Rebecca Herissone is Professor of Musicology at the University of Manchester and a leading scholar in early modern English music. She co-edits the peer-reviewed journal Music & Letters and serves on editorial boards for the Purcell Society, Musica Britannica, and the Complete Works of John Eccles. Her research focuses on seventeenth-century creativity, material culture, and the ontological dimensions of music notation. Key research areas: Early Modern Music, Creativity, Source Study, Notation, Reception Major awards: Diana McVeagh Prize (2015), Westrup Prize (2007) Her recent work includes digital humanities projects on music preservation and critical editions of Purcell's operas. She has pioneered interdisciplinary approaches connecting musicology with drama, art, and literature, and currently leads research on Purcell's posthumous reception in the eighteenth and nineteenth centuries. Her teaching spans music historiography, performance practices, and advanced source analysis.
The Royal Academy of Music, University of LondonUnited Kingdom
Louise Drewett is a British composer and Lecturer in Composition at the Royal Academy of Music. She co-directs Sing Healthy Choirs, a charity running community choirs in Berkshire, and acts as Artistic Director of the New London Chamber Choir. Her work blends choral music with community engagement, informed by her collaborations with poets like Clare Shaw and theatre companies like Arbonauts. Education: Drewett holds a PhD in Composition from the Royal Academy of Music, supported by scholarships and awards including the Manson Fellowship (2021–2022), the Charles Lucas Composition Prizes (2018, 2019), and grants from the Countess of Munster Musical Trust and the RVW Trust. She studied under composers Philip Cashian, Hans Abrahamsen, and Oliver Knussen. Research interests focus on communal music-making, vocal textures, and interdisciplinary projects. Her works, praised for 'shimmering textures' (The Times), span orchestral pieces (e.g., with LSO/LPO) and community operas like Daylighting , which earned an Ivor Novello nomination. She also creates educational music for ABRSM's syllabuses. Awards: Ivor Novello Award Nominee (2022) Charles Lucas Composition Prizes (2018, 2019) Countess of Munster Musical Trust Award Advising & Grants: Long-term collaborations with Arbonauts and Young People’s Puppet Theatre highlight her commitment to accessible, participatory art. Her Manson Fellowship supported research into vocal ensemble techniques. Labs/Teams: Leadership roles in Sing Healthy Choirs and the New London Chamber Choir reflect her dedication to fostering community through music.
Panpan Yang is a Lecturer in Arts and Visual Cultures of Modern China at the School of Arts, SOAS University of London. She joined SOAS in 2021 after completing her joint PhD at the University of Chicago under the direction of Wu Hung, Tom Gunning, W. J. T. Mitchell, Judith Zeitlin, and Dana Polan. Her interdisciplinary work bridges art history, screen studies, East Asian studies, and digital humanities, with a focus on innovative methodologies in art historical writing. Dr. Yang earned a dual BA from Peking University, double majoring in art and philosophy, followed by an MA from Tisch School of the Arts at NYU, and a PhD from the University of Chicago. During her undergraduate studies, she served as president of the Society of Dream of the Red Chamber Studies, which informed her secondary academic interest in Redology and the visual material world of the novel Hong lou meng. Panpan Yang's research explores how minor discourses can deterritorialize the terrains of both art history and screen studies. Her work demonstrates a multimethodological approach attentive to archival research, material practices, close visual analysis, computer-aided vision, and cross-cultural theorization. She is particularly interested in Chinese animation history, calligraphic imagination in contemporary art, and the intersections between traditional Chinese art forms and new media. Her publications reveal a consistent focus on Chinese visual culture across multiple media forms, with particular attention to animation, film, and calligraphy. Yang's work demonstrates how traditional Chinese art forms engage with contemporary digital media, creating new hybrid forms that challenge disciplinary boundaries. Her research shows a trajectory from historical analysis of Chinese animation to contemporary explorations of calligraphy in digital contexts, revealing the ongoing relevance of traditional Chinese aesthetics in modern media. Dr. Yang has received several prestigious awards for her scholarly and creative work: China's National Young Screenwriter Award Domitor Essay Award Dean's Distinguished Dissertation Award Nomination Honourable Mention from the Association for Chinese Animation Studies As a Principal Investigator, Dr. Yang leads the AHRC-funded research project "Stroke by Stroke: Calligraphic imagination in contemporary Chinese art and emergent media" (2023-25) with Shane McCausland. She was also a collaborating partner on the NEH-funded "Media Ecology Project." Her research has received additional support from the Getty Foundation and the Sino-British Fellowship Trust. At SOAS, she works closely with faculty and graduate students interested in Chinese arts and cultures, art theory, cinematic arts, and digital art history. Dr. Yang is currently developing innovative research at the intersection of traditional Chinese calligraphy and contemporary digital media through her AHRC-funded project. This work explores how calligraphic imagination manifests in contemporary art and emergent media contexts, creating new pathways for understanding Chinese cultural heritage in the digital age.
