Find Academic Supervisors

Peter NewmanView profile

Professor

• Visitor management in protected areas
• Soundscape/acoustic management in parks
• Transportation management and planning
• +7 more

Peter Newman, Ph.D., serves as Dean of the Rubenstein School of Environment and Natural Resources at the University of Vermont since July 1, 2024, and holds the Suzie and Allen Martin Professor title. With a career spanning decades, he has conducted extensive research on visitor management in protected areas, soundscape management, and transportation planning, partnering with the National Park Service's Natural Sounds and Night Sky Division since 2012. Education Ph.D. in Natural Resources, University of Vermont M.S. in Forest Resource Management, SUNY College of Environmental Science and Forestry B.A. in Political Science, University of Rochester His research focuses on social carrying capacity decision-making in protected area management, with fieldwork across major U.S. parks including Denali, Grand Canyon, and Great Smokies. He has developed frameworks for acoustic management and Leave No Trace efficacy, contributing to sustainable outdoor recreation practices. Scientific Awards: Cooperative Ecosystem Studies Unit National Award (2012) George Wright Society National Award for Achievement in Social Sciences (2013) Throughout his career, Newman has led high-quality teaching at Penn State's Graduate Degree Program in Acoustics and mentored numerous students through research projects on wildlife approach norms, pandemic recreation shifts, and waste management strategies in national parks. He previously served as a Park Ranger in Yosemite and Backcountry Patrol member in Idaho.

Keith ObadikeView profile

Professor

• Sound Art
• Digital Media
• Interdisciplinary Art
• +12 more

Keith Obadike is a Professor in the Department of Art at Cornell University's College of Architecture, Art, and Planning (AAP), where he also serves as Director of Undergraduate Studies. He is an acclaimed interdisciplinary artist and composer, known for his collaborative work with Mendi Obadike, which spans sound art, digital media, public installations, performance, and internet-based projects. His artistic and academic work critically engages with technology, race, history, and identity. Obadike earned a B.A. in Visual Art from North Carolina Central University and an M.F.A. in Sound Design from Yale University. Prior to joining Cornell, he taught at William Paterson University and held visiting positions at Princeton University, Columbia University, Northwestern University, and the Art Institute of Chicago. His research and creative practice focus on sound art, digital media, public art, performance, and collaborative practice , with strong interdisciplinary connections to Afrofuturism, data sonification, and social justice. He explores how sound and technology mediate racial identity, memory, and liberation, notably through the concept of acousmatic blackness , which he and Mendi developed to describe the racial perception of sound when its source is unseen. Obadike’s selected works include large-scale public sound installations such as Blues Speaker (for James Baldwin) , Free/Phase , Compass Song (Times Square Arts), and GuideStar (Space Needle, Seattle). His projects often use data sonification, archival research, and mythic storytelling, blending historical inquiry with futuristic vision. Notable series include the Opera-Masquerades , Americana Suites , and Numbers Station works, which transform databases of violence into sonic experiences. His honors include: Rockefeller New Media Arts Fellowship (2004) Louis Comfort Tiffany Biennial Award (2015) New York Foundation for the Arts Fellowship in Fiction New Music USA Creator Development Fund (2022) Obadike has received commissions and support from institutions such as the Vera List Center, Harlem Stage, Times Square Arts, the American Composers Orchestra, and the Cornell Mui Ho Center for Cities. He has exhibited and performed at The New Museum, The Whitney Museum of American Art, MoMA, and The Studio Museum in Harlem. His writings and publications include contributions to Studies into Darkness (2022), and artist books such as Four Electric Ghosts and Big House / Disclosure (both 2014). He has also released albums like Crosstalk (2008) and created internet artworks such as Blackness for Sale (2001) and The Interaction of Coloreds (2002), which are foundational in new media and critical race art. While specific advisees are not listed, his role as Director of Undergraduate Studies and Professor indicates active mentorship. His work is deeply collaborative, often co-created with Mendi Obadike, and supported by interdisciplinary teams and institutions.

