Find Academic Supervisors

• Sound Studies
• Historical Acoustics
• Cultural Heritage
• +3 more

Dr. Mylène Pardoen is a soundscapes archaeologist affiliated with the Lyon Institute of Human Sciences . Her work focuses on reconstructing soundscapes from pre-20th-century urban and military contexts, blending historical research with acoustic design. Notable Projects : Bretez Project (18th-century Paris), Musée de l'Armée soundscapes (Paris), Notre-Dame Archaeological Crypt sound installations. Research Themes : Historical acoustics, cultural heritage sonification, sensory urbanism, and museum auditory experiences. Her research trends emphasize multidisciplinary approaches combining digital humanities, urban history, and sonic artistry. She has been recognized in the Innovatives 2015 for her heritage-focused work. Scientific Awards : Innovatives 2015 (Heritage category) Mylène has presented extensively at international conferences, including Digital Humanities 2015 , CSHS Congress 2012 , and Music and Ecology of Sound 2013 , showcasing her expertise in auditory heritage.

Martha FeldmanView profile

Professor

• European Vernacular Music
• Opera Studies
• Cinema and Media Studies
• +3 more

Martha Feldman is the Ferdinand Schevill Distinguished Service Professor of Music and the College at the University of Chicago. A cultural historian specializing in European vernacular musics (1500-1950) with a focus on Italy, her work interrogates intersections of social, political, and artistic phenomena through opera, cinema, media, and voice studies. Education: PhD in Musicology, University of Pennsylvania (1987) Feldman's research spans Renaissance Venice, 18th-century opera seria, and 20th-century castrato legacies. Current projects include The Castrato Phantom and the co-edited volume A Voice as Something More , both exploring voice studies through interdisciplinary lenses. Her publications analyze: Madrigals in Venetian civic culture Opera as political metaphor Voice ontology across media Fellini's operatic influences Courtesan artistic practices Psychoanalysis of vocal identity Scientific Awards: Dent Medal (2001) Graduate Teaching Award (2009) Gordon J. Laing Award (2010) Otto Kinkeldey Award (2015) Member, American Academy of Arts and Sciences (2012) Feldman has received grants from the National Endowment for the Humanities, Guggenheim Foundation, and Getty Research Institute. She mentors graduate students through collaborative research initiatives and co-edited works. Labs/Teams: Principal Investigator, The Voice Project (2013-2016) Member, Neubauer Collegium for Culture and Society Board Leadership, American Musicological Society

Madeleine BernstorffView profile

Lecturer

• Documentary Film
• Avant-garde Cinema
• Feminist Film Studies
• +3 more

Madeleine Bernstorff is a cultural producer, film curator, author, and lecturer at the Institute for Music and Media at Robert Schumann University Düsseldorf. Her work bridges research-based film curating, feminist film history, and avant-garde cinema, with a focus on resistance movements and political documentary forms. Education : Studied media art at the Academy of Fine Arts Munich, University of Munich, and F+F School of Design Zurich Research : Avant-garde cinema, feminist film movements, migrant representation, and socio-political documentation Teaching : Guest professorships at Berlin University of the Arts, Munich Academy of Fine Arts, and international institutions Collaborations : Co-founded Sputnik cinema (1984) and Blickpilotin feminist film collective (1989) Publications : Edited works on Trinh T. Minh-ha, René Vautier, and Afghan cinema Her filmography includes The Fanaticism of the Suffragettes (2010), Candan (2005), and Zitronenfilm (1997), exploring themes of gender, migration, and historical memory through Super8 and video art. She has curated exhibitions at Tromsø Kunstforening and programmed films at institutions like the Arsenal Cinema Berlin and Oberhausen Short Film Festival.

Gábor BodnárView profile

Professor

• Music Education
• Creative Music Exercises
• Musical Analysis
• +5 more

Gábor Bodnár is a Professor at the Institute of Arts Communication and Music , Eötvös Loránd University (ELTE) , where he serves as Head of the Department of Music Culture. His work bridges music pedagogy, creative education, and interdisciplinary studies. Academic Focus : Music education, creative teaching methods, and the integration of formal and non-formal education. Research Themes : Application of the Kodály concept in global teacher training, translation theory in musical contexts, and the interplay between text and music in art song repertoires. Publications : Recent works explore Aldous Huxley's musical ideas, Schumann's Dichterliebe revisions, and innovative pedagogical frameworks for music educators. Professional Impact : Bodnár has developed postgraduate programs emphasizing talent care and Kodály principles, influencing music education curricula and assessment systems in Hungary and beyond.

