Prof. Shen Tung is a Professor at the Graduate Institute of Musicology, National Taiwan University (NTU), and serves as Dean of the Office of International Affairs at NTU since 2007. Their expertise spans Chinese music history, theory, and classical drama. Research focuses include Taiwanese opera, Sui-Tang dynasty musicology, and cultural documentation. Education: Ph.D. in Chinese Literature (NTU), Ph.D. Candidate in Ethnomusicology (University of Maryland). Academic career includes roles as Dean and long-term professorship at NTU. Research interests emphasize historical musicology, with notable works on Qing Dynasty Taiwanese opera, Taipei’s musical heritage, and traditional Chinese music systems. Publications span music theory, cultural history, and educational policy, reflecting interdisciplinary engagement. Publications highlight exploration of musical education, temperament systems, and cross-cultural exchanges. Recent works analyze Taiwanese opera’s historical records and urban musical evolution. Earlier research includes studies on Sui-Tang music divisions and classical poetic forms.
Dr. Christina Gier is an Associate Professor of Musicology at the University of Alberta's Department of Music within the Faculty of Arts. She holds a BA in Music History from the University of Idaho, and both an MA and PhD in Musicology from Duke University. Her research focuses on gender and identity through musicological lenses, particularly examining early 20th-century European and American music. She authored a 2016 monograph analyzing sheet music's role in shaping identity during WWI and has published extensively on Alban Berg's compositional intertextuality with Vienna's gender discourse. Education: Bachelor of Arts in Music History (University of Idaho) Masters of Arts in Musicology (Duke University) Doctor of Philosophy in Musicology (Duke University) Research Interests: Gier's work interrogates intersections of gender, race, and musical practices in historical contexts. She examines how sheet music mediated national identity during WWI, analyzing songs' social functions and their role in shaping racial and gendered ideologies. Her Berg studies reveal how the composer's reading habits influenced his musical treatment of gender themes through intertextual links between his compositions and literary sources like Weininger's philosophical texts. Teaching & Academic Contributions: She teaches courses on music history, gender studies in music, music and film, American experimentalism, Weimar Republic music culture, and women in music. Her publications bridge musicological analysis with historical, literary, and cultural frameworks, demonstrating innovative methodologies for interpreting musical works through interdisciplinary lenses. Labs/Teams: No specific research teams or labs explicitly mentioned, though her work likely involves collaboration with musicology departments and historical archives.
Johnny McKnight is a Reader in Screenwriting/Playwriting and Researcher at the School of English, University of St Andrews. He is a renowned writer, director, and educator with over 60 professional theatre productions and 50 hours of screen credits. His works include WENDY HOOSE , THE INCREDIBLE ADVENTURES OF SEE THRU SAM , and screen contributions to HOLBY CITY and RIVER CITY . He co-founded the Random Accomplice Theatre Company and served as Senior Tutor at the Royal Conservatoire of Scotland's Youthworks programme. Research interests focus on post-modernist pantomime, inclusive practice in theatre, and the intersection of personal politics with creative practice. He has developed educational resources for Scottish Opera and led teacher training modules. Recent projects include commissioned musicals, a sitcom, and a feature film, alongside international performances and collaborations with the Edinburgh International Festival and National Theatre of Scotland. Awards: Best Panto, Achievement In Inclusive Practice, RTS Scotland Best Writer Nomination (2023), and multiple Critics Award nominations. Advising/Grants: Mentorship roles with Playwrights Studio Scotland; commissions from Scottish Opera, Dundee Rep, and others. Key affiliations include the National Theatre of Scotland (Associate Artist, 2020–2023) and ongoing collaborations with institutions like the Royal Conservatoire of Scotland.
