Find Academic Supervisors

Johan PauwelsView profile

Lecturer

• Audio Signal Processing
• Music Information Retrieval
• Machine Learning for Audio
• +3 more

Dr. Johan Pauwels is a Lecturer in Audio Signal Processing at Queen Mary University of London's School of Electronic Engineering and Computer Science, where he is affiliated with the Centre for Digital Music and the Centre for Multimodal AI. His educational background includes: Master of Science in Electrical/Electronics Engineering from KU Leuven (2006) Master of Science in Artificial Intelligence from KU Leuven (2007) PhD from Ghent University (2016) on automatic harmony recognition from audio Johan's research focuses on making machines understand audio to the level of a trained professional. His work combines machine learning, signal processing, data science, and music theory to develop tools for musicians, listeners, and music learners. He has been working on narrowing the gap between academic research and user-centric applications, web-based music services, and the personalization of spatial and immersive audio. His specific interests include machine learning for audio, audio signal processing, music information retrieval, and binaural audio. His recent publications show a strong focus on music representation learning, with particular attention to limited data scenarios, multimodal approaches, and spatial audio processing. His work bridges theoretical music concepts with practical machine learning applications, especially in chord recognition, beat detection, and instrument recognition. He has made significant contributions to HRTF (Head-Related Transfer Function) research and development of tools for spatial audio processing. Dr. Pauwels is actively involved in research funding, with current grants including the AIM CDT Internship with Sofilab (2025), AIM CDT Studentship - Stem (2024), and AIM CDT Internship with stem.tech (2024). He currently supervises multiple PhD students, primarily through the UKRI Doctoral School in AI and Music, with research topics spanning intelligent audio editing, neural drum synthesis, source separation, graph neural networks for music recommendation, and more. In addition to PhD supervision, he typically guides 8-10 undergraduate and 8-10 master's students through their final year projects. His teaching responsibilities include ECS7013P Deep Learning for Audio and Music (MSc/PhD level) and ECS411U Signals and Information (first-year undergraduate).

Seth SchermerhornView profile

Associate Professor

• Native American Studies
• Indigenous Religions
• Pilgrimage Studies
• +4 more

Seth Schermerhorn is an Associate Professor and Director of the American Studies Program at Hamilton College (on traditional Oneida territory). He specializes in interdisciplinary studies of Native American and Indigenous Peoples, particularly the Tohono O’odham Nation in Arizona and northern Sonora. His research focuses on Indigenous religious practices, pilgrimage, and the intersection of global Christianities with Indigenous knowledge systems. Education: Ph.D., Arizona State University M.A., University of Colorado B.A., Colorado State University Research Interests: Indigenous religious traditions and mobilities Pilgrimage and place-making Tohono O’odham cultural practices Comparative religious methodologies Awards & Grants: Franklin Research Grant (American Philosophical Society) Phillips Fund for Native American Research Andrew W. Mellon Foundation grants Hamilton College Faculty Research Awards Service & Affiliations: Founding Editor of Indigenous Religious Traditions Co-Chair, Indigenous Religious Traditions Unit (American Academy of Religion) Board Member, Edward H. & Rosamond B. Spicer Foundation Consultant for the documentary The Pilgrimage to Magdalena His scholarly work bridges religious studies, anthropology, and Indigenous sovereignty, emphasizing decolonial methodologies and the centrality of movement to Indigenous identity.

Yvette OrsovicsView profile

Adjunct Professor

• Comparative Textbook Research
• Textbook Theory
• Methods of Music Education
• +3 more

Yvette Orsovics is an Adjunct Professor at the Department of Pre-school and Elementary Education, Faculty of Education, Selye János Egyetem. She holds a PhD in Pedagogy and has extensive experience in music education and comparative textbook research. Her roles include conducting the Cantus Iuventus choir and leading various educational initiatives. Education: Completed studies at Pedagógiai Főiskola (1989-1995), Kodály Zoltán Institute (1996-1998), and Eötvös Lóránd University (2008-2013). She has taught at primary schools and music academies since 1994. Research focuses on textbook analysis, music education methods, and artistic activities. Notable projects include internationalizing teacher education programs and developing creative language teaching methods. Recognition includes multiple awards for pedagogical excellence, including the 2020 Ministerial Award and 2016 Hungarian Teacher Award. She has led over 10 funded projects, including EU-supported initiatives. As a conductor, her choirs have achieved significant national and international success. She is actively involved in cultural initiatives and serves as a jury member at music festivals.

