Prof. Will Sanders is a horn professor at the Karlsruhe University of Music, Germany, with a distinguished career as a performer, educator, and inventor. He teaches horn, chamber music, and conducting, emphasizing pedagogy and instrument innovation. Principal Horn positions: Bavarian Radio Symphony Orchestra (1990–), Bayreuth Festival (1992–), SWF Baden-Baden Radio Symphony Orchestra (1988–), Nationaltheater Mannheim (1986–) Collaborations with Leonard Bernstein, Carlos Kleiber, Lorin Maazel, and Daniel Barenboim Founder of Festival Alemanha–Brasil (2002–) and mentor to the German National Youth Orchestra (1998–) His research focuses on advanced horn-playing techniques, mouthpiece development, and patented rotary valve technology. Students of his hold positions in top orchestras like the Vienna Philharmonic, Los Angeles Philharmonic, and NHK Orchestra Japan, as well as professorships at institutions including Tokyo University of the Arts and Shanghai Conservatory.
Anna Weesner is a Professor of Music at the University of Pennsylvania's School of Arts & Sciences, specializing in contemporary classical composition. A graduate of Yale (B.A.) and Cornell (D.M.A.), her work blends innovative textures with emotional depth, commissioned by ensembles like the Cygnus Ensemble and Lark Quartet. Educational Background: Yale University (B.A.), Cornell University (D.M.A.) Her research focuses on chamber music , vocal composition , and interdisciplinary collaborations , with commissions for string quartets, voice-and-ensemble works, and songwriting projects. Awards include a Guggenheim Fellowship, Virgil Thomson Award, and Pew Fellowship. Recent compositions explore haiku-based settings , dynamic instrumental interactions , and narrative structures in works like The Eight Lost Songs of Orlando Underground and Where Songs Go at Night . She teaches courses ranging from music theory to graduate composition seminars. Scientific Awards 2018 Virgil Thomson Award in Vocal Music 2009 Guggenheim Fellowship 2003 Pew Fellowship in the Arts Weesner's music has been performed by renowned ensembles including the Daedalus Quartet, Lark Quartet, and Riverside Symphony, with recordings on CRI, Albany Records, and Bridge Records. Her work has been praised for its 'haunting conspiracy' and 'surprising turns' by critics.
Francisco Manuel Anguas Rodriguez is a percussion lecturer at the Rostock University of Music and Drama since April 2023. Born in Seville, Spain (1990), he holds a Bachelor's from the Royal Conservatory of Music 'Victoria Eugenia' (Granada) and a Master's from Rostock University under Professors Henrik M. Schmidt, Torsten Schönfeld, and Jan-Frederick Behrend. His studies included advanced training at Toho University (Tokyo, 2015) under Keiko Abe. Professionally, he has served as principal percussionist in the Philharmonic Orchestra Vorpommern (2016/17), principal timpanist (2017/18), and performed with renowned ensembles like Staatskapelle Berlin, Deutsches Symphonie Orchester Berlin, and the Bayreuth Festival (2015-2019). He specializes in historical performance practices as solo-timpanist with the Akademie für Alte Musik Berlin. As a chamber musician, he collaborates with ensembles like Chipak-Kuschnir piano duo and SONDER Ensemble, which he co-directs to promote cross-disciplinary art. His teaching focuses on percussion techniques and contemporary performance practices, combining orchestral experience with innovative chamber music exploration.
Heinrich Klingmann serves as Professor of Music Education with Special Consideration of Inclusion at Paderborn University's Faculty of Arts and Humanities. His academic work bridges theoretical and practical aspects of music education with a strong focus on inclusive practices, transcultural approaches, and contemporary music forms. His research interests encompass Inter/Transcultural Music Education, Music Education and Inclusion, Culturally Oriented Music Education, Musical Education, Didactics of Pop Music, and Rhythm/Groove Research. These areas reflect his commitment to understanding how music education can be made accessible and relevant across diverse cultural contexts and learner needs. Klingmann's recent publications demonstrate a strong focus on the intersection of pop culture, political phenomena, and educational practices. His edited volume "Druckwellen" examines cultural escalation phenomena in pop, society, and politics, while his work on inclusive music education provides foundational frameworks for teaching practice. His article "POPulismus, POPkultur und Pop-Didaktik" explores the pedagogical implications of pop culture in contemporary educational settings. Professor Klingmann has been actively involved in numerous workshops, conferences, and practical projects from 2010-2016, including percussion projects in schools, Latin music workshops, and inclusive performance initiatives. Notable projects include the Percussion Class Project at Moll Gymnasium Mannheim (2012-2015), "Desire for Salsa" with the Staatsphilharmonie Nürnberg (2014), and performances with inclusive student groups. His teaching portfolio includes Salsa Ensemble, Project Orientation and Internal Differentiation in Action-Oriented Music Teaching, Pop Music Practice and Digital Media, Latin Styles covering various musical traditions from Voodoo to Reggaeton, and Improvisation with musical foundations and school application fields.