• Sound and Music Computing
• Human-Computer Interaction
• Human-Centered Computing
• +6 more

Dr. Sam Ferguson is a Senior Lecturer at the School of Computer Science, University of Technology Sydney (UTS), with a multidisciplinary background in music performance, cognitive science, and psycho-acoustics. His research explores the intersection of sound, music, and human experience through creative coding, machine learning, and interactive systems. Key Research Areas: Sound and Music Computing, Human-Computer Interaction, Creative Coding, Cognitive Science, Installation Art, and Acoustics. Current Projects: ARC Linkage project on creative coding and multiplicitous media; industry collaborations on IoT-based audiovisual systems. Recent Publications: Focus on spatial audio complexity, gestural interaction with networked sound, music emotion recognition frameworks, and robotic performance through genre-based cultural platforms. Leadership Roles: Director of Teaching & Learning Engagement; former Deputy Head of School (Teaching and Learning); active in ACM Creativity and Cognition Steering Committee. Teaching: Courses like Digital Media Studio , Prototyping Physical Interaction , and Data Processing using R within UTS's interdisciplinary Software Development Studio.

Rachel Devorah Wood RomeView profile

Assistant Professor

• Electronic Music
• Creative Coding
• Live Coding
• +12 more

Rachel Devorah Wood Rome is an Assistant Professor in the Electronic Production and Design (EPD) department at Berklee College of Music, where she teaches creative coding, live coding, and music technology. Her work bridges electronic music, improvisation, and critical theory, with a focus on sonic cyberfeminism, archival practices, and the social meanings of sound and space. Ph.D. in Music Composition and Computer Technologies, University of Virginia (2018) M.L.I.S., San José State University (2017) M.A. in Music Composition, Mills College (2013) B.Mus. in Horn Performance, CUNY Queens College (2007) Her research explores superhuman prolongation, opaque complexity, and the re-signification of archaic tools in sonic media. She values machines for their patience and memory, and her creative practice emphasizes critical agency in technology design and use. She performs under the name 'mehetabel' when using archival materials in improvised electronic music. The most recent publications and performances reflect a deep engagement with AI and music, live coding, feminist media theory, and spatialized sound. Her works often involve real-time data processing, generative systems, and collaborative improvisation, situating sound within broader social, political, and technological contexts. Ruth Anderson Installation Prize (IAWM) New Music USA Grant Fellowships from MIT OpenDocLab, Adrian Piper Foundation, Ina GRM, New Museum, and Jefferson Scholars Foundation Residencies at EMS Stockholm, STEIM Amsterdam, MassMoCA, and Cove Park Rome advises emerging artists in electronic music and creative coding, many of whom have gone on to establish their own practices. She is also active in academic service, including curriculum development, faculty governance, and labor organizing as a Councilor for the Berklee Faculty Union. She leads initiatives in DEI, sound design, and coding pedagogy within the EPD department. She has been involved in interdisciplinary collaborations with artists, technologists, and institutions worldwide, presenting work in galleries, festivals, and academic conferences across North America, Europe, and Asia. Her leadership extends to nonprofit arts organizations, where she has served as Executive Director and grantwriter.

David ImhoofView profile

Professor

• Modern European History
• German History
• Cultural History
• +7 more

David Imhoof is Professor of History at Susquehanna University and serves as the NCAA Division III Faculty Athletic Representative. He has twice chaired the History Department (2006-2015, 2020-2023) and directed the Global Opportunities (GO) Austria study abroad program since 2010. His research focuses on cultural and political history in 20th-century Germany with particular emphasis on Göttingen between the World Wars. Education : Ph.D. in History from the University of Texas at Austin, B.A. in History and Liberal Arts from Trinity University. Imhoof's research explores how cultural practices like sports, music festivals, and film shaped political integration in Weimar and Nazi Germany. His current projects include a biography of a Nazi mayor and a history of Germany's 20th-century recording industry. He has published extensively on topics ranging from the Total Work of Art concept to sound studies in German contexts. His recent publications form trends in cultural history, media studies, and political integration analysis. These works examine how music, sports, and film served as vectors for both traditional values and ideological transformation during Germany's turbulent 20th century. Scientific Awards : Multiple Susquehanna Research Grants, DAAD Fellowship, Nachtegall Junior Scholar Award, and Presidential Scholar at Trinity University. Imhoof advises senior theses and independent study projects. He has led assessment reforms in Susquehanna's history department and coordinated over $3,500 in donor campaigns. As director of GO Austria, he develops international curricula and faculty training programs. He co-founded Susquehanna's Holocaust-Genocide Studies Group (2000-2014) and leads a rock band Faculty Lounge with fellow professors. His service includes NCAA representation, university strategic planning, and organizing academic events ranging from opera performances to Holocaust survivor talks.