Professor Matthew Head is Professor of Music at King's College London. Educated at Oxford and Yale, his research explores German Romantic keyboard music, Enlightenment subjectivity, and representations of gender in 18th-century musical cultures. His monograph 'Sovereign Feminine' examines music's role in constructing femininity during this period. Current projects investigate expressive practices in Haydn, Mozart, and C.P.E. Bach, analyzing emotional dimensions like terror, melancholy, and desire through keyboard works. He co-directs widening participation initiatives bridging King's College and St George's musical communities.
Dr. Amanda Hsieh is an Assistant Professor of Musicology in the Department of Music at Durham University. Her research examines the intersection of music and politics, with a particular focus on global music history and transnational exchanges between East Asia and Central/Western Europe during the 19th-20th centuries. Her current book project, 'The Japanese Empire's German Art Music, 1910–1945', investigates musico-political networks connecting Germany, Japan, and Taiwan. Hsieh employs interdisciplinary approaches including global history, biography, and infrastructure theory to analyze how Western art music influenced Japanese state-building initiatives. Dr. Hsieh actively builds equitable scholarly networks as co-founder of the Asian-German Studies in Music Working Group and former co-chair of the AMS Global East Asian Music Research Study Group. She serves as Reviews Editor for the Journal of the Royal Musical Association, where she promotes linguistic and geographical diversity in music scholarship. Her recent publications explore themes of gender representation in opera, cultural diplomacy through music, and methodological challenges in global music history. She has received prestigious awards including the Kurt Weill Prize and Jerome Roche Prize for her contributions to music scholarship. Dr. Hsieh currently supervises PhD research on women opera singers in 19th-century Britain and welcomes doctoral applicants interested in music and mobility, music and politics, and global music history.
Dimitri Scarlato serves as Area Leader in Masters Programmes in Composition for Screen and Doctoral Supervisor at the Royal College of Music's Faculty of Composition. Holding a Doctorate in Composition from the RCM (2014) alongside prior studies at Guildhall School of Music & Drama (2004) and Rome's Conservatorio di Musica S.Cecilia, he maintains active roles in academic leadership and doctoral supervision while continuing professional creative work. His research spans film composition, opera, and contemporary classical music with specialized focus on screen-based media. Key interests include soundtrack production techniques, cross-cultural narrative scoring, and innovative vocal composition for modern contexts. His work integrates academic rigor with industry practice through film scores, operatic productions, and multimedia performances that bridge traditional and contemporary forms. Scarlato's recent creative output demonstrates consistent thematic development in audiovisual storytelling, with increasing sophistication in emotional resonance and cultural contextualization across film and opera formats. His projects frequently explore Italian cinematic traditions while incorporating international perspectives from collaborations at venues like Berlinale Talent Campus and Royal Opera House. 2nd Prize, Opera Harmony Digital Opera Festival (2020) for 'A Life Reset' Award for Soundtrack to Short Film 'Intolerance' (2021) RCM Rising Star Selection (2010) As Doctoral Supervisor, Scarlato guides emerging composers through rigorous academic and creative development, emphasizing practical industry integration. His professional engagements include conducting premieres of contemporary operas across Europe and high-profile collaborations such as coaching Sir Michael Caine for the film 'Youth' (2015). Current projects focus on expanding composition techniques for digital media platforms while maintaining strong connections to traditional performance venues.
