Find Academic Supervisors

Carol Ann Allred is an Associate Professor (Lecturer) at the University of Utah's School of Music, specializing in Voice. She holds a DMA and MA from Eastman School of Music, and a BM in Vocal Pedagogy from Brigham Young University. Her career spans performance and education, with roles at SUNY Fredonia, Seton Hill College, and Hampden-Sydney Chamber Music Festival. Doctor of Musical Arts (DMA), Vocal Performance - Eastman School of Music (1989) Master of Music (MA), Vocal Performance - Eastman School of Music Bachelor of Music (BM), Vocal Pedagogy - Brigham Young University Allred's research and creative works focus on vocal performance across diverse genres, including choral masterpieces like Verdi Requiem and Brahms Requiem, contemporary works such as Golijov's La Pasion Según San Marcos, and historical repertoires from Mozart and Handel. Her recent projects include international tours and cultural outreach initiatives. Her scholarly performances highlight trends in sacred choral music, operatic excerpts, and community engagement through LDS church services and interfaith concerts. She has contributed to recordings including Christmas CDs and collaborations with Salt Lake Vocal Artists. Scientific Awards : Multiple first prizes in prestigious competitions and a Faculty Recognition Award nomination Teaching : Offers private voice lessons and masterclasses; advises the Michie Undergraduate Vocal Quartet Community Leadership : Conducts multi-congregational choirs and organizes veteran-focused concerts Allred's professional activities include collaborations with orchestras such as the Pittsburgh Symphony and Utah Symphony, with a strong emphasis on vocal pedagogy, interfaith musical outreach, and family ensemble performances. She maintains active roles in judging competitions and mentoring students at both University of Utah and UVU as a substitute instructor.

• Vocal Performance
• Classical Music
• Opera
• +6 more

Cynthia Donnell serves as an Associate Professor of Voice and Lyric Diction in the Department of Music at Virginia Commonwealth University. Her educational background includes: Master of Music (M.M.) from the University of North Carolina at Greensboro Bachelor of Music Education from the University of North Carolina at Greensboro As a mezzo-soprano, Professor Donnell maintains an active performance career spanning recital, opera, choral, oratorio, and orchestral repertoire. Her expertise centers on vocal technique, linguistic precision in singing, and classical interpretation across diverse musical traditions. She has performed with major ensembles including the North Carolina Symphony, Richmond Symphony, Virginia Opera, and St. Paul Chamber Orchestra. Her professional recognition includes winning the Seventh International Sterling Staff Competition, which facilitated over 25 solo recitals nationwide. She actively contributes to music education through leadership in the National Association of Teachers of Singing (NATS), having served as officer and board member for the Virginia Chapter.

• Voice
• Lyric Diction
• Classical Singing
• +3 more

Anthony Gritten is Head of Undergraduate Programmes at the Royal Academy of Music in London. A distinguished scholar-performer, he completed his doctorate at Cambridge University on Stravinsky's neoclassical music under Alexander Goehr. As a Fellow of the Royal College of Organists, Gritten has given over 400 recitals across the UK, France, and Canada, establishing himself as a leading interpreter of organ repertoire. His academic journey includes positions at the University of East Anglia, the Royal Northern College of Music, and Middlesex University before his current leadership role at the Royal Academy of Music. Gritten's scholarly profile is marked by an interdisciplinary approach that bridges performance practice with philosophical inquiry. Gritten's research interests focus on the intersection of music, philosophy, and performance studies. His work explores musical gesture, the phenomenology of performance, and the philosophical dimensions of musical practice. He has made significant contributions to understanding the works of John Cage, Charles Rosen, and Stravinsky through the lens of performance philosophy. His research reveals how embodied experience shapes musical interpretation and how philosophical concepts manifest in performance practice. His scholarly output demonstrates a sustained engagement with questions of indeterminacy, distraction, and ecological awareness in musical performance. Gritten's work has helped establish Performance Philosophy as a legitimate field of academic inquiry, connecting practical musical concerns with broader philosophical questions about meaning, interpretation, and embodiment. Fellow of the Royal College of Organists Gritten has supervised numerous doctoral students in the field of performance philosophy and artistic research. His administrative leadership as Head of Undergraduate Programmes has shaped curriculum development at the Royal Academy of Music, emphasizing the integration of practical performance with theoretical and philosophical inquiry. He has been instrumental in developing research frameworks that validate practice-based research in music, contributing to the institutional recognition of artistic research as a legitimate scholarly pursuit.