Theodore LevinView profile

Professor

• Ethnomusicology
• Musical Ethnography
• Central Asian Music
• +5 more

Theodore Levin serves as the Arthur R. Virgin Professor of Music at Dartmouth College, with significant international engagements including Senior Advisor to the Aga Khan Music Programme and former Executive Director of Yo-Yo Ma's Silk Road Project. His work bridges academic research and cultural advocacy across Central Asia and Siberia. His educational foundation includes a B.A. from Amherst College and both M.F.A. and Ph.D. degrees from Princeton University. Levin's research centers on ethnomusicological fieldwork examining the intricate relationships between sound, environment, and cultural identity among nomadic communities, with particular focus on spiritual practices and oral traditions along historical Silk Road routes. His publications reveal consistent thematic trajectories exploring musical preservation in rapidly changing societies, the ecological dimensions of sound production, and cross-cultural dialogue through artistic exchange. These works collectively document endangered traditions while analyzing their contemporary revitalization through international cultural development frameworks. As an educator, Levin teaches world music and American 'roots' music courses at Dartmouth, mentoring students in ethnographic methodologies. His professional activities extend to shaping global cultural policy through former leadership at Open Society Foundations' Arts and Culture sub-board, demonstrating sustained commitment to integrating arts into international development paradigms. Levin maintains active involvement with international initiatives including the Aga Khan Music Programme, where he contributes to preserving musical heritage across Muslim contexts through performance, education, and documentation projects that connect traditional artistry with contemporary creative expression.

Peter BatchelorView profile

Senior Lecturer

• Electroacoustic Composition
• Acousmatic Music
• Sound Spatialisation
• +12 more

Dr Peter Batchelor is a Senior Lecturer in Music and Music Technology at De Montfort University, affiliated with the Leicester Media School and the Music, Technology and Innovation – Institute of Sonic Creativity (MTI²). He serves as Programme Leader for the BA Music Technology programme and is actively involved in research, teaching, and creative practice. Education: BMus, University of Wales, Bangor (1996) MPhil, University of Wales, Bangor (1997) PhD, University of Birmingham (2004) FHEA (2024) His research and creative work focuses on electroacoustic composition, multichannel sound installations, public art, and aural landscape construction. He explores sound spatialisation, immersion, theories of space and place, and audience engagement through large-scale sonic artworks. His practice integrates technical innovation with artistic inquiry, often using custom Max/MSP tools for spatial audio and generative systems. The 15 most recent publications reflect a consistent trajectory in immersive sound art, emphasizing environmental sonification, spatial perception, and public engagement. Key themes include multichannel deployment (up to 288 channels), interactive and solar-powered installations, and blending natural and synthetic soundscapes. Projects like Dendrophone and Contraption highlight his focus on accessibility, sustainability, and audience interaction in sonic environments. Scientific Awards and Recognitions: Finalist, Sounds Electric ’07 Competition Mention, Concours de Musique Electroacoustique de Bourges (2007, 1998, 1997) 2nd Prize, CIMESP'99, São Paulo Honourable Mention, CIMESP'97, São Paulo Prize, 'Residences' category, Bourges 1997 Peter Batchelor supervises several PhD students including Stefano Catena, Cristiana Palandri, and Michael Uwins. He has secured external funding as Co-Investigator on projects such as Interfaces (EU Culture Project, 2016–2019) and Sensing the Forest (AHRC Early Career Research Grant, 2023–2025). He has delivered keynote and invited talks internationally and serves as a reviewer for Organised Sound and for REF panels. His creative installations have been exhibited globally, from Helsinki to São Paulo, and he develops open-source Max/MSP tools like N-CHAN and CLATTER to support multichannel sound design. He leads the Dendrophone project, a solar-powered, DIY sound installation in Alice Holt Forest that sonifies environmental data (humidity, sunlight, CO2), offering both on-site and live-streamed access. This project exemplifies his commitment to public engagement, ecological awareness, and accessible sonic art.