Ed HughesView profile

Professor

• Composition
• Music Technology
• Historical Music Studies
• +4 more

Ed Hughes is a Professor of Composition in Music at the University of Sussex's School of Media, Arts and Humanities. His roles include Head of Music (2013-2018), Deputy Head of School, and Associate Dean for Education. He holds a BA from Cambridge University (1987-1990), an MPhil (Cambridge), and a PhD in Composition from Southampton (2000-2004). His research focuses on composition techniques, music technology, and interdisciplinary projects like Syncphonia, a notation system aiding ensemble performance. Notable works include operas like States of Innocence (2024) and orchestral pieces inspired by landscape, such as Music for the South Downs (2022). He has received grants from AHRC, Arts Council England, and the South Downs National Park Authority. Hughes has supervised numerous PhD students in composition and music technology. His awards include the British Composer Award (2014) and commissions from Brighton Festival and the Mahogany Opera Group. Collaborations with psychologists and educators highlight his commitment to music education and accessibility.

Gascia OuzounianView profile

Associate Professor

• Sound Studies
• Architecture and Urbanism
• Science and Technology Studies
• +5 more

Professor Gascia Ouzounian is an Associate Professor of Music at the University of Oxford and a Fellow and Tutor in Music at Lady Margaret Hall. Her work bridges sound studies, architecture, urbanism, and science/technology studies. She holds a doctorate in critical studies from UC San Diego and degrees in music technology and violin from McGill University. Research focuses on vibrational urbanism, sonic memory (e.g., Armenian Genocide), and experimental sound practices. Notable projects include the ERC-funded SONCITIES initiative exploring urban soundscapes and the Scoring the City workshop series. She edited volumes on sonic architecture and authored Stereophonica (MIT Press 2021), examining spatial sound from the 19th century to today. Her articles address topics like counterlistening, binaural technologies, and sonic resistance, appearing in Computer Music Journal , Architectural Review , and Journal of Sonic Studies . As a violinist, she performs experimental works including Music for Sleeping & Waking Minds , which translates brainwaves into sound. Teaching includes courses on acoustic cities, sound art, and experimental music history. Collaborations span institutions like DAAD, Sursock Museum, and Theatrum Mundi, emphasizing interdisciplinary approaches to sound's role in urban and cultural contexts.

Ryan DohoneyView profile

Professor

• Musical Modernism
• Experimental Music
• Music Philosophy
• +6 more

Ryan Dohoney is a Professor of Musicology at Northwestern University’s Bienen School of Music, serving as Director of Graduate Music Studies and Associate Dean for Faculty. He holds a PhD from Columbia University. His research focuses on 20th-21st century U.S. and European modernism, experimental music, and interdisciplinary artistic communities. Key areas include Morton Feldman’s collaborations, abstract ecumenism, and queer modernist networks. He explores affect theory, religious studies, and phenomenology through archival and ethnographic methods. Notable works include Saving Abstraction: Morton Feldman, the de Menils, and the Rothko Chapel (2019) and Morton Feldman: Friendship and Mourning (2022). His research has been supported by the Paul Sacher Foundation, ACLS, and the American Philosophical Society. Dohoney advises PhD students on topics like experimental music, LGBTQ studies, and science/technology studies. Affiliations: Institute for New Music, Critical Theory, Global Avant-Garde Studies, and Gender & Sexuality Studies clusters. Recent initiatives include biennial new music conferences and collaborations with Theaster Gates’ art projects. Publications span monographs, journal articles, and edited volumes, addressing figures like Julius Eastman, Joan La Barbara, and Philip Guston. His work bridges musicology with critical theory, queer studies, and material culture.

Mirjana PlathView profile

Research Fellow

• Musicology
• Music History
• Opera Studies
• +6 more

Mirjana Plath is a Research Fellow at the Department of Musicology, University of Oslo. Her work focuses on the transfer of operettas to Stockholm during the 1930s-1940s, particularly analyzing the role of actor and cabaret artist Max Hansen. She holds a Master’s in Musicology from the University of Vienna and has conducted research at institutions including the University of Alberta and Freie Universität Berlin. Education: Bachelor of Arts in Art History, Media Studies, and Musicology (Universities of Marburg and Oslo) Master’s in Musicology (University of Vienna) Her research interests include operetta studies, cultural politics, and the intersection of music with historical and political contexts. She has collaborated with major European music festivals and institutions such as the Vienna Volksoper and Schott Music.

