), MTC in Teaching (UCL Institute of Education) Clarke's research focuses on composition , particularly in live interactive works , and the development of software like Max/MSP for musicological analysis and sound synthesis. His work intersects with UN Sustainable Development Goals , emphasizing technological innovation in education and cultural preservation. Recent publications highlight his contributions to interactive aural analysis and fluid corpus manipulation tools. Clarke has secured major funding, including a €2.5m ERC Advanced Grant for IRiMaS and AHRC grants for collaborative projects. Awards include the National Teaching Fellowship (2011) and multiple European Academic Software Awards . Scientific Awards: National Teaching Fellowship (2011) European Academic Software Awards (record 3 wins) As a Principal Investigator , he has led projects with Prof Peter Manning and Dr Frédéric Dufeu, while actively supervising PhD students and contributing to REF assessments.

Stace ConstantinouView profile

Senior Lecturer

• Popular Music
• Music Composition
• Electronic Music
• +16 more

Dr Stace Constantinou is a Senior Lecturer in Popular Music and Programme Leader for the Popular Music course at the University of Northampton, affiliated with the Centre for Cultural and Literary Studies within the Culture school. He holds a PhD from Kingston University and is actively engaged in creative research, supervision, and public engagement. PhD, Processes of creative patterning: a compositional approach, Kingston University (2015) His research centers on the intersection of music, technology, and artificial intelligence. He explores AI through programmatic electronic music, develops analytical tools for popular song, and investigates the adaptation of mathematical symmetry into digital signal processing. His creative work emphasizes spatial sound, immersive performance, and the materiality of the audio-object within DAW environments. Key themes include musical creativity, novelty, patterns, and the philosophical implications of AI in music. His recent creative outputs form a thematic arc exploring AI, rebellion, and human identity, most notably through The SAPIAN Trilogy and Rebel-Misfit . These works blend electronic composition with narrative depth, often inspired by thinkers like Zylinska, Bostrom, and Kurzweil. His publications and compositions reflect a consistent focus on sound as a medium for knowledge exchange and conceptual exploration. His scientific recognition includes the Ricordi Prize for Best Composition and the Schillinger Composition Prize. Ricordi Prize for Best Composition Schillinger Composition Prize He supervises two practice-based PhD students: Gemma Boaden, exploring hybrid voice practices for actors, and Michael W. Bell, researching experiential soundtracks using spatial audio technologies. He has secured internal funding for the LIPSY: Live Immersive Performance Soundscape project (2024–2025), demonstrating active grant involvement. His work extends to public engagement through podcasts, radio programs, and exhibitions with the Royal Society of Arts. Dr Constantinou is actively involved in a creative research lab focused on immersive and spatial sound, leading the LIPSY project. His work is inherently collaborative, involving partnerships with artists, film directors, and institutions like Resonance FM, Angel Studios, and The Podcast Company.

Ben HougeView profile

Professor

• Music Technology
• Video Game Audio
• Interactive Music
• +7 more

Ben Houge is a Professor in the Electronic Production and Design (EPD) department at Berklee College of Music, where he has been teaching music technology since 2011. He also serves as a Senior Audio Lead at Bungie and previously held key audio roles at Sierra and Ubisoft. His work spans academia, game audio, digital art, and immersive multisensory experiences. Bachelor of Arts in Music, St. Olaf College (1996) Houge’s research and artistic practice focus on the intersection of music, technology, and sensory experience. He is best known for his food operas —multisensory dining events that use real-time, interactive soundtracks delivered via mobile devices. These projects apply video game audio techniques to everyday experiences, exploring cross-modal correspondences between taste and sound. His work often involves algorithmic composition, audience participation, and interdisciplinary collaboration with chefs, scientists, and musicians. His recent creative output includes large-scale installations and performances such as Night Rain , On the Sensations of Beer , and Mugaritz XX , which blend real-time audio, mobile technology, and cultural narratives. His publications and performances reflect a strong trend in interactive music systems , site-specific sound design , and audience-engaged art , often drawing from historical, poetic, and scientific sources. Selected awards and recognitions include: Faculty-Led Innovations in Education (FLY) Grant (2019) Berklee Newbury Comics Faculty Fellowship (2017) Knight Foundation Grant (2015) Artist Residency at MIT (2011) Shortlist, Guggenheim YouTube Play Biennial (2010) Stranger Genius Award (2004) Houge lectures widely at institutions such as MIT, Harvard, and the Shanghai Conservatory, and at major conferences including GDC, ICMC, and TEDx. He has advised and mentored students through academic and project-based learning, particularly in the areas of audio programming and interactive media. His work has been supported by grants from the Knight Foundation and Berklee, enabling large-scale public and collaborative art projects. He is actively involved in the global digital art and game audio communities, with exhibitions and performances across North America, Europe, and Asia. He has led initiatives such as the Vox Festival and the launch of Berklee’s master’s program in Valencia, Spain. His labs and creative teams often involve collaborations with ensembles like Zeitgeist, institutions like the Boston Symphony Orchestra, and research groups such as Oxford’s Crossmodal Research Laboratory.

