Find Academic Supervisors

Ricardo Zohn-MuldoonView profile

Professor

• Composition
• Literature-inspired Music
• Interdisciplinary Arts
• +3 more

Ricardo Zohn-Muldoon is a Professor of Composition at the Eastman School of Music, University of Rochester. He holds a BA from UC San Diego (1986) and a PhD from the University of Pennsylvania (1993), studying under George Crumb. Previously, he taught at the University of Cincinnati’s College-Conservatory of Music and Universidad de Guanajuato in Mexico. His research focuses on literature-inspired composition, creating works like the song cycle Songtree , the miniature opera NiñoPolilla , and the Pulitzer Prize finalist scenic cantata Comala (2011), based on Juan Rulfo’s novel Pedro Páramo . Collaborations include interdisciplinary projects with dancers, puppeteers, and artists such as José Ignacio Solórzano and Garth Fagan Dance. Supported by institutions like the Guggenheim Foundation and the American Academy of Arts and Letters, his works are recorded on labels including Bridge, Oberlin Music, and Ravello. He co-founded the Zohn Collective in 2017 to foster collaborative performances with musicians like Tony Arnold and Molly Barth.

Matthew BrownView profile

Professor

• Music Theory
• Musicology
• Schenkerian Analysis
• +3 more

Matthew Brown is a Professor of Music Theory at the Eastman School of Music, University of Rochester, on academic leave in Spring 2026. Trained at King’s College London and Harvard University, his career spans over three decades with tenures at Eastman and Louisiana State University. He specializes in music theory, musicology, and interdisciplinary projects. Education: Ph.D. in Musicology (Cornell University) Society of Fellows, Harvard University (1983-1986) King’s College London (B.A./First Class Honors) Royal College of Music (Preparatory Division) Research Interests: Brown’s work focuses on Schenkerian theory, Debussy’s compositional techniques, and interdisciplinary collaborations. He co-founded TableTopOpera, an ensemble merging music with visual arts and technology, and is involved in an NSF-funded project exploring artist-technologist collaboration. His research extends to mental health therapies via mobile apps through URMC’s Health Lab. Recognition: Won the University of Rochester’s Provost’s Interschool Interdisciplinary Award (2007). His students hold tenured roles at major institutions and have earned prestigious fellowships (e.g., Fulbright, Chateaubriand). Grants & Projects: Secured grants from the University of Rochester’s Humanities Project and NSF. Collaborations include the George Eastman Museum, URMC, and Hollywood composer Jeff Beal. Labs/Teams: Founder of TableTopOpera, a multimedia ensemble praised as the “world’s greatest 8-member operatic comic book ensemble.”

Steve DanyewView profile

Lecturer

• Composition
• Music Education
• Arts Leadership
• +3 more

Steve Danyew is an Instructor of Arts Leadership at the Eastman School of Music, University of Rochester. He holds an M.M. in Composition from Eastman and a B.M. from the Frost School of Music (University of Miami), where he was awarded the Frost Centennial Medal in 2025. His compositions, praised for their 'sensitivity and sophistication,' have been performed globally at venues like the Sydney Opera House and Kennedy Center. He won the 2019 Walter Beeler Memorial Composition Prize for Into the Silent Land and a BMI Composer Award for The Night Eagle . As an educator, Danyew teaches at Eastman’s Institute for Music Leadership and runs a private composition studio. He co-founded Musician & Co. in 2020 to empower musicians with business skills. He also contributed to the second edition of Lessons from a Street-Wise Professor and frequently lectures at U.S. institutions. Awarded fellowships at Yale Summer Music School and the Composers Conference, Danyew’s work spans orchestral, wind band, and chamber music. His recent compositions include Fantasia on a Theme of Robert Schumann and Ancient Light , inspired by the James Webb Space Telescope.