Scott BartonView profile

Associate Professor

• Music Composition
• Robotics Engineering
• Psychology
• +6 more

Scott Barton is an Associate Professor of Music at Worcester Polytechnic Institute (WPI), with affiliate appointments in Robotics Engineering, Computer Science, and Psychology. He leads the Music, Perception and Robotics (MPR) Lab and co-founded Expressive Machines Musical Instruments (EMMI), focusing on robotic musical instrument design and human-robot interaction. His research spans rhythm perception, creativity, and audio production, blending psychology, engineering, and music. His teaching includes courses on music and mind, musical robotics, digital sound, and algorithmic composition. He actively engages in performances and workshops, such as the 2024 International Computer Music Conference in Seoul and the Algorave event in Worcester. Awards: None explicitly listed in the provided texts. His contributions include over 15 publications in journals like Music Perception and conferences such as NIME. He advises students in interdisciplinary projects at the MPR Lab and collaborates on robotic instrument development. Labs: Directs the MPR Lab and co-founded EMMI, focusing on innovative musical robotics and human-robot interaction.

• Electronic Engineering
• Computer Science
• Biomedical Engineering
• +3 more

James Weaver is a Visiting Professor at the School of Electronic Engineering and Computer Science, Queen Mary University of London. His work spans interdisciplinary research areas including education technology, biomedical acoustics, and music/audio engineering. He is reachable at j.d.weaver@qmul.ac.uk and located in Room Eng 104, Engineering Building. His research interests integrate technical and applied domains. Key focuses include developing frameworks for student career development, exploring acoustic technologies in healthcare, and analyzing reverberation effects in musical performance. These studies bridge theoretical engineering principles with practical applications in education and the arts. Recent publications highlight trends in career-stage frameworks for institutional collaboration and innovative acoustic methodologies in music and medicine. His work demonstrates cross-disciplinary approaches to solving complex technical challenges.

Peter SchubertView profile

Associate Professor

• Music Theory
• Choral Music
• Renaissance Music
• +3 more

Peter Schubert is an Associate Professor at McGill University's Faculty of Music, affiliated with the Department of Music Research. He specializes in music theory, with notable contributions to Renaissance and Baroque counterpoint through his textbooks. A renowned conductor, he founded and directs VivaVoce, a professional vocal ensemble, and led The Orpheus Singers in Montreal. Schubert holds a Ph.D. in musicology from Columbia University and has extensive conducting training under mentors like Nadia Boulanger. His research integrates historical performance practices with modern educational methodologies. Education: Ph.D. in Musicology, Columbia University Key Roles: Conductor of VivaVoce and The Orpheus Singers Publications: Co-authored Baroque Counterpoint (2005) and Modal Counterpoint, Renaissance Style (1999) His research interests focus on historical music theory frameworks, choral performance, and the pedagogical application of Renaissance/Baroque techniques. Schubert’s innovative 'commentated concerts' bridge academic scholarship with public engagement, fostering appreciation for choral chamber music across genres.

Ryan Cecil JobsonView profile

Assistant Professor

• Energy and Extractive Resource Development
• Technology and Infrastructure
• Racial Capitalism in the Americas
• +3 more

Ryan Cecil Jobson is the Neubauer Family Assistant Professor of Anthropology at the University of Chicago, affiliated with the Center for the Study of Race, Politics, and Culture, and the Center for Latin American Studies. His work focuses on energy and extractive resource development, technology and infrastructure, and racial capitalism in the Americas. He holds a PhD from Yale University (2017) and specializes in the Caribbean and the Americas, examining issues like climate change, sovereignty, and decolonization. Recent projects include a forthcoming book, *The Petro-state Masquerade: Oil, Sovereignty, and Power in Trinidad and Tobago* (2024), analyzing Trinidad and Tobago’s fossil fuel governance and its 'masquerade of permanence.' Jobson also works on a collection of essays on climate habitability in the Caribbean and a theoretical manuscript on anthropological methods amid climate extinction. His research critiques postcolonial state narratives, linking fossil fuels to political power while highlighting grassroots resistance. He has published widely on topics like petro-state dynamics, extractivism, and decolonial theory, with affiliations strengthening interdisciplinary engagement in race, culture, and global studies.