Prof. Julius Sebastian Kircher is a Professor of Clarinet at the University of Music Karlsruhe since October 2019. He is a renowned performer and chamber musician, with affiliations to major orchestras including the Bavarian Radio Symphony Orchestra, Frankfurt Radio Symphony, and Bavarian State Orchestra. Research & Artistic Focus: His work centers on Woodwind performance techniques Chamber ensemble dynamics (notably with the Acelga Quintet) Orchestral repertoire spanning classical to contemporary compositions Historical interpretation of early 20th-century European works Interdisciplinary collaborations in wind quintet formations Selected Scientific Awards: He has received prestigious honors including 13th Walter Gieseking Competition First Prize German Music Council Scholarship (2013) ARD International Music Competition Third Prize (2014) As a founding member of the Acelga Quintet, he has performed extensively across Europe, while maintaining an active role as a guest clarinetist in leading German orchestras since 2008.
Peter Lehel is a Lecturer and Academic Staff member at the Department of Winds and Percussion, Karlsruhe University of Music. He specializes in saxophone, bass clarinet, composition, and arranging, bridging jazz and classical traditions. His international collaborations include work with Sabine Meyer, Barbara Dennerlein, and Paquito d'Rivera, among others. He has received multiple awards for his artistic contributions, including recognition from Baden-Württemberg and Germany's Schallplattenkritik. Education: Music academies in Stuttgart (1988-1996) and Budapest, with a concert exam distinction. Research focuses on cross-genre composition, orchestration for jazz-classical fusion, and ensemble innovation. His arrangements transcend stylistic boundaries, published widely for saxophone quartets and orchestras. Tours globally, including North America, Asia, Europe, and the Middle East. Artistic leadership roles include founding the Jazz Ensemble Baden-Württemberg (2011) and directing the Jazz Juniors program (since 2014). Discography spans diverse ensembles like Peter Lehel Quartet and Pipes and Phones, emphasizing genre-blurring creativity.
Katarzyna Myćka is a Professor at Folkwang University of the Arts, affiliated with the Faculty of Music. She is based at the Essen-Werden campus and is internationally recognized for her expertise in marimba performance and percussion education. Her research and artistic interests focus on marimba performance , contemporary classical music , and chamber music collaboration . As an active performer and educator, she bridges artistic practice with academic instruction in percussion. She organizes the International Katarzyna Myćka Marimba Academy, bringing together artists and students from around the world, indicating a strong commitment to music pedagogy and international collaboration. Katarzyna Myćka collaborates with international guest artists such as Pei-Ching Wu, Gene Koshinski, Filip Mercep, Anders Kann Elten, and Conrado Moya, highlighting her global network in the percussion community. She is involved in organizing major artistic-educational events, showcasing leadership in music outreach and performance-based learning initiatives. No scientific awards or publications were mentioned in the available text.
Mark Christopher Lutz is a Professor of Classical Percussion and Timpani at the University of Music Würzburg, where he has led the Percussion Department and directed the Percussion-Studio since 1993. A graduate of Northwestern University (B.Mus., M.Mus.), he earned a Meisterklassendiplom with a DAAD scholarship. His career includes solo performances with orchestras like the Queensland Symphony Orchester and leadership roles in international percussion education. Education : Bachelor and Master of Music from Northwestern University, Meisterklassendiplom via DAAD Fellowship Roles : Professor at University of Music Würzburg, Percussion Department Head, Masterclass Organizer Lutz specializes in classical percussion pedagogy, marimba/vibraphone performance, and timpani techniques. His creative work spans compositions for theater productions (e.g., "The Bacchae," "Antigone") and film scores like "The Lottery Rose." He also pioneers percussion improvisation for lectures and dance collaborations. His students, including Nikolai Siebenhaar (1. Preis, Nuremberg Percussion Competition) and Joshua Perret (Bayreuth Festival performer), consistently win awards and secure positions in top orchestras. The Percussion Department under his leadership offers state-of-the-art facilities, including seven dedicated percussion rooms with marimbas, vibraphones, timpani, and drum kits. Scientific Awards : DAAD Scholarship 1. Preis, Musikalische Akademie Würzburg Competition 1. Preis, ABC Young Performers Competition (Australia, 1990) Lutz's "Percussion Around the World Vol. 1" CD showcases his global influence. Notable collaborations include masterclasses with Eric Sammut (Paris), Marinos Tranoudakis (Athens State Opera), and Simone Rubino (Italy). He has held solo recitals and composed for projects like "Natural Fur" with Robert Cürlis.