• Music Theory
• Ear Training
• Contemporary Music Pedagogy
• +5 more

Martin Hecker is a Lecturer at Folkwang Universität der Künste, affiliated with the Faculty of Music, where he teaches Music Theory and Ear Training. He has held teaching positions at several prestigious institutions including the Catholic University Eichstätt, HMT Leipzig, HMTM Hannover, and HfK Bremen, and has been continuously teaching at Folkwang since 2008. His research and pedagogical interests focus on innovative approaches in music education, particularly the integration of contemporary music into theory and aural training curricula. He champions integrative methods that bridge performance, analysis, and accessibility in music learning. Martin Hecker earned his doctorate from the Hochschule für Musik und Theater Leipzig in 2008. His 2020 publication, Neue Musik im integrativen Theorie- und Gehörbildungsunterricht , reflects his commitment to modernizing music pedagogy. He is also an active composer and performer, with two chamber operas— Dinner for one and Der Narr im Waisenhaus —co-produced with Semperoper Dresden. His performances as a chamber musician have taken him to major cultural centers such as New York, London, Paris, Berlin, and Salzburg. He assumed the role of Lehrkraft für besondere Aufgaben (Teacher for Special Tasks) at Folkwang in the winter semester of 2023, indicating a formalized and ongoing academic appointment. Though no scientific awards are listed, his artistic and scholarly outputs demonstrate significant contribution to music education and performance. Martin Hecker is an active member of the academic and artistic community, contributing through teaching, composition, and performance. His work bridges traditional music theory with contemporary and inclusive pedagogical practices, positioning him as a dynamic figure in modern music education.

Gary CarpenterView profile

Professor

• Composition
• Orchestral Music
• Opera
• +3 more

Professor Gary Carpenter is a distinguished composer and educator at the Royal Northern College of Music (RNCM) and the Royal Academy of Music (RAM). He holds a Fellowship of the RNCM (FRNCM), is an Honorary Member of the RAM (HonRAM), and a Fellow of the Royal Society of Arts (FRSA). His career spans over five decades, with notable works including six operas (e.g., Mythologies ), five musicals (including Goodnight Mister Tom ), ballet scores (e.g., Kinderspelen for Nederlands Dans Theater), and orchestral pieces like SET – Concerto for Tenor Saxophone and Dadaville (premiered at the Proms). He has received prestigious awards such as the British Composer Award and the Victor Salvi Award. His teaching focuses on composition at both undergraduate and postgraduate levels, with supervision of PhD researchers exploring interdisciplinary topics like performance art and historical music preservation. Education: Born in 1951, he studied at the Royal College of Music under John Lambert and others. Professional activities include roles as Director of BASCA and chair of its Classical Executive Committee. Recent projects include the Willie Stock orchestral commission (2016) and collaborations with David Sedaris on radio narratives. His works are regularly recorded, including portrait CDs with the RLPO and NMC Records. Research interests include blending circus themes ( Fischietto è Morto ), American popular music in narrative soundscapes ( Theft By Finding audiobook), and experimental composition techniques. He has secured funding from PRS for portrait CDs and maintains an active international performance schedule, with commissions from institutions like the RSNO and Tempest Flute Trio.

Nina WhitemanView profile

Lecturer

• Multimedia Performance
• Interdisciplinary Art
• AI in Music
• +3 more

Nina Whiteman is a Lecturer in Music at the Royal Northern College of Music (RNCM), holding degrees including BA (Oxon), MusM, PhD, and SFHEA. Her work bridges composition, vocal performance, and multimedia art, focusing on interdisciplinary collaborations and emerging technologies. Key projects include BELOW GROUND (Arts Council England-funded, exploring subterranean themes) and The Cybird Trilogy (AI-driven ecological critiques). She co-directs Trio Atem and founded Manchester Contemporary Youth Opera. Education : BA Hons (Oxford), MusM, PhD (composition). Research : Multimedia performance, AI in music, environmental soundscapes, and interdisciplinary collaboration. Teaching : Mentors final-year undergraduates, leads modules on contemporary performance and environment, and supervises postgraduate research. Her funded projects include collaborations with PRiSM (RNCM), UKRI’s Cyborg Soloists, and Ernst von Siemens Music Foundation. Notable works include Forbidden (video notation), Escape! (organ-electronics), and Thread (flute and breath control). She has performed globally with ensembles like the BBC Philharmonic and Quatuor Danel. BELOW GROUND and Cybird Trilogy highlight her commitment to ecological and technological intersections, using soil sensors, machine learning, and participatory workshops. Future projects include expanding BELOW GROUND into public installations and continuing AI-driven compositions.