Petra T. BuergeltView profile

Associate Professor

• Disaster Risk Reduction
• Climate Change Adaptation
• Indigenous Ways of Being-Knowing-Doing
• +4 more

Petra T. Buergelt is an Associate Professor of Psychology at the University of Canberra’s Faculty of Health. She holds affiliate roles at the UC Health Research Institute, HEAL Global Research Centre, and Joint Centre for Disaster Research (Massey University, NZ). A transdisciplinary scholar, her work bridges Indigenous knowledge systems with Western paradigms, focusing on disaster risk reduction, climate adaptation, and cultural revitalization. She has led over $10.32M in grants, including the NAIDOC award-winning Dharray Manymakkuŋ Energy Efficiency Project. Education: PhD (Massey University, 2011) Master (1st Class Honours, Massey University, 2004) Bachelor (Psychology, Massey University, 2001) Bachelor (Horticulture, Dresden-Pillnitz, 1993) Research Interests: Her research employs Indigenist participatory action research to explore resilience, disaster preparedness, and climate adaptation in remote Indigenous communities. Notable projects include the Waka Ngurrkanhayngu initiative with Yolŋu clan leaders in Australia and Taiwanese Indigenous communities. Teaching & Leadership: She leads the Psychology Indigenising Curriculum Team, redesigning curricula to incorporate Indigenous epistemologies. Her teaching spans Health Psychology, Qualitative Research, and Cross-cultural Competence workshops. Awards & Recognition: UC Faculty of Health Outstanding Early Career Researcher (2021) Indigenization of the Curriculum Award (2023) Sylff Fellow (Tokyo Foundation, 2011–present) Grants & Partnerships: $9.12M Manymak Energy Efficiency Project (2013–2016) $219,770 Waka Ngurrkanhayngu project (2021–2024) Collaborations with ANU, CDU, and international institutions Labs & Teams: Co-founder of the Group of Energy Efficient Researchers (GEER) Australia and leadership roles in the International Transformative Learning Association (ITLA).

• Animal Communication
• Social Cognition
• Anthropogenic Impacts on Animal Behavior
• +3 more

Çağlar Akçay is a Senior Lecturer in the School of Life Sciences at Anglia Ruskin University, part of the Faculty of Science and Engineering. He holds a PhD in Animal Behavior from the University of Washington, alongside an MA in Cognition and Perception and a BS in Biology and Psychology from Middle East Technical University. His research focuses on behavioral ecology, particularly the evolution of animal communication and social cognition in songbirds. He investigates how animals adapt to anthropogenic environments, including effects of urbanization on signaling and aggression. Key research areas include animal communication systems, social interactions mediated by vocal signals, and the impact of environmental changes on behavior. He leads the Bird Lab, studying the interplay between communication and social behavior in birds, with projects on Darwin’s finches and song sparrow territorial dynamics. His work emphasizes field studies combined with experimental approaches, such as acoustic manipulations and observational tracking. Member of the Behavioral Ecology Research Group Recipient of Turkish Science Academy Early Career Fellowship (2019-2021) Teaching responsibilities include BSc programs in Animal Behaviour and Zoology, and an MSc in Animal Behaviour Applications for Conservation Recent publications highlight topics like survival processing effects in memory, avian behavioral plasticity in urban settings, and the role of acoustic signals in territorial disputes. His interdisciplinary work bridges ecology, cognition, and conservation, with a focus on translating findings into wildlife management strategies.