Christine Becker is an Associate Professor in the Department of Film, Television, and Theatre at the University of Notre Dame, where she has served since 2000. She serves as the Internship Coordinator and specializes in film and television history, media industry studies, and critical analysis of audiovisual media. Her research focuses on media industries, television history, British television, sports and television, and stardom. She holds a B.A. in Humanities from the University of Illinois at Urbana-Champaign (1993) and a Ph.D. in Communication Arts: Film Studies from the University of Wisconsin-Madison (2001). Her current research explores the history of the South Bend television show Beyond Our Control (WNDU, 1968-1986). Notable works include It’s the Pictures That Got Small: Hollywood Film Stars on Fifties Television (2008) and articles on transnational television drama, BBC America’s programming strategies, and the representation of autism in Netflix’s Atypical . She teaches courses in television history, media industries, and the Sport, Media, and Culture Minor. Becker’s scholarship bridges historical analysis with contemporary industry trends, examining topics like the evolution of cable networks (WGN), transnational television adaptations (e.g., Life on Mars ), and the cultural impact of television finales. Her work frequently intersects with questions of stardom, audience reception, and the industrial frameworks shaping television production.
Dr. Bronwyn Coate is an Associate Professor in Economics at RMIT University's School of Economics, Finance and Marketing. Her work bridges cultural economics, entrepreneurship, and applied economics, focusing on the cultural and creative industries, gender disparities in the arts, and policy impacts. She holds a PhD from RMIT (2009) and has contributed to parliamentary inquiries on cultural policy. Coate collaborates with organizations like Creative Australia and the Victorian Music Development Office, advocating for evidence-based policy. She currently serves as Editor of Book Reviews for the Journal of Cultural Economics and has held roles with the Association for Cultural Economics International (ACEI). Research interests include cultural entrepreneurship, art market dynamics, and the valuation of Indigenous cultural heritage. Notable projects address gender representation in opera, equity in film production, and the societal impact of books like Dark Emu . Coate emphasizes interdisciplinary approaches, combining behavioral economics with cultural studies to address real-world challenges in arts and policy. Her recent work critiques systemic gender inequality in Australian opera leadership and explores power dynamics in film camera departments. She also analyzes the economic and social value of cultural works beyond financial metrics, as seen in her study of Dark Emu 's impact. Coate's publications span academic journals and public platforms like The Conversation, emphasizing accessible communication of research. Coate actively engages with industry and policymakers, advocating for inclusive cultural ecosystems. Her research highlights intersections of creativity, economics, and equity, shaping both academic discourse and practical policy solutions.
Karim Al-Zand is a Professor of Composition and Theory at Rice University's Shepherd School of Music. Born in Tunis, Tunisia, and raised in Ottawa, Canada, he holds a B.Mus. from McGill University and a Ph.D. from Harvard University. His music spans orchestral, chamber, vocal, and interdisciplinary works, drawing inspiration from graphic art, folk traditions, jazz, and Middle Eastern heritage. Notable awards include the 2024 Barlow Prize, Sackler Composition Prize, and Arts and Letters Award. He co-founded Musiqa, Houston's contemporary music ensemble. Research Interests: Al-Zand explores connections between music and other arts, with a focus on interdisciplinary projects. His works often reflect on cultural heritage, political themes, and historical narratives. Recent compositions like Al Jazari’s Ingenious Clocks (2025) and Strange Machines (2022) exemplify his innovative approach to blending mechanical imagery with musical structure. Grants & Collaborations: Al-Zand’s work has been supported by organizations such as the Chamber Music America Commissioning Grant. He collaborates with ensembles like the Houston Symphony and the Balourdet Quartet. Upcoming events include a residency at the Banff Center (July 2025) and performances in Fiskars, Finland (August 2025). Labs/Teams: As a founder of Musiqa, he curates programs integrating modern music with visual and digital arts. His teaching emphasizes hands-on learning in composition, theory, and ear training.