Matthew Shlomowitz is Professor of Composition at the University of Southampton, actively engaged in contemporary music creation and scholarly work. His position places him at the forefront of innovative compositional practices, with collaborations spanning international ensembles and performers including Rubiks Collective, Ensemble Nikel, and major orchestras worldwide. Shlomowitz's research explores contemporary composition with particular focus on notions of artistic voice, music theatre including performance-lectures, neoclassicism, polytonality, and instrumental music with recorded sound. His work investigates technical approaches within music composition, historical textures, and forms that have fallen out of circulation within contemporary music making, seeking new potentialities for these techniques. His publications reveal a consistent exploration of polytonality across multiple volumes, theatrical works spanning monodramas to collaborative pieces, and scholarly examinations of artistic identity in contemporary music. The works demonstrate his interdisciplinary approach that bridges composition, performance art, and musicology, with particular emphasis on the relationship between historical techniques and contemporary practice. Scientific Awards: Johann-Joseph-Fux-Opernkomposition prize by Land Steiermark (2015) Professor Shlomowitz currently supervises multiple PhD students in Music at the University of Southampton, including James Douglas Howell, Linhao Li, Max Syed-Tollan, and Timothy Cape. He has taught on prestigious short courses internationally including Darmstadt Summer Courses (Germany), Impuls Academy (Austria), Time of Music (Finland), Tzlil Meudcan Summer Course (Israel), and Ensemble Offspring Hatched Academy (Australia). Beyond his academic work, he co-directs the new music group Plus Minus Ensemble and hosts the Soundmaking podcast, creating platforms for contemporary musical discourse and performance.
Dr Andrew Killick is a Reader in Ethnomusicology at the University of Sheffield’s School of Languages, Arts and Societies, and Director of the MA in Traditional and World Music (distance learning). His research focuses on Korean traditional music, global notation systems, and world music analysis. He holds a BMus from the University of Edinburgh, an MA from the University of Hawaii, and a PhD from the University of Washington, with extensive fieldwork in Korea. His work emphasizes holistic musicological approaches, including the development of Global Notation , a universal music transcription system. He has published widely on topics such as Korean musical theatre (Ch’angguk), Hwang Byungki’s compositions, and cross-cultural musical analysis. Killick has supervised over 20 PhD students, covering diverse topics from Nigerian popular music to Cretan flute adaptations. Key research areas include ethnomusicological methodology, the interconnectedness of global musical traditions, and the role of notation in preserving cultural heritage. His recent projects explore how musical ideas spread through cultural contact and aim to challenge Eurocentric narratives in world music studies. Education: PhD in Music (Ethnomusicology), University of Washington, 1998 MA in Music (Ethnomusicology), University of Hawaii, 1990 BMus in Music, University of Edinburgh, 1984 Professional Roles: Co-editor, Yearbook for Traditional Music (2007–2010) President, Association for Korean Music Research (2000–2002) Notable Publications: Hwang Byungki: Traditional Music and the Contemporary Composer (2013) In Search of Korean Traditional Opera: Discourses of Ch’angguk (2010) Co-author of Garland Encyclopedia of World Music, Vol. 7: East Asia (2002) Labs/Initiatives: Founder of Global Notation , a project promoting culturally inclusive music transcription
Professor Adam Gorb is a renowned composer and academic, serving as Professor of Composition and former Head of the School of Composition at the Royal Northern College of Music (RNCM) from 2000 to 2023. He holds a PhD in Composition from the University of Birmingham (2013), alongside degrees from Cambridge University (BA 1980) and the Royal Academy of Music (RAM, MMus with Principal’s Prize 1993). His research and creative output focuses on orchestral, operatic, and wind ensemble composition. Notable works include operas Anya 17 (2012) and The Path to Heaven (2018), which explore themes like human trafficking and the Holocaust. His wind ensemble pieces, such as Towards Nirvana and Farewell , have won British Composer Awards and are performed globally. Awards include three British Composer Awards and a House of Commons accolade for Anya 17 . He advises PhD students in composition while maintaining international collaborations, including recent projects in Romania, Australia, and the USA. His music is frequently recorded and performed worldwide, with CDs such as 24 Preludes (2022) and Dancing in the Ghetto (2016) showcasing his diverse output. Teaching roles include undergraduate and postgraduate composition at the RNCM, alongside guest lectures at institutions globally. His current projects include commissions for the Royal Academy of Music and interdisciplinary work with Parkinson’s patients.