William DowdallView profile

Professor

• Contemporary Music
• Classical Flute Performance
• Chamber Music
• +3 more

William Dowdall is a Professor of Flute at the Royal Irish Academy of Music, where he has taught since 2004. Previously, he served as Principal Flute of the RTÉ National Symphony Orchestra (1979–2004) and RTÉ Concert Orchestra. Born in Dublin, he studied in Cleveland under Maurice Sharp and Donald Erb, fostering his dedication to contemporary music. Orchestral Experience: Over 50 solo performances with RTÉ orchestras and Irish Chamber Orchestra Chamber Roles: Member of Daedalus Wind Quintet, Ulysses Ensemble, and prize-winning Ulysses Wind Quintet (Colmar 1980) International Presence: Performed across Europe, USA, China, New Zealand, and Australia His research focuses on promoting Irish composers and contemporary works, including 8 world premieres in two years. He developed a workshop on Irish contemporary flute music, presented globally. His recordings include landmark albums like Works for Solo Flute (Celestial Harmonies, 2009). Scientific Awards: Ulysses Wind Quintet: Colmar Prize (1980) Grants & Advising: Supported by RTÉ for premieres like John Buckley's Sea Echoes , toured nationally and internationally. No explicit grants mentioned, but extensive performance collaborations highlighted. Labs/Teams: Active in RTÉ orchestras, chamber groups, and educational workshops.

• Composition
• Music Education
• Entrepreneurship in the Arts
• +3 more

Hayley Jenkins is a Lecturer in Music at York St John University, where she teaches composition, music theory, and performance across the BA (Hons) Music and BA (Hons) Musical Theatre programs. Her academic background includes a BA and MA in Music from York St John University and an ongoing practice-based PhD in Composition at the University of Edinburgh. Her research focuses on brevity in musical composition, entrepreneurship education in arts disciplines, and graduate employability strategies. Education Background: PhD candidate (Music Composition), University of Edinburgh MA in Composition, York St John University BA in Music, York St John University Research Interests: Her work explores concise musical forms, embedding enterprise skills in arts curricula, and community-engaged musical projects. She has presented at conferences such as Audire Conference (2022) and Advance HE events, focusing on topics like coastal community collaborations and arts entrepreneurship. Performance & Publications: Jenkins has produced over 20 musical works, including chamber operas, solo piano pieces, and ensemble compositions, many performed internationally. Her publication Instructions for Non-Human Listening (2023) critiques human-centric sound paradigms. She maintains an active profile as a composer, field recordist, and conductor. Professional Activities: She serves as Musical Director for Darlington Clarinet Ensemble and Darlington Concert Band, and contributes to the Late Music Concert Series. Her projects often bridge academic research with practical artistic output, emphasizing interdisciplinary collaboration.

• Vocal Studies
• Opera Performance
• Classical Music
• +3 more

Krzysztof Bobrzecki is a vocal lecturer and Dean of the Vocal and Acting Faculty at the Stanisław Moniuszko Academy of Music in Gdańsk since 2020. A baritone with dual degrees in Management and Public Relations, he transitioned to music, graduating from Gdańsk Academy in 2008 under Prof. Ryszard Minkiewicz. His artistic work focuses on vocal mastery across Baroque to contemporary repertoires, with over 500 songs including major cycles by Schubert, Schumann, and Ravel. Expertise in oratorio (e.g., Telemann’s Gdańsk Passion) and operatic roles (Don Giovanni, Verdi’s Un Ballo). Notable recordings: Shakespeare Songs (2016), Moniuszko’s The Haunted Manor (2019), Juliusz Wertheim song collection (2020). Recognized for blending vocal technique with dramatic acting trained under Prof. Grzegorz Chrapkiewicz. His research includes reviving overlooked works like Wertheim’s songs and Telemann’s Gdańsk Passion. As a pedagogue, he emphasizes both vocal technique and artistic interpretation in modern performance contexts.

• Conducting
• Choral Music
• Opera
• +3 more

Univ.-Prof. Manfred Schiebel is a Professor at the Music and Arts University of the City of Vienna, specializing in conducting, choir leadership, and musical coaching. Since 1991, he has held roles as repetiteur, chorus leader, and educator. His career includes leadership positions with the Chorvereinigung Jung-Wien and Wiener Männergesang-Verein, alongside collaborations with renowned artists like Grace Bumbry and Edita Gruberová. Teaching roles: Korrepetition (coaching) at the Universität für Musik und darstellende Kunst Wien since 2002. Artistic activities: Musical assistance at Festspielhaus St. Pölten (2000), accompanist for lied concerts, and international masterclasses (e.g., Wiener Meisterkurse, Musikforum Stift Viktring). His expertise spans opera coaching, choral direction, and historical performance practices, with a focus on fostering young talent through pedagogical work in music education.