Amy Cimini is an Associate Professor of Music at UC San Diego’s Integrative Studies Area. She holds a Ph.D. in historical musicology from New York University and dual B.A./B.M. degrees from Oberlin College and Conservatory. Her research examines intersections of power, technology, and auditory culture in 20th-21st century experimental music. Current work centers composer Maryanne Amacher’s legacy, explored in her 2021 monograph Wild Sound and co-edited Maryanne Amacher: Selected Writings and Interviews . Cimini’s interdisciplinary methods blend archival research with performance practice, addressing how sound shapes collective knowledge and social value. She serves as Director of Graduate Studies in UCSD’s Music Department, and holds affiliate status in Critical Gender Studies. Her editorial roles include Women and Music journal and the AMS Music & Philosophy Study Group. Performance projects include the Architeuthis Walks on Land duo and live electronic works with Carrier Records. Education: Ph.D. Historical Musicology, New York University B.A. English & B.M. Viola Performance, Oberlin College/Conservatory Research focuses on: Technoscience and sound Gender/race/class in auditory culture Embodied performance practices Archival methodologies Teaching emphasizes critical analysis of power structures through courses like Gender and Experimental Music, Music and Biopolitics, and Arts of the Archive. Her work with the Maryanne Amacher Foundation and Supreme Connections Working Group extends scholarly impact into public sound art initiatives.
Michael Beckerman is the Carroll and Milton Petrie Professor of Music at New York University's Department of Music within the College of Arts and Science. His academic career includes roles such as Leonard Bernstein Scholar in Residence at the New York Philharmonic (2016-17) and Vice-President of the American Musicological Society (2010-12). He holds degrees from Hofstra University (B.A., 1973) and Columbia University (M.Ph. 1978, M.A. 1976, Ph.D. 1982). Beckerman's research focuses on Czech and Eastern European music, musical form, film music, and the intersection of music with war, disability, and Jewish culture. His work bridges scholarly analysis with cultural critique, particularly in exploring music’s role in national identity and historical memory. Notable publications include Janáček and His World (2003), New Worlds of Dvořák (2003), and edited volumes on Czech composers like Martinů and Smetana. His awards include two Honorary Doctorates (Masaryk and Palacký Universities), the Golden Dozen Teaching Award (NYU), and the Harrison Medal. He has served on international boards, including the Jerusalem Academy of Music and Dance and the Czech Center NY. His research extends to music in concentration camps, Roma/Gypsy musical traditions, and the ethical dimensions of memorializing Holocaust-era music.
Gwyneth Bravo is an Assistant Professor of Music at NYU Abu Dhabi and Global Network Assistant Professor at NYU. She holds a PhD in Historical Musicology from UCLA and a Fulbright Scholarship at the University of Hamburg. Her research focuses on music’s intersections with politics, philosophy, and trauma in 20th- and 21st-century contexts, including nationalism, migration, opera, and memorialization. Recent works include her forthcoming monograph Staging Death: Opera’s Mortal Imagination (2025) and contributions to New Paths in Opera (2022). She has led multidisciplinary projects like Music-Memory-Metamorphoses , exploring Viktor Ullmann’s works, and collaborates with institutions globally. Education: PhD, MA (UCLA), Fulbright Scholar (Hamburg), MM (California State University, Sacramento), BA (University of Minnesota), and certifications in bilingual education. Research spans interwar avant-garde Prague, Theresienstadt composers, Cambodian composer Him Sophy, and music’s role in post-conflict societies. Awards include NYU grants, Fulbright support, and arts commissions. Teaching spans musicology, peace studies, and heritage at NYUAD, NYU Berlin, and NYU Prague. Professional leadership includes roles as President of the College Music Society International Chapter (2023), member of NYU’s DEI committees, and service on global arts initiatives. She founded the NYUAD Cello Ensemble and developed courses like Recovered Voices and Music: Conflict, Protest, and Peace .