Eve KleinView profile

Associate Professor

• Music Technology
• Classical Music
• Interactive Performance Art
• +5 more

Dr. Eve Klein is an Associate Professor and Senior Lecturer in Music Technology and Popular Music at The University of Queensland (UQ) School of Music. She leads a research cluster in interactive composition, focusing on virtual/augmented reality works and guiding postgraduate composers. Her work bridges classical music traditions with digital innovation, addressing themes like gender in technology, identity, and participatory cultures. Dr. Klein holds a PhD in Music and Sound and has pioneered immersive art music experiences for festivals such as MONA FOMA and VIVID Sydney. Her artistic works include Vocal Womb (a laryngoscopy-based opera exploring voice and power) and City Symphony (an AR soundwalk overlaying Brisbane’s CBD). She is a recipient of the 2023 Art Music Award for Experimental Practice and the IASPM 2016 Open Publication Prize. Her research spans music technology curriculum design, future work skills in the arts, and epistemic fluency through transdisciplinary collaboration. She co-founded the Touch Ensemble, a technology-focused performance group collaborating with engineering students. Dr. Klein’s work frequently addresses social justice themes, including gendered violence and climate change. Education: PhD in Music and Sound Awards: 2023 Art Music Award, IASPM 2016 Prize, UQ Program Innovation Award Her articles critically examine virtual orchestras’ impact on classical norms, while her creative works challenge traditional performance boundaries. Klein collaborates internationally with festivals, scientists, and NGOs to create transformative cultural projects.

• Game Studies
• Digital Humanities
• Ludomusicology
• +4 more

Dr. Melanie Fritsch is a Junior Professor at Heinrich-Heine-Universität Düsseldorf since October 2020, specializing in Media Cultural Studies with a focus on Game Studies and related fields. Her career spans roles as a PR & Communications Manager in the gaming industry, lecturer at Humboldt-Universität zu Berlin, and research assistant at Universität Bayreuth and Leipzig. Education: Theaterwissenschaft, Musikwissenschaft, and Neuere Deutsche Literatur at Freie Universität Berlin, Humboldt-Universität zu Berlin, and Sapienza Università di Roma (2000–2008) Doctorate: 2018 at Universität Bayreuth with dissertation 'Performing Bytes. Musikperformances der Computerspielkultur' Current Research: Ludomusicology, performance theory, fan studies, environmental narratives in games Melanie’s research bridges game studies, digital humanities, and musicology, emphasizing games as performative cultural practices. Her work explores intersections of music and gameplay, fan engagement dynamics, and liveness in digital spaces. Key publication trends include: Game music analysis (e.g., 'The Cambridge Companion to Video Game Music') Performance theory in gaming ('Live Performance Games') Environmental narratives in virtual worlds Historical game music studies (1980s Japanese game music) Interdisciplinary methodologies combining musicology and game design She has contributed to major conferences and symposia, including keynote presentations at Universidad de Chile and Kunstuniversität Graz. Her editorial work includes co-editing the peer-reviewed series 'Studies in Game Sound and Music'.

• Historical performance practices
• Single-reed organology
• Music historiography
• +4 more

Ingrid Pearson serves as Historical Clarinet Professor and Senior Academic Tutor at the Royal College of Music (RCM), where she has been a faculty member since 2005. Her career bridges historical performance practice with scholarly research, focusing on single-reed organology, music historiography, and conservatoire pedagogy. University of Sydney (BMus, Dip Ed) University of Sheffield (PhD in performance practice) Licentiate of Trinity College London (LTCL) Licentiate in Music (LMusA) Senior Fellow of the Higher Education Academy (SFHEA) Honorary Associate of the Royal College of Music (HonRCM) Pearson's research explores historical and contemporary performance practices through musical iconography, organology, and historiography. She has pioneered studies on clarinet reed positioning in historical contexts and microtonal performance challenges. Her scholarly output spans analyses of 18th–19th century single-reed instruments, Mozart's operatic instrumentation, and 20th-century British wind players' listening experiences. Notable collaborations include recordings with English Baroque Soloists and research on Robert Kahn's chamber works. Arts and Humanities Research Council (AHRC) grant for 19-tone microtonality Galpin Society grant for Neapolitan clarinet study She contributes to international period ensembles (English Baroque Soloists, The English Concert, etc.) and maintains active doctoral supervision at RCM. Her work appears in multiple languages, with Chinese, German, and Spanish translations of her research.