Martin RossoView profile

Professor

• Music Performance
• Classical Music
• Music Education
• +3 more

Martin Rosso is a Professor of Double Bass at LUCA School of Arts Campus Lemmens in Brussels. He holds a Bachelor's degree from the National University for the Arts (Buenos Aires), and Master's degrees from Carnegie Mellon University (Pittsburgh), LUCA School of Arts, and the Royal Conservatory of Brussels. As a performer, he is the bass player of the Royal Opera La Monnaie and has played with orchestras such as the Brussels Philharmonic and the Teatro Colón's youth orchestra. His pedagogical work includes teaching students aged 6-18 at Stedelijk Conservatorium Mechelen and serving as a guest professor at the National University for the Arts in Buenos Aires. He is also an editor of double bass music, having curated a chamber music collection featuring Argentine compositions from the 19th and 20th centuries. Educational Background: Bachelor's: National University for the Arts, Buenos Aires Master's: Carnegie Mellon University, Pittsburgh Master's: LUCA School of Arts Master's in Education: Royal Conservatory of Brussels Research & Pedagogy: Focuses on double bass performance techniques, Argentine musical heritage preservation, and music education methodologies. His edited chamber music collection highlights underrepresented Argentine compositions for solo double bass. Orchestral Experience: Over 20 years in professional orchestras including the National Symphony of Argentina and La Scala's Filarmonica. Maintains an active solo career with regular performances in Belgium and internationally. Awards: Antorchas Foundation Scholarship Fulbright Commission Scholarship Italian Ministry of Foreign Affairs Award Teaching & Mentorship: Advises young musicians through structured curricula at Stedelijk Conservatorium and collaborates with institutions in Argentina. No specific grants are mentioned, but his editorial work implies research funding potential. Labs/Teams: Associated with LUCA's music performance programs and the Royal Opera La Monnaie ensemble.

Gerd KührView profile

Professor

• Composition
• Music Theory
• Opera
• +3 more

Gerd Kühr is a full Professor of Composition and Music Theory at the University of Music and Performing Arts Graz since 1995. He is renowned for his operas, including *Stallerhof* (1988) and *Death and the Devil* (1999), and has received prestigious awards such as the Austrian Art Prize for Music and the Andrzej Dobrowolski Composition Prize. His work spans composition, conducting, and collaborations with leading ensembles like Ensemble Modern and Klangforum Wien. Kühr’s music often explores contemporary techniques while engaging with theatrical and dramatic elements. His compositional style emphasizes precision and emotional depth, blending historical and modernist influences. Notable works include chamber pieces like *Con Sordino* (1996) and ensemble works such as *Música Pura* (2011). He has conducted major orchestras, including the RSO Graz, and his music is frequently performed at festivals like Wien Modern and the Salzburg Festival. Awards: Austrian Art Prize for Music, Andrzej Dobrowolski Composition Prize Ensembles Collaborated With: Ensemble Modern, Klangforum Wien, Bavarian Radio Symphony Orchestra Kühr’s research interests focus on advancing contemporary composition while maintaining a connection to theatrical and narrative structures. His discography includes over 50 commissioned works across operas, orchestral pieces, and chamber music.

Gerald PeterView profile

Lecturer

• Music Technology
• Progressive Rock
• Film Scoring
• +4 more

Gerald Peter is a Guest Lecturer in the Piano Department at JAM Music Lab University, blending his expertise in music performance, technology, and composition. He holds an MSc in Multimedia and Software Engineering from FH Technikum Wien and a BSc in Media Informatics from TU Wien, focusing on computer graphics and digital image processing. His research spans music technology innovation (e.g., MIDI-reactive visualizations, expressive digital instruments like ROLI Seaboard), genre fusion (progressive rock, jazz, cinematic scoring), and interdisciplinary multimedia art . Gerald pioneers hybrid approaches where algorithmic visualizations respond to live musical input, creating immersive audiovisual experiences. Recent creative works exhibit strong cinematic and progressive rock influences, often featuring complex arrangements and collaborations with vocalists/instrumentalists. Awards include placement in the Top 12 of the 2014 CINE Film Scoring Competition. As a performer and educator, Gerald has led international workshops for ROLI, Audio Modeling, and GeoShred across Europe and North America. He maintains active collaborations with industry innovators like Jordan Rudess (Dream Theater) and performs with projects including The Gerald Peter Project.