• Music and Gesture
• Performance Philosophy
• Organ Music
• +7 more

Nicholas Ross serves as Professor and Department Chair in the Department of Music at Otterbein University, maintaining an active international performance career with recitals at prestigious venues including St. Martin’s-in-the-Field and St. John’s Smith Square in London, the Field Room in Dublin, and the Engelse Kerk in Amsterdam. His academic credentials include: DMA in Piano Performance from Rice University UM in Piano Performance (MMus equivalent) from ArtEz, Netherlands DipTCL from Trinity College of Music, London Ingenieur (MSc equivalent) from Twente University, Netherlands Ross's research centers on the mathematical foundations of musical composition, specifically proportional structures and the golden ratio in works by Mozart, Debussy, and Bartók. His scholarly presentations at international conferences in Lancaster and Krakow bridge analytical musicology with mathematical theory, while his artistic output includes multiple critically acclaimed recordings exploring both classical repertoire and contemporary compositions like Arthur Honegger's chamber works. His publication profile demonstrates consistent interdisciplinary exploration at the intersection of performance practice and structural analysis, with scholarly output focused on quantitative approaches to musical form and artistic recordings showcasing technical mastery across diverse stylistic periods. Major honors recognize his dual excellence as performer and scholar: Faculty Fellowship from Sweet Briar College (2008-2009) Anthony Lindsay Prize for Pianoforte Playing (1993) John Longmire Prize in Debussy competition (1994) John Ireland Prize for Accompanists (1994) MehrooJeejeeboyPrize for Pianoforte Playing (1995) Alec Rowley Memorial Prize (1996) Elisabeth Schumann Prize for Lieder (1996) Robert Meyer-ESU Prize enabling Aspen Music Festival residency (1995) As Department Chair, Ross oversees curriculum development while teaching Applied Piano, Music Theory sequences, and specialized seminars including Music and Ideology. His Sweet Briar College Faculty Fellowship supported advanced research in music-mathematics relationships, though no major external grants are documented. Student mentorship focuses on performance pedagogy within undergraduate programs. No dedicated research laboratories or performance ensembles under his direct leadership are specified in available materials, though his collaborative recording projects indicate ongoing artistic partnerships.

• Piano Performance
• Music Theory
• Music and Mathematics
• +1 more

Prof. Nicola Jürgensen is a distinguished German clarinetist and Professor of Clarinet at Faculty 1 of Folkwang University of the Arts in Essen, Germany. She also serves as Dean of Faculty 1 and is a Confidential Lecturer for the German Academic Scholarship Foundation. Her career seamlessly integrates performance, education, and artistic leadership. She is the Artistic Director of WDR 3 Campus Concerts and a board member of the Folkwang University Foundation. Professor of Clarinet, Folkwang University of the Arts (2018–present) Dean, Faculty 1 Artistic Director, WDR 3 Campus Concerts Board of Directors, Folkwang University Foundation Principal Clarinet (former), WDR Symphony Orchestra Cologne (2001–2018) Regular coach, German National Youth Orchestra (2020–present) Nicola Jürgensen's research and artistic interests center on clarinet performance, chamber music, and contemporary repertoire. She is deeply committed to historical performance practice, evidenced by her recordings on basset clarinet, and to expanding the global reach of classical music through international masterclasses and festivals. Her work bridges traditional European repertoire and modern experimental works, including performances in avant-garde operatic productions. She has collaborated with leading orchestras and ensembles worldwide, from Berlin and Leipzig to New York, Bangkok, and Auckland. Her recent artistic output reveals a strong focus on rediscovered works (e.g., Wilms' concerto), contemporary compositions (e.g., Kancheli, Zwilich), and cross-cultural collaborations (e.g., German Masters Music Festival in Thailand). She emphasizes pedagogical innovation and performance excellence, mentoring students who now hold principal roles in Germany’s top orchestras. Her recordings and performances consistently highlight expressive depth, technical mastery, and scholarly engagement with historical instruments and arrangements. Scientific and Artistic Awards: Mozart Prize, Wiesbaden Mozart Society German Music Competition Soloists' Prize (1999) Germany Radio Promotion Prize (2002) Nicola Jürgensen has been instrumental in guiding numerous students into prestigious orchestral positions and leads the ensemble 'Folkwang Clarinets' with her students. She holds multiple leadership roles in academic and artistic institutions and continues to perform as a guest principal clarinetist with major orchestras like the Mahler Chamber Orchestra and NDR Elbphilharmonie Orchestra. Her involvement in grants and funding appears indirect through institutional roles and festival organization. She is actively involved with several artistic initiatives, including the 'Spannungen' festival, WDR 3 Campus Concerts, and international masterclass programs. Her ensemble collaborations and educational outreach reflect a sustained commitment to excellence, innovation, and accessibility in classical music.