Leila ZammarView profile

Professor

• Scenography
• Opera
• Renaissance Studies
• +7 more

Leila Zammar is a Professor at Loyola University Chicago, with a PhD earned at the University of Warwick under supervisors David Lines and Margaret Shewring. Her academic journey began with researching set design and staging techniques for early operas, particularly focusing on the Barberini family’s patronage. Research spans scenography, Renaissance and Baroque theater, political iconography, and women’s contributions to the arts Key publications analyze Barberini’s theatrical propaganda, Bernini’s scenographic inventions, and urban toponymy of female artists Her work integrates archival research to reconstruct staging techniques from 1628–1656 in Rome, while also exploring intersections between music, literature, and cultural identity through studies of women musicians in Cagliari’s urban nomenclature.

• Musicology
• Theatre History
• Digital Humanities
• +7 more

Dr. Sarah Whitfield is a Doctoral Supervisor and Reader in Musical Theatre at the Royal College of Music , currently serving as Head of Doctoral Programmes. Previously a Reader in Musical Theatre at the University of Wolverhampton, she combines digital humanities and traditional archival research to recover under-represented narratives in musical theatre history. Editor of Reframing the Musical: Race, Culture and Identity (2019) Co-author of An Inconvenient Black History of British Musical Theatre 1900-1950 (2021) Keynote speaker at institutions like BBC Radio 3, New York Public Library, and British Library Her research focuses on Queer theatre , women's stories , and collaborative practice in music history . She has supervised doctoral research on topics ranging from interwar women composers to 21st-century operatic voice studies, while also consulting for organizations like ABRSM and the Frank Bridge Trust.

• Speech analysis
• Experimental phonetics
• Foreign accent
• +3 more

Lya Meister is a Research Fellow at Tallinn University of Technology's School of Information Technologies, Department of Software Science. She has held this position since 2017, continuing her career from the Institute of Cybernetics at TUT where she served as a Research Fellow (2009–2016) and Extraordinary Research Fellow (2005–2008). Her academic background includes a Doctor's Degree in 2011 (University of Tartu) and a Research Master's Degree in 2005 (Tallinn University). Education: PhD: University of Tartu, 2005–2011 Master's: Tallinn Pedagogical University, Estonian Philology, 2002–2005 Bachelor's: Tallinn Pedagogical University, Russian Philology, 1975–1979 Her research focuses on experimental phonetics, speech corpora analysis, and the acoustic characteristics of speech production. Notable projects include the Improving the intelligibility of sung text (2022–2026) and contributions to the Estonian Elderly Speech Corpus. She has organized major conferences like the Phonetics Symposium 2024 and served on international committees for speech technology initiatives. Her awards include the 2023 School of Information Technologies Paper of the Year and the 2012 Best Paper Award from the Institute of Cybernetics. Her work spans over 68 publications, with recent emphasis on plosive closure duration in singing, vowel-consonant intensity ratios, and developmental phonetic changes in adolescents.

• German literature of the long 19th century
• Austro-German Music History and Aesthetics
• German Film
• +4 more

Dr. Jacob-Ivan Eidt is an Associate Professor of German and Director of the German Program at the University of Dallas. He also directs the Comparative Literary Traditions major and served as Department Chair of Modern Languages from 2009-2021. His research focuses on German literature of the long 19th century, Austro-German music traditions, German film, and Germanic mythology, with particular emphasis on Goethe, Rilke, and Wagner. He earned his PhD in Germanic Studies from the University of Texas at Austin and has held roles including Chair of the Faculty Senate (2024–2025). Dr. Eidt’s scholarly work bridges music and literature, including studies on Beethoven, Nietzsche, and film adaptations of literary works. He has published extensively on these topics and lectures frequently with institutions like the Dallas Symphony Orchestra. His courses emphasize intensive language learning and cultural immersion, notably co-designing a German intensive program with his wife. He serves as President of the Dallas Goethe Center, promoting German culture in North Texas. His awards include the Thyssen Stiftung travel grant and recognition for his educational contributions. His recent projects include editing volumes on Goethe’s Bildung and presenting at international conferences on topics ranging from Wagner’s influence to the intersections of music and literature.

• Romance Studies
• Italian Language
• Italian Literature
• +4 more

Tamara Stanic is an Assistant Professor at the Faculty of Philosophy , University of Novi Sad, specializing in Romance Studies with a focus on Italian language and literature. She holds a Diploma in Italian Language and Literature from the University of Belgrade and a Master's degree with a thesis on "The Operatic Fate of Cavalleria Rusticana." Education : 1995-2000: University of Belgrade, Faculty of Philology - Diploma in Italian Language and Literature 2009-2010: University of Belgrade, Faculty of Philology - Master in Italian Language and Literature Her research centers on Italian language teaching methodology, cultural elements in language education, and the historical and civilizational aspects of Italian studies. She has contributed to academic discussions on textbook design and intercultural communication. Recent publications highlight her expertise in cultural studies (e.g., "Sociocultural view of coffee in Italian and Serbian everyday life") and pedagogical frameworks (e.g., "Features of a good textbook in Italian language teaching"). Her work also explores the intersection of literary traditions between Italy and the Balkans. Academic Service : Teaching Italian language courses (A2.1 to B1.1 levels) at the Faculty of Philosophy, University of Novi Sad Participation in international conferences like CICCRE Comunicazione e cultura nella Romania europea and Languages and Cultures in Time and Space