Denis HuneauView profile

Lecturer

• Music History in France (Third Republic era)
• History of Musical Composition and Education
• Digital Uses of Music in Literature and Gaming
• +3 more

Denis Huneau is a Lecturer at the University Catholique de l'Ouest (UCO) Angers, specializing in Musicology within the Faculty of Humanities. He holds a Doctorate in Music and Musicology from the University of Tours (2001) and is qualified in CNU sections 18 and 22. His roles include managing the UCO Musicology Degree program, leading the 'Current Music and Soundscapes' minor, and serving as Associate member of IReMus (CNRS-UMR 8223). He has extensive experience organizing conferences, exhibitions (e.g., 2017 exhibitions on Angers' musical history), and international colloquia. Huneau’s research focuses on French musical history, pedagogy, and modern digital applications of music in literature and gaming. He has authored/co-authored over 30 publications including books on composers like André Caplet and Roger Tessier, and chapters on opera history and music education. His teaching spans music writing, historical analysis, and interdisciplinary topics like 'Music in Role-Playing Games.' Active in cultural outreach, he delivers public lectures at venues such as La Folle Journée de Nantes and Angers-Nantes Opéra. He also serves on national academic bodies including the music aggregation jury and Hcéres research evaluation committee. Research interests include the evolution of musical institutions under France’s Third Republic, the history of composition education, and contemporary uses of music in digital media. His work bridges traditional musicology with modern interdisciplinary approaches, particularly exploring how music intersects with literature, gaming, and cultural heritage preservation. Recent publications (2022-2023) emphasize institutional histories (e.g., Schola Cantorum teaching methods) and public engagement through conferences discussing topics like liturgical music reform and Beethoven's Fidelio. Earlier work (2007-2013) established his expertise in composer biographies (André Caplet, Florent Schmitt) and WWI-era musical life.

Drew CrawfordView profile

Associate Professor

• Intermedial and collaborative music creation practice
• Choreographic implications of sound spatialisation in live performance
• Electronic music production and composition
• +2 more

Dr Drew Crawford is an Associate Professor in Music at the University of Southampton, where he serves as the Department's Director of Programmes and Undergraduate Programme Lead. His academic career spans both teaching and creative practice in music composition and production. His research interests include: Intermedial and collaborative music creation practice Choreographic implications of sound spatialisation in live performance Electronic music production and composition Geographically and temporally distributed creativity Artificial intelligence and machine learning in digital music making Crawford's current research focuses on spatial music - music that uses human perception of sound localization as a compositional parameter. With a background spanning two decades of studio-based practice and over three decades of collaborative work in theatrical contexts, his research draws from acoustics, affective aesthetics, aural architecture, and various creative practices. He explores how to develop a sophisticated language of music-in-space/space-in-music, examining what new forms could emerge when sound-in-space is foregrounded as a key compositional element. His work addresses the gap between historical spatial music practices and contemporary live performance where space is often ignored as a compositional parameter. His creative works demonstrate extensive exploration of spatial audio concepts and intermedial composition, ranging from immersive sound installations to reinterpretations of classical works and experimental performance pieces. These outputs reflect his investigation into how sound localization can be systematically integrated into musical composition with the same sophistication as harmonic or rhythmic elements. Dr Crawford is accepting PhD students and currently supervises Timothy Cape who is pursuing a PhD in Music. He is passionate about teaching creative contemporary music-making, having taught techniques from digital sound design to 18th century counterpoint. In the 2024-25 academic year, he teaches 'The Producer as Composer,' 'Commercial Composition,' and the first-year undergraduate module 'The Learning Curve.' His educational philosophy emphasizes finding connections between seemingly disparate musical concepts to help students discover underlying principles that link different musical approaches. His professional background includes composition studies at the University of Sydney with Peter Sculthorpe, Ross Edwards, and Anne Boyd. Prior to joining the University of Southampton, he taught at the Australian Institute of Music and served as a Visiting Lecturer at City, University of London. His career bridges commercial and artistic contexts, with work spanning studio recordings across multiple genres, film and television soundtracks, and live performances in diverse settings from opera to corporate events.