• Clarinet Performance
• Chamber Music
• Orchestral Performance
• +5 more

Wesley Bradford serves as Assistant Professor and Program Coordinator for Music Theory at the University of Louisiana at Lafayette's School of Music and Performing Arts, teaching courses from freshman theory to graduate composition since joining the faculty in 2016. His international engagement includes study abroad courses in London and presentations at conferences like the North American Conference on Video Game Music. Dr. Bradford's educational foundation includes: Ph.D. in Music Theory from Louisiana State University (2016) M.M. in Music Theory from the University of Oklahoma (2013) B.A. in Music Composition from Austin Peay State University (2010) His research centers on musical meaning through narrative and semiotic frameworks, with concentrated exploration of video game music. Recent projects analyze narrative structures in The Legend of Zelda series, demonstrating how mathematical and interpretive approaches reveal new dimensions in contemporary genres like interactive media soundtracks. Bradford's publication trend shows consistent focus on video game narrative analysis since 2016, evolving from woodwind repertoire studies to digital media. His work bridges classical music theory with emerging game studies, particularly examining environmental storytelling through audio in interactive contexts. His scholarly recognition includes: Dissertation Year Fellowship (Spring 2016) As Theory/Composition studio coordinator, Bradford mentors students through recitals and studio meetings while securing research funding like the 2021 SPARK ArTech Grant. His active conference participation reflects ongoing scholarly contribution to music theory communities. He maintains professional engagement through the South Central Society for Music Theory and national Society for Music Theory, fostering collaborative research networks within the university's music theory ecosystem.

• Music Theory
• Musical Narrative
• Video Game Music
• +3 more

Aaron Cassidy is an American composer and conductor based in Berlin and Hannover. He serves as Professor of Composition and Director of Incontri – Institut für neue Musik at the Hochschule für Musik, Theater und Medien Hannover. His work emphasizes innovative graphical notations prioritizing physical sound production and non-geometrical rhythm theory. Cassidy’s compositions have been performed globally across 29 countries, with 12 commercial recordings on major labels like Kairos and NEOS. As a conductor, he specializes in contemporary and historical repertoire, leading over 100 world premieres with ensembles such as Ensemble Musikfabrik and ELISION. Notable engagements include the Munich Biennale and Melbourne Recital Centre. His recent research includes a 2025 reflection on non-geometrical rhythm and collaborative Erasmus+ residencies in Klagenfurt. Current projects include works for bassoon, violin-piano duet, and ANAM residency with ELISION in Melbourne (2025). Cassidy’s academic focus bridges compositional theory and performance practice. His research explores notation’s role in shaping musical interpretation, with particular attention to rhythm’s non-metric frameworks. Recent works like Reassessing Non-Geometrical Rhythm (2025) synthesize a decade of theoretical development. His teaching integrates experimental techniques and historical context, fostering innovation in Hannover’s new music institute.

• Contemporary Music Composition
• Musical Notation Innovation
• Non-Geometrical Rhythm Theory
• +3 more

Dr David Milsom is a Senior Lecturer in Music at the University of Huddersfield , specializing in performance practice and historical violin techniques. He coordinates classical performance studies and teaches both performance and musicology. University of Sheffield: BMus (1st Class), MMus, PhD His research focuses on 19th-century violin performing practices , including acoustic recordings analysis and annotated score studies. Recent projects explore Brahms and Franck violin sonatas through historically informed approaches. David leads the Historical Performance Research Group and collaborates on digital performance projects via the MMT YouTube channel. He co-founded the professional Brigantes Orchestra and period instrument group Four's Company . Scientific Awards Edison Fellowship (British Library, 2003) AHRC Fellowship (2006) He serves as external examiner for Royal Birmingham Conservatoire and Leeds Conservatoire, and actively supervises PhD students while integrating research into undergraduate teaching.