• Immersive Audio
• Interactive Audio
• Spatial Audio
• +6 more

Francesc Moya Serra serves as a Senior Lecturer in Immersive and Interactive Audio and Media at the University of Westminster, teaching across MA Audio Production, MA Interactive Media Practice, MA Digital Media: Storytelling and Production, and BA (Hons) Commercial Music programs. He additionally teaches at the University of Brighton, BIMM London, London South Bank University, and Buckinghamshire New University, and acts as External Examiner for London College of Music (UWL), Middlesex University, and SAE Institute. Education: BA (Hons) MA PGCert HE Fellow of the Higher Education Academy (FHEA) His UKRI-funded research centers on spatial audio applications in digital health, with expertise spanning immersive audio, interactive audio, XR, sound art, and generative music systems. He explores the integration of audio technology with health contexts and creative expression through interactive media. Publication trends reveal progression from generative music frameworks (2021) to advanced 3D sound design instruments (2025), emphasizing practical audio tools for immersive environments and health applications across audio engineering, computer music, and digital media disciplines. Scientific Awards: No awards documented in available information Dr. Moya Serra supervises students in immersive/interactive audio and media fields, supported by active UKRI grant funding for spatial audio innovation in digital health. His professional showreel demonstrates extensive work in sound design, post AV, and sound art across academic and creative domains.

Peter Lucas HulenView profile

Professor

• Electronic Music
• Music Composition
• Music Theory
• +3 more

Peter Lucas Hulen is a Professor in the Music Department at Wabash College , where he has taught for nearly 25 years. His work bridges classical acoustic composition with experimental computer-generated electronic music, informed by his classical training and later shift toward digital techniques. Research interests include: Electronic music history Music technology pedagogy Digital synthesis methods (FM, subtractive, granular) Integration of acoustic and electronic sound Algorithmic composition Interdisciplinary applications His compositions explore: Microtonal scales using superparticular ratios Wireless performance interfaces Choral liturgy adaptation Cultural sound symbolism Speaker array design Temporal structure manipulation Recent works combine academic rigor with technical innovation: 2017: Homage and Refuge , Wobbly 2015: Organum IV 2014: Magnificat , Sitting 328b 2013: Les substances botaniques , Primitive 2012: Lamentationes Jeremiae I He developed a systematic electronic music curriculum including: History and Literature Computer Programming (Max/MSP) Performance Ensembles Theory and Composition

Andy ZulianiView profile

Lecturer

• affect theory
• animal studies
• creative writing
• +4 more

Andy Zuliani is a writer, media artist, and Sessional Faculty member at Emily Carr University of Art & Design in Vancouver, Canada, where he teaches in the Humanities and Creative Writing streams. Educated at Simon Fraser University and New York University, he completed a doctoral dissertation examining tropes of obstruction, frustration, and queered embodiment in 1960s visual art and literature. Current position: Sessional Faculty in Writing Institution: Emily Carr University of Art & Design Teaching areas: Creative Writing, Humanities, Narrative + Storytelling Future courses: Summer 2025 and Spring 2026 offerings across multiple sections Zuliani's research and creative practice spans affect theory, animal studies, object-oriented ontology, and queer theory, with a strong emphasis on interdisciplinary approaches that bridge literary studies, media art, and creative writing. His work often explores obstruction aesthetics, experimental writing practices, and cross-disciplinary creative expression. He practices an empathy-based teaching approach that treats the classroom as a site for improvisation, expression, and mutual care. His recent scholarly publications include articles in Literature , FRAME Journal of Literary Studies , and Oxford Research in English . Zuliani has also published the novel Last Tide (2021) and creates audiovisual works such as Drumlin: Or, A Vision at the End (2024), Your Future is Filled (2021), and various sound installations. His creative output demonstrates consistent engagement with themes of obstruction, embodiment, and experimental form across multiple media. Dirty Windows and Troublesome Things (2023) - Explores object-oriented ontology in French literature Black Square (2021) - Examines aesthetic obstruction and political dimensions of visual forms A Present Absence (2021) - Analyzes redaction poetry and textual erasure Zuliani maintains an active presence in both scholarly and creative communities, with work represented by Video Out Distribution. His teaching philosophy emphasizes creative expression as an inherently cross-disciplinary, genre-agnostic act, and he is known for supporting emerging writers through feedback and mentorship. His current projects include a second novel, The Garden of Closeness , and a critical monograph studying black squares, brick walls, and other forms of aesthetic obstruction.