• Acoustic Ecology
• Soundscape Studies
• Urban Sound Design
• +3 more

John L. Drever is a Professor in the Department of Music at Goldsmiths, University of London, affiliated with the Unit for Sound Practice Research. His work bridges acoustic ecology, sound art, and interdisciplinary studies, emphasizing aural diversity and the intersection of sound with environment, culture, and human perception. His research explores urban soundscapes, field recording methodologies, and the ethical implications of sound design for vulnerable populations. Education: Ph.D. in Sound Practice Research (Phonographies: Practical and Theoretical Explorations into Composing with Disembodied Sound, 2001) from University of Plymouth. Research Interests: Drever’s work focuses on acoustic ecology, soundscape composition, noise pollution’s impact on health, and aural diversity—advocating for inclusive soundscapes that account for varied hearing experiences. He has pioneered studies on hand dryer noise effects and urban soundscape design. His articles and books, such as Aural Diversity (2022, co-edited) and contributions to The Oxford Handbook of Sound Art , reflect his interdisciplinary approach. Key projects include London Street Noises (2021) and Sounding Dartmoor (2002). He actively participates in international conferences and soundwalk initiatives, emphasizing sound’s role in environmental and cultural preservation.

Paula SchneiderView profile

Academic

• Bookbinding
• Book Art
• Narrative Literature
• +4 more

Paula Schneider serves as Teacher for Special Tasks at the University of Art and Design Offenbach am Main , heading their book and paper workshop since 2020. She studied Book Art at Burg Giebichenstein Halle (2013-2019) and previously taught at Bezalel Academy (2017-2020). Her work bridges bookbinding , literary experimentation , and archival research through installations, artist books, and public interventions. Education : 2019: Diploma in Book Art, Burg Giebichenstein University of Halle Teaching : 2020–present: Lecturer for special tasks at HfG Offenbach 2017–2020: Annual courses at Bezalel Academy for Arts and Design, Jerusalem Screen printing tutor during studies Her artistic research explores narrative structures , time perception , and memory systems through works like Inner Monologue (2018) and Mio Mnemotop (2021). Recent projects include Night Frost (2024) examining textual accumulation and Cloudburst Working on the Textberg (2024) using mining metaphors for textual analysis. She examines book formats (e.g., leporello, monotypes, screen printing) to interrogate knowledge preservation (Rabaraababaraba, 2015) and urban observation (Praise of the Gate, 2023). Notable exhibitions include Because We Are Young (2021) analyzing GDR industrial history and Between (2019) at Halle/Leipzig Airport, which required mobile audience engagement with audio pieces about airport soundscapes. Her works have been featured in Text3 and Spin n errei tours. Contact: schneider@hfg-offenbach.de | Workshop: +49 69.80059-245 | Office: +49 69.80059-106

Lars BerglundView profile

Professor

• Music History
• Early Modern Music
• Reception History
• +7 more

Lars Berglund is Professor of Musicology at Uppsala University's Department of Musicology, where he serves as Director of Studies for the doctoral program. He earned his PhD from Uppsala in 2002 with a thesis on German musician Christian Geist and has held progressive academic positions since 2003, becoming Professor in 2015. Berglund chaired the department from 2012-2018 and currently leads the Swedish Research Council's Humanities and Social Sciences Subject Council (2025-2027). He is a board member of HERA (Humanities in the European Research Area) and holds memberships in the Royal Swedish Academy of Letters and Royal Swedish Academy of Music. His research specializes in 17th-century music history, combining philology, music analysis, and reception studies with focus on: Italian-Scandinavian cultural exchange Court and church music patronage systems Performance theory and vocal traditions Scandinavian modernist music Recent publications (2019-2025) demonstrate strong emphasis on transnational music transfer, archival reconstruction of Baroque repertoires (particularly the Düben Collection), and ceremonial music analysis. Key themes include royal patronage networks, contrafactum techniques, and music's role in early modern diplomacy. Awards & Honors: Member, Royal Swedish Academy of Letters Member, Royal Swedish Academy of Music Major Funded Projects: "Translatio musicae: French and Italian Music in Northern Europe" (Riksbankens Jubileumsfond 2019-2023) Swedish Church Music History monograph (2020-2024) Digitization of court/university music (Riksbankens Jubileumsfond 2020-2025) STINT network on Early Modern musical exchange (2012-2016) He supervises doctoral candidates and teaches advanced courses in historical musicology and analysis.