• Music Performance
• Violin
• Historical Violin Performing Practices
• +5 more

Dr. Jie Lu serves as Professor (Lecturer) of Piano at the University of Utah's School of Music since 2019, following progression from Adjunct Assistant Professor (2009-2013) to Associate Professor (Lecturer) (2013-2019). An internationally acclaimed recitalist, she performs globally and acts as piano ambassador for the Gina Bachauer Piano Foundation, presenting over 100 outreach recitals annually. Education: DMA, University of Illinois, Urbana-Champaign Music Diploma, Wuhan Conservatory of Music (China) Her artistic focus centers on virtuosic piano performance across solo, chamber, and concerto repertoire, with recent programs featuring demanding works like Bach's "Goldberg" Variations. As a dedicated pedagogue, she develops innovative teaching methodologies that prepare students for elite conservatories through rigorous technical training and interpretive depth. Her performances consistently blend scholarly rigor with emotional resonance across classical and contemporary genres. Artistic Output: Dr. Lu's recent creative works demonstrate consistent exploration of collaborative piano formats, with 63% of performances since 2021 involving duo/chamber configurations. Her programming balances canonical masterworks with contemporary compositions, reflecting commitment to repertoire expansion while maintaining technical excellence in traditional forms. Honors: 36th National Young Artist Competition-Jefferson Concerto Competition Spokane Greater Music National Competition (college division) International Tourgee-Debose Piano Competition University of Colorado Concerto Competition Colorado MTNA Piano Competition SummerArts Piano Competition Gina Bachauer Piano Foundation Ambassador Dr. Lu mentors award-winning students accepted to Juilliard, Peabody, and Cincinnati Conservatory, with recent graduates winning MTNA and Gina Bachauer competitions. Her Bonnie Beesley Foundation grant funded European concert tours (2008-2010), while ongoing adjudication roles include the Gina Bachauer International Artists Piano Competition. She regularly presents masterclasses at institutions including Vienna's Haydn Conservatory and Frankfurt Conservatory. As principal keyboard collaborator with the Salt Lake Symphony and Utah Philharmonic, Dr. Lu maintains active performance partnerships across North America and Asia, frequently appearing at Temple Square and Salt Lake Recital Hall as part of the University Faculty Concert Series.

• Piano Performance
• Chamber Music
• Piano Pedagogy
• +2 more

Laurie San Martin is a Professor of Music at the University of California, Davis, serving as department chair and undergraduate advisor for music majors with last names N-Z. She holds a PhD in Theory and Composition from Brandeis University and a B.A. in Music from UC Davis (1991). Her primary roles include teaching composition, music theory, and recital preparation, while maintaining active involvement in compositional research and performance activities. Research & Creative Work: San Martin specializes in contemporary concert music for chamber ensembles, orchestra, and chorus. Her compositions explore intersections of texture and line, often incorporating experimental techniques and cross-cultural influences. Notable works include Witches (2018), a chamber-choral piece with lyrics by Lucy Corin; Night Owls (2024), a Barlow Endowment-commissioned work for Ensemble Ari; and Elective Affinities (2013), blending Korean gayageum with string quartet. She frequently collaborates with ensembles like Earplay, Left Coast Chamber Ensemble, and Volti. Performed internationally in Europe, South America, and Asia Recipient of prestigious awards including the Guggenheim Fellowship (2016), Andrew Imbrie Award (2018), and Barlow Endowment commissions Teaching & Mentorship: As an advisor, she supports music majors while mentoring emerging composers through programs like the Pacific Chamber Orchestra's Dream American workshop. Her pedagogical focus includes fostering creativity and technical mastery in composition students. Recent Activities: In 2023, she served as guest faculty at the Cortona Sessions in Italy, where her works Octurnal , Miniatures , and Conveyer Belt Dreaming were performed. Ongoing projects include a 2025 residency at the São Paulo Contemporary Composers Festival and a new work for the Empyrean Ensemble. Awards & Recognition: Her accolades reflect her impact on contemporary music, including the League of Composers-ISCM Fellowship and ASCAP Morton Gould Young Composer Awards. She has held residencies at prestigious institutions like the MacDowell Colony and Yaddo.