• Human-Computer Interaction
• Digital Media
• Interactive Systems
• +3 more

Jianing Zheng is a Lecturer at the School of Electronic Engineering and Computer Science, Queen Mary University of London, specializing in postgraduate teaching of Applied Statistics and Interactive Digital Multimedia Techniques. Her research focuses on the intersection of materiality and musical interaction, exploring deformable materials in digital musical interfaces and prototyping tools. Recent publications highlight her work on material-driven design, real-time interactive systems, and sensory feedback mechanisms in digital music. She employs platforms like Arduino, Processing, Max/MSP, and Jitter for teaching and research, emphasizing hands-on development and interdisciplinary approaches. Her contributions include the DeSound toolkit for digital musical instrument prototyping and methodological investigations into non-functional prototypes and material agency. While no formal awards are documented, her work bridges engineering, computer science, and creative arts disciplines. Current affiliations include active participation in Queen Mary's academic staff, with an email contact at jianing.zheng@qmul.ac.uk.

Marc EstibeiroView profile

Associate Professor

• Computer Music
• Electroacoustic Composition
• Music Technology
• +3 more

Dr. Marc Estibeiro is an Associate Professor of Music at Staffordshire University, where he serves as Course Leader for the MA Music Production program. His academic work focuses on composing for acoustic instruments and electronics. He holds a PhD in Composition from Durham University (2016), alongside MAs in Music (Bangor), English Language Teaching (Essex), and a BA(Hons) in Music (Middlesex). Research interests include electroacoustic composition, live electronics, and interdisciplinary music technology. His work has been presented globally, including at the Royal College of Music (Stockholm), ICMC conferences (Shanghai, Daegu, and Shenzhen), and Visiones Sonoras (Mexico). He co-organized the NoiseFloor event at Staffordshire University, attracting international practitioners. Grants : 2019 Arts Council-funded audiovisual project exploring Stoke-on-Trent's pottery industry legacy. Teaching : Pro Tools, creative music software design, and postgraduate supervision. Professional Memberships : Performing Rights Society, AVID Certified Pro Tools Instructor. Publications include chapters in Rethinking the Musical Instrument (2022) and Innovation in Music (2019), alongside conference papers on granular synthesis and digital instrument design. His music has been broadcast on BBC and Channel 5, and he collaborates internationally with ensembles like the Ives Ensemble and Acceder8 brass band.

Frédéric DufeuView profile

Research Fellow

• Electroacoustic Music
• Musicology
• Digital Technologies in Arts
• +3 more

Frédéric Dufeu is a Senior Research Fellow at the University of Huddersfield's School of Arts and Humanities, specializing in electroacoustic music and digital musicology. He holds a PhD from Université Rennes 2 and has been affiliated with the Centre for Research in New Music (CeReNeM) since 2012. His current part-time role (0.2 FTE) allows him to pursue parallel creative and software development projects alongside academic work. Education: Bachelor’s in Music and Musicology (Université Rennes 2, 2005) Master’s in Arts and Digital Technologies (2007) PhD in Music (2010) Research focuses on analyzing electroacoustic music through digital tools, including software emulation and interactive aural analysis. Key projects include the TaCEM and IRiMaS initiatives, which explore creative processes and technology integration. He co-authored Inside Computer Music (Oxford UP, 2020), accompanied by interactive software packages. Recent articles emphasize tools like TIAALS and Max-based analysis frameworks. He collaborates with institutions like IRCAM and leads the FluCoMa project. His work spans grants such as the ERC-funded Fluid Corpus Manipulation and AHRC TaCEM projects. Labs/Teams: Member of CeReNeM, Creative Coding Lab, and affiliated with research centers like the Centre for History, Culture and Memory.