Enrico Cecconi is a Senior Lecturer (equivalent to Associate Professor) in the Department of Politics, Languages and International Studies at the University of Bath. He serves as Section Convenor and Language Coordinator for Italian, Admission Tutor for Modern Languages programs, and Director of Languages Outreach. His roles include managing the Italian language team and overseeing language education initiatives. Education: BA in Modern Languages and Linguistics (University of Pisa, 2004); MA in Teaching Italian as a Foreign Language (Ca’ Foscari University, Venice, 2012) His research focuses on innovative language pedagogy, intercultural communication, and the integration of drama/theatre techniques into language learning. He emphasizes authentic communication through creative methods like oral improvisation and opera-based activities. His work has been recognized with the 2023 Innovation in Teaching Prize for transforming student engagement and confidence. Recent articles explore topics such as study-abroad intercultural competence, narrative-based assessment, and opera libretti as language-learning tools. His pedagogical innovations aim to bridge theory and practice in language education. Awards: 2023 Teaching Prize; 2015 Outstanding Research Presentation Award Enrico coordinates outreach programs, collaborates with institutions like LabCom (Ca’ Foscari), and contributes to teacher training workshops globally. He has prior experience at Cardiff University, NYU, and Florence-based U.S. programs.
Dr. Shay Loya is a Lecturer in the Department of Music at City, University of London, part of the College of Arts and Social Sciences. He holds a PhD from King's College London, an MA and BA from Tel Aviv University. His academic career includes prior teaching at the University of Durham before joining City in 2012. His research centers on 19th-century music, with a focus on Franz Liszt, Hungarian music, transculturation, nationalism, exoticism, and modernism. He is the author of the award-winning monograph Liszt's Transcultural Modernism and the Hungarian-Gypsy Tradition (2011), which won the Alan Walker Prize in 2014. His work bridges music analysis, cultural theory, and historical context. Dr. Loya’s recent publications span journals like the Journal of the American Musicological Society and Nineteenth-Century Music Review , and chapters in edited volumes such as Liszt in Context . His articles explore Liszt’s late styles, national identity, transcultural analysis, and the affective role of harmony. A recurring theme is the re-evaluation of Liszt’s music through cultural and analytical lenses, challenging homogenized views of late style and virtuosity. Scientific Awards: Alan Walker Prize (2014) KCL's School of Humanities Award ORS scheme (PhD funding, 2001–2004) Wingate Foundation Scholarship (2006) AMS 75 PAYS Subvention Dr. Loya is actively engaged in the academic community as a Trustee of the Society for Music Analysis , a Board Member of the journal Music Analysis , and organizer of the CityMAC2018 international conference. He has contributed to teaching through modules such as 'Materials of Music' and 'Investigating Western Music', and has supervised major undergraduate projects and postgraduate research. He has presented at numerous international conferences and continues to develop his research on Liszt’s late styles and transcultural modernism. Labs, Teams, and Conferences: He co-organized the 'Tonality in Perspective' conference (2008) and student events under the Society for Music Analysis. As organizer of CityMAC2018, he fosters interdisciplinary dialogue in music analysis.
Dr Fil Ieropoulos is a Senior Lecturer at Buckinghamshire New University , where he has taught since 2003. He is the Course Leader for the MA 3D Animation for Professionals (Part Time) and also contributes to the BA (Hons) Film Production , BA (Hons) Film and Television Production , and MA Filmmaking programs. He earned his PhD from the University of Kent with a thesis on The Film Poem , reflecting his longstanding engagement with experimental media and interdisciplinary art forms. His research centers on the convergence of film and poetry , avant-garde cinema , queer theory , and political aesthetics . He has published with Edinburgh University Press , Studies in Theatre and Performance , and other academic and artistic platforms. His creative work includes the feature films ORFEAS2021 and Avant-Drag! , the latter winning a Special Jury Prize at the Thessaloniki Documentary Film Festival. He has curated and participated in international events such as The Garden of Dystopian Pleasures at the Athens School of Fine Arts and presented at institutions including the Freud Museum, the Greek National Opera, and the International Film Festival Rotterdam. His recent publications and performances reflect a strong trend toward interdisciplinary critique of post-truth politics, gender, and cultural identity, often blending psychoanalytic theory with performative and audiovisual experimentation. His work spans video installations, conference presentations, and collaborative research, demonstrating a commitment to pushing the boundaries of academic and artistic expression. Scientific Awards and Recognition: Special Jury Prize, Thessaloniki Documentary Film Festival Advising and Grants: While no formal advisees are listed, Dr Ieropoulos leads a postgraduate program and mentors students in experimental filmmaking and interdisciplinary research. His collaborations with major cultural institutions suggest involvement in funded artistic and academic projects, though specific grants are not detailed in the provided texts. Labs, Teams, and Collaborations: He is a co-founder of FYTA , a net label dedicated to the queerification of Greek music, and collaborates with artists and scholars such as Foivos Dousos, Pedro de Senna, and Richard Pfützenreuter. His work with the Garden of Dystopian Pleasures collective and participation in international festivals underscore his role in transnational artistic networks.