• Music Composition
• Contemporary Music
• Music Theory
• +4 more

Julian Smiles is a Senior Lecturer in Cello at the Sydney Conservatorium of Music, part of the University of Sydney. He holds prestigious roles in Australian classical music, including former Principal Cello of the Australian Chamber Orchestra and frequent guest principal with the Sydney Symphony Orchestra. He is a core member of the Australia Ensemble (UNSW) and co-founder of the internationally acclaimed Goldner String Quartet. His performances span soloist engagements with major orchestras, chamber music festivals, and premieres of Australian contemporary works. Ensembles: Goldner String Quartet, Australia Ensemble UNSW Performance Venues: Sydney Opera House, Melbourne Recital Centre, Townsville Civic Theatre Repertoire Focus: Classical chamber works, Australian compositions, and international contemporary pieces Research interests include chamber music interpretation, performance practice, and pedagogy rooted in his studies with Nelson Cooke and Janos Starker. He regularly collaborates with composers like Mark Isaacs and Carl Vine, premiering new works. Teaching emphasizes linking technical mastery with artistic expression through historical and contemporary repertoire. Recent performances include the 30th anniversary season of the Goldner Quartet at Sydney Conservatorium, Hyperion Records releases, and international tours to New Zealand and India. His 2024 recording Bird Spirit Dreaming explores Australian musical identity through contemporary compositions. Grants and collaborations involve Musica Viva Australia, Huntington Estate Music Festival, and the Australian World Orchestra. His pedagogical work includes masterclasses at Four Winds Festival and mentoring emerging chamber musicians. Labs/Teams: Goldner String Quartet (30-year partnership), Australia Ensemble UNSW (since 1991), Sydney Conservatorium Cello Studio.

• Classical Music
• Chamber Music
• Cello Performance
• +3 more

Simon Mawhinney is a Professor in the School of Arts, English and Languages at Queen's University Belfast, specializing in composition with a focus on instrumental and electronic media. His work bridges complexist music, post-spectral harmonies, and cultural cantillation influences. Notable collaborations include projects with ensembles in Germany, France, and Iceland. He holds a Queen’s University Teaching Award (2012) and has pioneered modules on Messiaen’s music. His research explores new music performance, computer-assisted composition (using OpenMusic), and experimental technologies. Current roles include PhD supervision in composition, convening MA research methods modules, and undergraduate composition instruction. Key achievements include commissions from Ensemble Caput (Iceland) and Garth Knox/Quatuor Béla, resulting in works such as Marlacoo and a viola d’amore/string quartet piece premiered in Paris (2013). Recent projects involve recordings with pianist Mary Dullea and bass flutist Kolbeinn Bjarnason. His fingerprint research areas include labour studies in composition, technical performance practices, and avant-garde instrumentation. Over 35 compositions span decades, with 2016-2019 works emphasizing electronic integration and algorithmic processes. Awards include the AIC Composition Prize (2001) and Ann Driver Trust Award (2000). Professional service roles include Elected Member of the Academic Council since 2010 and Exams Liason Officer (2009-2011). Teaching: Undergraduate modules on Messiaen, Beethoven's late works, and composition techniques Research: Focus on postwar modernism, new musical technologies, and performance-based creation Public Engagement: Active in festivals, radio interviews, and international recitals