Richard Scott is a Lecturer in Creative Writing at Goldsmiths, University of London, specializing in poetry and queer theory. He holds a BMus in Music & Performance (Opera) from the Royal College of Music (2004) and an MA in Creative & Life Writing from Goldsmiths (2012). His research explores queer poetics, ekphrasis, art history, and London's Soho district. Key publications include Soho (Faber & Faber, 2018), shortlisted for the T.S. Eliot Prize, and Wound (Rialto, 2016), winner of the Michael Marks Poetry Award. His work has been translated into German and French. Recent articles engage with queer ekphrasis (e.g., 'Still Life with Cup...'), mineral symbolism ('Red Jasper'), and urban queer narratives ('from Coy'). He has collaborated with institutions like Southwark Park Galleries and BBC Radio 4. Awards include the Poetry London Competition (2017) and residencies at Edwin Morgan Trust and Resonance FM. His teaching focuses on creative writing and life writing at the MA level.
Andrew Cooper-James is a Senior Lecturer in Creative Film, TV & Digital Media Production at the University of Northampton, School of Arts. With over 30 years of experience as an independent filmmaker, he specializes in production design, performance, and sound design across film, television, and live art. He has been teaching for 17 years and holds a Fellowship from the Higher Education Academy. Research Interests: His creative and academic work focuses on interdisciplinary practices, particularly in screendance, collaborative art, and digital media. He explores the integration of performance, sound, and visual storytelling in both educational and artistic contexts. Publications and Conferences: Andrew has published in the International Screendance Journal and presented at GLAD and NAHEMI conferences. His recent work reflects trends in experiential learning, community engagement, and the fusion of live art with moving image. Fellowship from the Higher Education Academy Teaching and Creative Practice: He leads hands-on modules including Final Major Project, Sound for Screen, and Community Impact. His artistic projects have been supported by major institutions such as Arts Council England, The Royal Opera House, and The South Bank Centre. He mentors students in creative production and emphasizes practical, student-led learning. Labs and Creative Teams: While no formal lab is mentioned, Andrew collaborates with interdisciplinary teams in live art and film, often working with dancers, composers, and visual artists on hybrid projects supported by national and international arts organizations.
Dr Mark-Anthony Turnage CBE FRCM serves as Senior Research Fellow in Composition and RCM Research Fellow in Composition at the Royal College of Music. He is a composer of truly international stature whose orchestral and operatic music is often forthright and confrontational, unafraid to mirror the realities of modern life, yet its energy is exhilarating. With his flair for vivid titles and complete absorption of jazz elements into a contemporary classical style, Turnage produces work with strong appeal to an enquiring, often young audience while expressing deep tenderness, especially emotions associated with loss. Turnage's research interests focus on the intersection of contemporary classical music with jazz elements. His work explores: Innovative approaches to orchestral composition Jazz-classical fusion techniques Opera and theatrical music composition Music that addresses contemporary social issues Expressive techniques for conveying emotional depth Vivid musical imagery through descriptive titles An analysis of Turnage's extensive publication record reveals a consistent exploration of emotional depth and technical innovation across more than four decades. His works frequently engage with themes of loss, memory, and social commentary while maintaining a distinctive musical voice that incorporates jazz sensibilities within contemporary classical frameworks. The titles of his compositions often provide vivid imagery that guides the listener's interpretation, reflecting his belief in music's ability to communicate directly with audiences through both confrontation and tenderness. Turnage has received significant recognition for his contributions to music: Commander of the Order of the British Empire (CBE) Fellow of the Royal College of Music (FRCM) As a senior figure in composition at the Royal College of Music, Turnage contributes to the institution's research profile through his creative practice and by serving as a role model for emerging composers. His extensive body of work spanning from 1981 to the present demonstrates remarkable consistency in artistic vision while evolving with contemporary musical developments. Turnage maintains an active creative practice through his composition process, which continues to produce significant works that push the boundaries of contemporary classical music while remaining accessible to diverse audiences. His recent compositions continue to explore emotional depth and technical innovation within the contemporary classical framework.