Johannes Hornberger serves as a Lecturer for school ensemble practice in the field of practice and communication of popular music at the University of Music Würzburg, where he has held this position since 2010. He is also a doctoral candidate in the program "Design and Recognition - Competence Building in Artistic Subjects and School Departments" sponsored by the Hanns Seidel Foundation in collaboration with LMU Munich and FAU Erlangen. Hornberger completed his drum and percussion studies at the Dinkelsbühl vocational music school (2003-2005) with instructors Joachim Sponsel and Claus Hessler, participating in master classes with renowned musicians including Dom Famularo and David Garibaldi. He earned his qualification for artistic teaching of music at grammar schools with a percussion specialization at the University of Music Würzburg (2005-2011), while simultaneously pursuing additional music studies (DM) and music teacher (DML) qualifications with Prof. Mark Lutz (2010-2012). His academic focus centers on the intersection of popular music performance and educational methodology, particularly examining how aesthetic experience spaces can be staged within practical music-based approaches to popular music education. His doctoral research explores innovative frameworks for integrating contemporary music practices into formal educational settings, with particular attention to ensemble work as a vehicle for meaningful musical engagement. Beyond his university responsibilities, Hornberger maintains an active presence in the broader music education community as a lecturer and workshop leader at the music academies in Hammelburg and Jeunesses Musicales Germany in Weikersheim. He also sustains a professional performance career as a percussionist, timpanist, and drummer in various opera, musical, and theater productions, currently performing with the group Funkstreet.
Jan Biesterfeldt serves as a Visiting Professor at the Faculty of Music, Berlin University of the Arts, specializing in Percussion within the Institute for Artistic Training - Orchestral Instruments and Conducting. His academic affiliation centers on orchestral instrument pedagogy and artistic development. His research and teaching focus on: Percussion techniques and performance Orchestral ensemble training Music education methodologies Artistic interpretation in classical repertoire While no specific publications or awards are documented in the provided materials, his role emphasizes practical training for musicians in orchestral contexts. Student supervision details and research grants remain undisclosed in available records. His work operates within the university's artistic training framework without mention of dedicated laboratories or specialized research teams.
Ostwestfalen-Lippe University of Applied SciencesGermany
Lucia Kilger is Professor of Composition and Sound Design for Digital Media at KreativInstitut.OWL, where she collaborates with interdisciplinary teams to develop innovative projects at the intersection of artistic practice, technology, and education. Her work emphasizes team-oriented creation with the belief that 'with the right team, things that are unimaginable on your own suddenly become tangible.' Her academic background includes: Concert Exam in Composition - University of Music and Dance Cologne (2020-2022) Master's in Sound Direction - University of Music and Performing Arts Frankfurt (2019) Master's in Electronic Composition - University of Music and Dance Cologne (2017) Bachelor of Music Design - Trossingen University of Music (2011) IHK training in media design, image and sound Kilger's research focuses on the integration of composition, sound design, and digital technologies, with particular expertise in intermedia formats, electronic music, and digital humanities. Her creative practice explores the boundaries between acoustic and electronic sound, reality and virtuality, often creating immersive experiences through spatialized audio and multimedia integration. She specializes in developing works for unconventional performance contexts including digital spaces, video walks, and site-specific installations. Her recent compositions reveal a clear trajectory toward increasingly sophisticated digital integration, with works like 'smonize' (2024) - commissioned as the first digital space work by Donaueschinger Musiktage - demonstrating her leadership in creating for virtual environments. The thematic elements across her work frequently explore transformation, fluidity of form, and the interplay between organic and technological elements. As an educator, Kilger holds a teaching assignment at the State University of Music Trossingen since 2022 while maintaining her professorship at KreativInstitut.OWL. Her professional practice as a freelance composer and sound director directly informs her academic work, creating a dynamic exchange between theory and practice. Her collaborative projects typically involve interdisciplinary teams including performers, technicians, costume designers, and other specialists, reflecting her commitment to collective creation. Notable collaborations include work with performers like Lina Andonovska, Carlos Cordeiro, and Ria Rehfuß across multiple productions.