• Composition
• Computer-assisted composition
• Electronic Music
• +3 more

Piotr Staniszewski is an Assistant Professor at the Stanisław Moniuszko Academy of Music in Gdańsk, where he has been employed since October 2024. Previously, he taught French horn at the Academy of Art in Szczecin from 2017 to 2022, where he was appointed professor in 2020. He maintains an active performance career as a member of the Polish Baltic Philharmonic Orchestra in Gdańsk since 1993, performing internationally in Vatican City, Germany, Sweden, Russia, China, and USA. He also collaborates with the Polish Chamber Philharmonic in Sopot and has performed over 130 solo recitals and chamber concerts. Staniszewski's primary research interests encompass 19th-century Italian opera and the life and work of Gioacchino Rossini. His scholarly work includes six publications on piano music prepared as part of the International Piano Music Academic Sessions in Gdańsk. He has authored more than a dozen published arrangements or transcriptions for horn and chamber ensembles. His most recent publication, in October 2024, appeared in 'The Horn Call,' the quarterly journal of the International Horn Society in the USA, focusing on CD Lorenz. His artistic output includes three significant recordings: 'Sacred Music for Horn and Organ' (2000) with organist Ewa Mazurek-Krasodomska; 'Concert Songs of Romanticism' (2008) with soprano Aleksandra Kucharska-Szefler and pianist Bożena Szull-Talar; and 'Horn Fantasy' (2019), featuring the world's first recording of works for horn and piano by Carl Daniel Lorenz (1816-1866). Bronze Badge of the Polish Association of Choirs and Orchestras (1996) Award of the Mayor of Gdynia (2004, 2021) Diploma of the Minister of Culture (2004) Badge of Merit for Polish Culture (2009) Individual Award of the Director of the Center for Artistic Education (2016) Medal of the Commission of National Education (2019) Cultural Scholarship of the City of Gdańsk (2002, 2009) Staniszewski combines his academic work with extensive teaching experience, having instructed French horn and chamber ensemble classes at the Primary and Secondary Music School in Gdynia since 1993 and at the Complex of State Music Schools in Koszalin. His students have won over 230 awards in regional, national, and international competitions. He serves on juries for music competitions and as a consultant for the Center for Artistic Education in Warsaw since 2021. His music journalism for 'Ruch Muzyczny' includes 85 reports on major musical events in the Gdańsk region and international opera performances.

• Music Performance
• French Horn
• 19th-century Italian Opera
• +3 more

Andrew McCrea serves as Professor of Organ Supporting Studies and Academic Programmes at the Royal College of Music (RCM), where he teaches undergraduate and postgraduate courses including history, stylistic-techniques, and supervises student projects, lecture-recitals, and dissertations. He also holds significant positions as Deputy Chief Executive and Director of Studies at the Royal College of Organists (RCO), overseeing accreditation, educational programs, publications, and archival collections. McCrea's research focuses on organ historiography with particular expertise in British organ culture and the evolution of organs and organ playing in the Baltic region. His scholarly work demonstrates a consistent trajectory examining historical organ traditions, national stylistic developments, and the evolution of organ literature across different cultural contexts. Editor of the annual Journal of the Royal College of Organists Guest editor of the Journal of the British Institute of Organ Studies (2004, 2018) Author and co-editor of The Nordic-Baltic Organ Book (2003) Contributor to The Cambridge Companion to the Organ (1998) Contributor to Routledge's Studies in English Organ Music (2018) McCrea's academic contributions span organ historiography, performance practice, and regional organ traditions, with particular emphasis on British and Baltic organ cultures. His research demonstrates consistent engagement with historical documentation, archival materials, and the evolution of organ literature across different national contexts. His scholarly awards include the Medal of the Royal College of Organists (2023) for outstanding contribution and distinguished service to the RCO. As an organist, McCrea serves as curator-organist of St Swithun's, Worcester (housing a significant historical organ from 1795/1845), has performed internationally, and was a finalist in the Lahti International Organ Competition (1997). He continues to advise on the Gothenburg International Organ Academy archival project, bridging his scholarly and practical expertise in organ culture preservation.

• Organ Music
• Organ Historiography
• British Organ Culture
• +3 more

Dr. Carol Chapman is Professor of Music at Missouri State University, specializing in vocal performance and pedagogy. She teaches applied voice and serves as Voice Area Coordinator, with expertise spanning opera, oratorio, and art song repertoire. Her international performances include venues like Paris Conservatoire and collaborations with major orchestras including the Springfield Symphony Orchestra. Research interests focus on French mélodie, German lied, and American art song interpretation. Dr. Chapman holds degrees from William Jewell College, Webster University, and UMKC Conservatory. She received the Scholarship Award for DMA from University of Missouri-Kansas City in 2008.

• Vocal Performance
• Opera
• Oratorio
• +3 more