Martin Robertson is a renowned saxophone professor at the Royal College of Music (RCM) and the Guildhall School of Music and Drama. He graduated from the RCM in 1984 with studies in saxophone and clarinet under Stephen Trier and John McCaw, winning the Boosey and Hawkes Music Prize. His career spans international solo performances with orchestras like the Berlin, Los Angeles, and London Philharmonics, collaborating with conductors such as Simon Rattle and Vladimir Jurowski. Robertson is celebrated for his fusion of classical, jazz, and world music, particularly through collaborations with composers Mark-Anthony Turnage and George Fenton. His work includes Turnage’s Blood on the Floor and Fenton’s orchestral scores for films like Earth and Planet Earth . Robertson’s academic roles include leading the Woodwind department at RCM since 1994 and teaching at Guildhall since 2012. His research interests emphasize cross-genre exploration, using instruments like the duduk and taragato to bridge cultural musical traditions. He has premiered works such as Turnage’s About Water (2007) and Anna Nicole (2011), an opera exploring tragic biography through modern musical language. His performances include high-profile events like the BBC Proms and collaborations with ensembles such as the Delta Saxophone Quartet, which he joined in 2009. Robertson’s film credits span major projects, including Shakespeare in Love , Billy Elliott , and King Arthur . Beyond the concert stage, he advocates for contemporary saxophone repertoire through academic and ensemble work, fostering innovation in woodwind performance. Robertson’s awards include the Boosey and Hawkes Prize (1984), and his recordings, such as Poirot Variants (2010) and Tony Banks’ Six (2012), highlight his versatility across genres. His teaching integrates jazz improvisation, classical technique, and contemporary experimentation, shaping a new generation of woodwind musicians.
Professor Richard Langham Smith is a distinguished academic at the Royal College of Music (RCM), holding the title of Professor in Academic Programmes and serving as a Doctoral Supervisor. He specializes in French music, with a focus on 19th- and early 20th-century composers such as Bizet, Debussy, and Poulenc. His research explores opera, musical analysis, and cultural history, culminating in notable works like Bizet's Carmen Uncovered (2021) and co-editing Carmen Abroad (2020), which won an award for outstanding edited collection. Education: Shene Grammar School, University of York, and Amsterdam Conservatoire. Awards include the Chevalier de l'ordre des arts et des lettres (1994) and the RMA/Cambridge Book Prize (2021). He supervises doctoral students researching topics such as masculinity in Belle Époque opera, Fauré's violin works, and Sarasate's legacy. His work bridges historical analysis with performance practice, often engaging interdisciplinary methods. Publications span monographs, edited volumes, and articles in journals like Cambridge Opera Journal and Nineteenth-Century Music Review . He contributes actively to the RCM's research initiatives, fostering academic and creative excellence in musicology.
Dr Ben Earle is a Senior Lecturer and Head of the Department of Music at the University of Birmingham. He holds a MA (Cantab), MMus (London), and PhD (Cantab). His academic career includes a Junior Research Fellowship at St John’s College, Oxford before joining Birmingham in 2004. His research focuses on 20th-century music, analysis, critical theory, and the intersection of music with fascist Italy’s cultural politics. He teaches undergraduate and postgraduate modules on topics including modernist music analysis, critical theory, and the history of musical aesthetics. Education: MA from University of Cambridge MMus in Theory and Analysis from King's College London PhD from University of Cambridge Research interests include Marxist aesthetic theory (Adorno/Jameson), Italian and British concert music, and the cultural politics of fascism. His publications analyze composers like Pizzetti, Dallapiccola, and Puccini, with recent work on musical modernism in Fascist Italy. He actively reviews for major journals and contributes to scholarly editions of works by Arthur Bliss and Riccardo Zandonai. Administrative roles include Library representative, Exams Officer, and Director of Learning and Teaching. His current research explores musical realism and the legacy of modernist composers. He advises PhD students on topics ranging from Ghedini’s operas to saxophone performance practices in interwar Italy.