Caroline Intrup is an artistic-scientific employee in Theatre Pedagogy at the University of Music and Theatre Rostock since April 2024, teaching Voice Training since 2019. She studied Speech Art and Voice Training at the Stuttgart State Academy of Music and Performing Arts, complemented by four years of acting training and internships at Ernst Busch Academy of Dramatic Arts Berlin and Deutschlandfunk Radio. As a freelance performer, voice artist, and trainer, she focuses on interdisciplinary projects for stage, media, and audiobooks. Her work includes performance collaborations with backsteinhaus Produktion (Stuttgart) and the electronic-percussive duo Holunda & der Schurke (VIA! Awards nominee 2015). She also contributes to co-direction, dramaturgy, and theatre pedagogy initiatives. Education: Speech Art & Voice Training (Stuttgart), Acting Training (Berlin) Key Roles: Voice Coach for Audiobook Narration, Performer in Dance Theatre (e.g., 'Wolfgang' - Seoul Festival 2018) Her research interests bridge traditional theatre pedagogy with modern interdisciplinary practices, emphasizing vocal techniques for performance and multimedia contexts. Collaborations include innovative projects merging text with electronic music and movement-based theatre. Recipient of notable recognition for creative works, including international festival invitations and awards nominations.
Ingrid Prechtl is a lecturer affiliated with the Chair of Music Education and Music Didactics at the University of Regensburg's Faculty of Philosophy, Arts, History and Social Sciences. She additionally holds teaching assignments at the Hochschule für Katholische Kirchenmusik und Musikpädagogik Regensburg (HfKM Regensburg). Her academic trajectory includes studies at the University of Regensburg and the University of Illinois (USA) in music, mathematics, and sports, specializing in secondary education. She completed her traineeship in Regensburg and Nuremberg before serving as a school musician at multiple gymnasiums. Her research and teaching focus spans: Curriculum development in music education Didactic methodologies for classroom instruction Percussion performance techniques Pedagogical approaches for piano instruction in schools She maintains office hours by appointment during the summer semester 2025.
Max Planck Institute for Empirical AestheticsGermany
Frank Cassara serves as Adjunct Lecturer in Percussion and Coordinator of Percussion Studies at the Conservatory of Music within the School of Visual, Media and Performing Arts at Brooklyn College, City University of New York. He additionally heads percussion departments at Long Island University and Vassar College. As a core member of the Philip Glass Ensemble and Steve Reich and Musicians, Cassara performs globally and records landmark contemporary works. His performance expertise spans percussion in contemporary classical, minimalist, and world music traditions, with emphasis on premiering new compositions and mastering diverse instruments including microtonal systems from the Harry Partch repertoire. Cassara actively bridges Western classical traditions with global percussion practices through collaborations with ensembles like New Music Consort/PULSE Percussion Ensemble and Music From China. Career highlights include principal percussion roles with Connecticut Grand Opera and Riverside Symphony, Broadway performances in The Lion King , 42nd Street , and Phantom of the Opera , plus acclaimed recordings such as Philip Glass' Hydrogen Jukebox and Gavin Bryars' Grammy-nominated Jesus' Blood . Critical praise from The New York Times and Fanfare Magazine underscores his technical virtuosity and interpretive depth. In his educational leadership across three institutions, Cassara mentors students in percussion performance, repertoire development, and interdisciplinary collaboration, fostering next-generation artists through comprehensive training in both traditional orchestral techniques and experimental performance practices.
Max Planck Institute for Evolutionary AnthropologyGermany
Jonathan Reeves is a field archaeologist and researcher at the Max Planck Institute for Evolutionary Anthropology's Lise Meitner Group 'Technological Primates.' His work integrates lithic analysis , computational modeling , and spatial analysis to understand mechanisms behind Early Pleistocene archaeological variation. He actively contributes to field projects in Kenya and Ethiopia, including the Koobi Fora Research and Training Program and the Ledi Geraru Research Project . Research Focus: Reeves analyzes time-averaged hominin land-use patterns, primate technological behaviors, and stone tool transport dynamics. His work bridges primate behavior and human evolutionary studies, particularly examining how modern primate activities might mirror early archaeological signatures. Publication Trends: His recent studies cover Capuchin macaque tool use performance Oldowan technological diversity in Eastern Africa Chimpanzee material landscapes 3D morphometric analysis of stone tools Simulation modeling of tool behavior acquisition Early hominin knapping mechanics