• Music Technology
• Music Psychology
• Embodied Music Cognition
• +5 more

Alexander Refsum Jensenius is a Professor of Music Technology and Director of the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo. He also leads the fourMs Lab and co-founded the MishMash Centre for AI and Creativity. His work bridges musicology, psychology, and technology, focusing on embodied music cognition, human motion analysis, and creative applications of AI. Notably, he pioneered research on air guitar motion and human micromotion through projects like the Oslo Standstill Database . Educated at the University of Oslo (BA in Music and Mathematics, MA in Musicology) and Chalmers University of Technology (MSc in Applied IT), Jensenius holds a PhD in Music Technology from UiO. He has held visiting researcher roles at UC Berkeley, McGill University, and KTH. Leadership roles include Department of Musicology Head (2013–2016) and Steering Committee Chair for the International Conference on New Interfaces for Musical Expression (NIME, 2011–2022). Research interests span music-related body motion, AI in creative contexts, and open research practices. Key contributions include the Music Moves and Motion Capture MOOCs, the Musical Gestures Toolbox software, and monographs like Sound Actions and Sonic Design . His work emphasizes interdisciplinary collaboration, with projects addressing ventilation systems' acoustic properties and cell culture vibrational effects. Awards include the European Open Data Champion recognition. He advocates for open science and maintains extensive digital archives of research materials, emphasizing institutional web pages as critical research infrastructure.

Kersten GlandienView profile

Lecturer

• Sound Art
• Experimental Music
• Aesthetics
• +9 more

Kersten Glandien is a lecturer in the theory, history, and practice of Sound Art at the Digital Music and Sound Arts course within the School of Art and Media at the University of Brighton. She has been teaching at the university since 2003 and also serves as the artistic director of the independent artist collective Sound Art Brighton , which she founded in 2017. Her work bridges academia, curation, and artistic practice, with a strong international presence through exhibitions, symposia, and radio programming. Her research interests span a wide and interconnected range of topics, including: Sound Art and its theoretical foundations Sound as nexus art and environmental sound art Sound in public and natural domains Sound and interaction, projection art Aesthetics from below and grassroots art practices Use of technology in contemporary arts The recent publications and research outputs reflect a consistent focus on the conceptual and experiential dimensions of sound art, curation, and relational sound practices. Her work often explores how sound functions in space, society, and perception, emphasizing interdisciplinary and community-oriented approaches. She has curated major events such as the Sound Art Brighton Festival (2022), Space Through Sound symposium in Bern (2015), and Radio Art in Britain & Germany concert series. Her scientific and artistic contributions include: Curatorial leadership in sound art festivals and exhibitions International invited talks and presentations Peer-reviewed publications in leading academic presses (e.g., Cambridge University Press) Radio program production and translation of academic texts Kersten Glandien supervises at PhD level and is actively involved in shaping the discourse around sound art through both academic and public-facing initiatives. She has no listed scientific awards in the provided text. She is associated with the Sound Art Brighton collective, which functions as a platform for interdisciplinary sound-based artistic research and public engagement.

Julian F. HenriquesView profile

Researcher

• Sound Studies
• Cultural Studies
• Caribbean Studies
• +4 more

Dr. Julian F. Henriques is a Senior Research Fellow at Goldsmiths, University of London, and a leading scholar in sound studies, cultural studies, and Caribbean research. With a PhD thesis (2008) on Reggae Sound System Crews, his work bridges music, technology, and embodiment through practice-based research. He has authored the book Sonic Bodies (2011) and co-edited Rhythm, Movement, Embodiment (2014). Currently, he explores fetal auditory environments through the Sonic Womb Exhibition (2026) and contributes to obstetric research on noise exposure. Research Interests: His scholarship focuses on the Jamaican sound system as a cultural technology, analyzing rhythm, affect, and sonic embodiment. He investigates intersections between popular culture, Caribbean diasporic practices, and the materiality of sound through theoretical frameworks like Afrofuturism (2015) and cosmopolitan theory (2020). Recent work combines computational acoustic modeling with ethnographic insights into prenatal soundscapes. Key Publications: Includes articles on fetal noise exposure (2025), Jamaican knowledge systems (2023), and rhythm analysis (2014). His edited works span Stuart Hall's legacy (2018) and sound studies companions. Collaborations with acoustic engineers (2025) demonstrate interdisciplinary reach. Collaborations: Works with institutions like University College London (2025), Tate Modern (2011), and the University of Munich (2014). Leads the Sonic Womb project with Pierre Gélat and Atau Tanaka.