• Music Production
• Music Technology and Creativity
• 20th Century British Art Music
• +5 more

Dr. Mark Marrington is an Associate Professor in Music Production at York St John University, Faculty of Arts. He is a composer, guitarist, and scholar with expertise in musicology of record production, music technology, and 20th-century British art music. His research explores classical guitar recording practices, digital audio workstations (DAW), and heavy metal music aesthetics. He previously taught at Leeds College of Music and the University of Leeds, and has contributed to academic publications on topics ranging from Denis ApIvor's compositional techniques to the role of technology in music production. Research interests include the evolution of classical guitar recording from the early 20th century to today, the impact of DAWs on creativity, and the intersection of technology and heavy metal music. His book *Recording the Classical Guitar* (2021) was a finalist for the ARSC Award. He also serves as a series editor for academic books on music production, including *Gender in Music Production*. Professional activities include roles as an external examiner for several UK universities and contributions to pedagogical guitar publications like *Guitar from Scratch*. His artistic output includes compositions such as *Cars* (2012, created from car sounds) and the *MadeinMIDI* project. He has curated archival materials for Denis ApIvor’s works and lectures widely on topics like metal music production and classical guitar history. Awards: Finalist in 2022 ARSC Award for *Recording the Classical Guitar*. Grants/Projects: Curated the Denis ApIvor archive at University of Leeds, contributed to multiple music technology research initiatives. Labs/Teams: Involved in music production and technology research groups at York St John and collaborating institutions.

• European Theatre History (1880-1940)
• Modern and Contemporary Drama
• Theatrical Enunciation and Orality
• +7 more

Pierre Longuenesse is a Lecturer in Performing Arts at Paris III Sorbonne Nouvelle University, affiliated with the Texts and Cultures Research Center (EA4028). His work bridges theatre studies, music, and interdisciplinary performance practices. Université d’Artois: Teaching (Licence/Master) and HDR accreditation (2017) Université Paris III: Accreditation to Supervise Research (2017) Research Themes focus on: W.B. Yeats’s theatrical innovations (speech-voice-image dynamics) Mutations of 20th-century European drama Theatre-music-dance interrelationships Transdisciplinary stage practices Medieval revival in modern theatre Recent Publications explore musical dramaturgy, spectral voices, and text-stage transformations. He co-edits the "Corps et voix" series at Artois Presses Université. Academic Service includes: Directing over 20 Master’s theses since 2010 Editorial roles in conference proceedings Peer-review expertise for journals Theatrical Practice : Artistic director of Compagnie du Samovar and Festival des Arts du Pont d’Oye , with stagings in France, Belgium, and India. His creative adaptations span Diderot, Yeats, and Villon.

David ChaillouView profile

Lecturer

• Contemporary hybrid musical forms
• Research-creation
• Musical heritage (19th-century French opera)
• +7 more

David Chaillou is a French composer and Lecturer at the University of Lille (Inspe, Arras site) since 2006. He teaches music education and history of the arts to future primary school teachers, and co-leads doctoral seminars in the Praxis and Aesthetics of the Arts team. His research-creation practice bridges composition, historical analysis, and cultural mediation. Doctorate in Contemporary History (Paris IV-Sorbonne, 2001) Graduate of Conservatoire de Paris (musical acoustics, piano, composition) His research focuses on three axes: (1) contemporary hybrid musical forms intersecting theater and concert; (2) opera for young audiences and educational mediation; (3) 19th-century French opera in political contexts (censorship, propaganda). His compositions have been performed internationally at venues like Mozarteum Salzburg , Moscow Conservatory , and Rome’s Trinità dei Monti Church . Recent projects include the nomination for ICMA 2025 for his monographic CD Natures , the world premiere of Un détour par l'Orient (2022) at Opéra Bastille, and collaborative research-creation initiatives with institutions in Austria, USA, and Taiwan. He directs the artistic association Inimaginaires and has received grants from Fondation Napoléon and Fondation Beaumarchais . Key Awards : Grand Prix de la Fondation Napoléon (2004), SACD/SACEM grants Chaillou’s scientific expertise spans editorial work for Revue de Musicologie , jury roles (e.g., SACEM film music prize), and international conference organization. His publications include a monograph Napoléon et l’Opéra (Fayard, 2004) and edited musical books for children’s opera projects.