Sara Macliver is a Lecturer at The University of Western Australia's Conservatorium of Music. Her work focuses on classical music performance with specialties in choral and orchestral works, particularly those of J.S. Bach and other Baroque composers. She has collaborated extensively with the West Australian Symphony Orchestra (WASO) and St George's Cathedral in Perth. Research interests include religious music traditions, oratorio performance practices, and innovative adaptations of classical repertoire. Key projects involve large-scale performances like Mahler's Symphony No. 8 and Bach's Christmas Oratorio, emphasizing collaborative artistry and historical interpretation. Recent creative works include the 2024 WASO Mahler 8 premiere and the pandemic-inspired Love and Lockdown opera. Her performances blend traditional techniques with modern reinterpretations, often exploring themes of faith, community, and artistic resilience. No scientific awards are listed, though her contributions to music education and performance are notable. She has advised no recorded students in the provided data.
Graeme Gilling is a prominent pianist, educator, and collaborative artist associated with the University of Western Australia's Conservatorium of Music. His roles include Chair of Keyboard Studies, Coordinator of Accompaniment, and involvement with the Australian Music Examinations Board (AMEB) as State Chair and Federal Examiner. Education: Bachelor of Music (Honours) in Composition from the University of Canterbury, New Zealand Professional Affiliations: WA Symphony Orchestra (pianist since 1986), Malaysian Philharmonic Orchestra, Darlington Ensemble, AMEB His research and performance interests center on collaborative piano, chamber music, vocal accompaniment, and two-piano repertoire. He has participated in over 39 research outputs, including performances of Amy Beach's Piano Quintet, works by Richard Strauss, and contributions to the Australia Council-funded Blackwood project. The analysis of his performance history reveals expertise in live concert interpretation, ensemble dynamics, and premieres of contemporary compositions. He maintains a strong connection with the Darlington Chamber Music series and Musica Viva Australia. As an educator, Graeme has directed the Keyed-Up! Summer piano schools at UWA (2008–2016), served as an examiner and adjudicator for AMEB since 1986, and co-chaired the Australasian Piano Pedagogy Conference.
Scott Patterson is a Professor in the Department of Broadcast Electronic Communication Arts (BECA) at San Francisco State University (SFSU). He serves as Director for the Certificate in the Music Recording Industry (MRI) and faculty advisor to the SFSU Chapter of the Audio Engineering Society. His primary research interests include audio media, interactivity, global information infrastructure access, and case study methodologies. He is a Pro Tools Certified Instructor and actively works on projects like archiving open-source Cantonese Opera recordings. Professional Affiliations: Member of the National Academy of Recording Arts and Sciences (NARAS) Member of the Academy of Television Arts and Sciences Member of the International Communication Association Teaching & Advising: Teaches BECA 300GWAR - Writing About The Media, his favorite course Advises on Broadcast Electronic Communication Arts Research Publications: Focus on community networks, social capital, technology adoption, and media analysis, with key works on the Blacksburg Electronic Village and rural technology expectations.