Paulina Velázquez SolísView profile

Visiting Professor

• Digital Media
• Sound Art
• Installation Art
• +5 more

Paulina Velázquez Solís is a multimedia artist and curator from Mexico and Costa Rica currently serving as a Visiting Critic in the Department of Art at Cornell University's College of Architecture, Art, and Planning. Her practice spans installation, sound, sculpture, drawing, animation/video, and media performance, with a particular focus on the body and the biological/natural world in interaction with cultural and social notions of normalcy as a multinational individual. Her research interests center on the intersection of digital media, sound art, installation, interdisciplinary art practices, performance, sculpture, and technology integration. Velázquez Solís explores the boundaries between traditional craft techniques like textile work and electronics, challenging gendered perceptions of these fields by merging 'feminine' textile crafts with 'masculine' electronic spaces. Her work often incorporates circuit bending, Arduino programming, and MAX/MSP to create interactive installations that respond to audience presence and environmental factors. Her artistic output shows a consistent exploration of organic forms, sound ecology, and the integration of traditional craft with contemporary technology. The most recent works reveal an increasing sophistication in the integration of textile-based electronics, creating installations that transform spaces through responsive sound and visual elements. Her projects often address themes of environmental consciousness, cultural identity, and the decolonization of technological spaces. Artist in Community grant, Community Arts Partnership, New York State Council for the Arts, USA (2021) Winning artists, Bienarte 8, representing Costa Rica in the Central American Biennale 2012 in Panama (2011) Fulbright Scholarship for graduate studies in the United States (2008-2010) Velázquez Solís has developed significant collaborative relationships, particularly with composer/sound artist Travis Johns, who is also her life partner. Their collaborative work explores the intersection of sound, visual art, and interactive technology. She has also been instrumental in developing community workshops on creative electronics in Costa Rica and the United States, despite facing gender-based resistance in some technical communities. Her current work in Ithaca, New York continues her exploration of bio-inspired electronic sound and organic forms in technological contexts.

• Electroacoustic Music
• Experimental Composition
• Live Electronics
• +3 more

Lars Bröndum is a Senior Lecturer in Music at the University of Skövde 's School of Informatics , specifically within the Department of Information Technology . He explores the intersection of acoustic instruments and electronic sound through live performance and composition. Co-founder of Antennae Media record label Board member in Fylkingen (new music society) and Swedish ICEM section Active in EMS (Swedish Electroacoustic Music) network Bröndum's research focuses on electroacoustic improvisation , graphic notation , and modular synthesis . He develops procedural frameworks that combine aleatoric techniques with live electronics , often using Max/MSP for algorithmic composition. His work critiques neoliberal cultural production through sonic experimentation. Recent artistic outputs include Suspended in the Pit (2019) examining electroacoustic aesthetics and Descending into the NOW! (2024) exploring live improvisation. He has published in Open Cultural Studies and PARSE Journal on topics connecting sound spatialization to political themes. Recipient of Swedish Art Council grants Multiple awards for experimental music from SOM Bröndum's pedagogical approach integrates digital transformation and creative technology in music education, reflected in his course coordination roles. He maintains active performance collaborations with ensembles like The Aleatoric Chamber Ensemble and ReSurge.

• Music Technology
• Interactive Media
• Digital Sound Design
• +3 more

Nick Hwang is an Assistant Professor of Communication at the University of Wisconsin-Whitewater, affiliated with the Department of Communication within the College of Arts and Communication. His research focuses on music technology, interactive media, and collaborative performance systems, emphasizing innovations in sound diffusion, telematic music, and digital instrument design. He actively engages in interdisciplinary projects such as the Collab-Hub system for remote musical collaboration and the RhumbLine project exploring zoomorphic musical robots. Dr. Hwang’s academic contributions span over a decade, with notable work on the Actuated Embedded Musical Instrument (AEMI) and web-based creative coding education. His teaching philosophy prioritizes student-centered learning, tailoring material to individual backgrounds while pushing technical and artistic boundaries. Though no awards or grants are explicitly documented here, his publications reflect a commitment to advancing technologies at the intersection of music, computing, and human interaction. His lab environments and collaborative projects foster experimentation with emerging tools like mobile node controllers (MoNoDeC) and spatial audio systems. While specific student advisees or grant details are not listed, his teaching within media and game development programs underscores a dedication to preparing students for evolving creative industries.