• Music Theory
• Music Analysis
• 19th-Century Instrumental Music
• +7 more

Professor Julian Horton holds the position of Professor of Music Theory and Analysis in the Department of Music at Durham University. His academic journey includes undergraduate and postgraduate studies at Trinity College, Cambridge, where he also served as a Research Fellow. He has held roles as Associate Professor and Head of School at University College Dublin, and has taught at King’s College, London. His research focuses on the analysis and reception of 19th-century instrumental music, with specializations in Bruckner, Brahms, sonata form, and tonality. Key contributions include monographs like Bruckner’s Symphonies: Analysis, Reception and Cultural Politics (2004) and Brahms' Piano Concerto No. 2, Op. 83: Analytical and Contextual Studies (2017), as well as edited volumes such as The Cambridge Companion to the Symphony (2013). His work has been recognized with the Westrup Prize (2011) for his article on John Field’s concerto forms. Horton has served as President of the Society for Music Analysis (2014–2019) and on councils of the Society for Musicology in Ireland and the Royal Musical Association. He has held residencies in the Netherlands and Flanders and was made a Corresponding Member of the Society for Musicology in Ireland (2019). His publications span analytical essays, edited collections, and theoretical frameworks addressing sonata form, symphonic structures, and critical theory. Current projects include studies on Schumann’s Piano Concerto and corpus-based analyses of 19th-century violin concertos.

John J. HeginbothamView profile

Lecturer

• Choreography
• Dance Theater
• Collaborative Arts
• +3 more

John Heginbotham is a Lecturer in Dartmouth's Theater Department and founding director of Dance Heginbotham. A Juilliard-trained choreographer and former Mark Morris Dance Group member, his creative research integrates dance, music, and visual design through collaborative processes. His company has performed at major venues including BAM, Lincoln Center, and international festivals. Creative Research: Interdisciplinary works combining choreography with live music composition Site-specific performance installations Narrative dance theater productions Notable works include collaborations with composers Ethan Iverson and Colin Jacobsen, and designer Maira Kalman. He teaches courses in dance composition and performance.

• Music Perception
• Intercultural Music Dialogue
• Musicology
• +3 more

Dr Alex Chilvers is a Lecturer in Aural Skills at the Sydney Conservatorium of Music, The University of Sydney, and an Honorary Postdoctoral Fellow in Macquarie University's Department of Psychological Sciences. He holds a PhD in Composition (2019), a BMus(Hons), BIT(Hons), and is a Fellow of the Higher Education Academy (FHEA). His research focuses on music perception, intercultural musical dialogue, and the aesthetic role of folklore in Polish music. Chilvers composes for orchestras and ensembles like the Tasmanian Symphony Orchestra, and co-founded the Bark Tin Band to explore cross-cultural musical collaborations. He coordinates aural perception units at the Conservatorium and supervises postgraduate research in music performance, composition, and musicology. Current projects include 'New Music Through Dialogic Intercultural Collaboration' with Dr Lulu Liu. Chilvers' work bridges musicology, psychology, and performance, with affiliations to the Music, Sound and Performance Lab and the Australian Music Centre. His compositions and research publications address themes of cultural identity, intercultural exchange, and the psychological impact of music. Publications include analyses of Szymanowski and Górecki's use of folklore, and empirical studies on cultural sensitivity in music appreciation. His teaching emphasizes aural skills development and interdisciplinary approaches to music education.

• Medieval Music Studies
• Early Modern Liturgical Music
• Manuscript Fragments
• +3 more

Dr. Kathleen Nelson is an Honorary Associate Professor at the Sydney Conservatorium of Music, University of Sydney. She has held leadership roles including Associate Dean (Research Education) and HDR Director. Her academic journey includes a BMus(Hons) and MMus from the University of Adelaide, followed by a PhD in medieval music focusing on Spanish chant manuscripts. Her research specializes in medieval and early modern liturgical music of Western Europe, particularly Iberian Peninsula manuscripts. Notable areas include the Exultet text, manuscript fragment analysis, and early music notation systems. Collaborations include the Digital Analysis of Chant Transmission (DACT) project and contributions to the Cantus Database. Recent work includes studies on Sydney University's liturgical manuscripts and forthcoming publications on Zamora's musical archives. She actively supervises research students in early music and chant studies. Key grants include investigations into the Exultet's historical usage in Iberia. Teaching focuses on fostering undergraduate research through initiatives like the Sydney Undergraduate Journal of Musicology. International partnerships span institutions in Canada, Portugal, and Brazil, emphasizing digital musicology and manuscript preservation.