Find Academic Supervisors

Annie MahtaniView profile

Professor

• Electroacoustic Music
• Acousmatic Composition
• Multichannel Audio
• +6 more

Professor Annie Mahtani is a Professor of Electroacoustic Composition and Practice at the University of Birmingham's Department of Music. She holds a BMus (Hons), MA, MPhil, and PhD from the University of Birmingham and Birmingham City University. Her work focuses on electroacoustic music, acousmatic composition, multichannel audio, spatialisation, and field recordings, with significant contributions to site-specific installations and cross-disciplinary collaborations. She co-directs the SOUNDkitchen collective and serves on key boards such as the British ElectroAcoustic Network (BEAN) and the British Section of ISCM. Her research explores the sonic identity of environmental sounds, large-scale multichannel composition, and ambisonic audio techniques. As a performer with BEAST (Birmingham Electroacoustic Sound Theatre), she develops live acousmatic performances and soundwalks. Recent projects include Becoming Tree (an immersive audio retelling of a literary work) and Minimum Monument , performed at Birmingham Hippodrome. She actively collaborates with dance and theatre companies like Rosie Kay Dance Company. Professor Mahtani teaches undergraduate and postgraduate modules in electroacoustic composition and is involved in admissions and curriculum leadership. Her works have been performed globally in festivals like Klang! Électroacoustique and Sound + Environment, showcasing her innovative contributions to contemporary music and sound art.

• Nineteenth-Century Literature
• Romanticism
• Victorian Literature
• +6 more

Professor Sally Bushell , affiliated with Lancaster University 's Faculty of Humanities, Arts and Social Sciences , specializes in 19th-century Literature (Romantic and Victorian) with interdisciplinary focus on Spatial Humanities and Digital Humanities. She co-directs the Wordsworth Centre and served as Head of Department (2014-2018). PhD (Queens' College, Cambridge), BA (London), MA (York), MA (Lancaster) Supervises PhD projects on Romanticism, textual criticism, and spatial interpretation PI on major projects: Chronotopic Cartographies and Litcraft Her research redefines literary criticism through spatial and material analysis, exploring cognitive mapping and digital platforms like Minecraft to visualize literary texts. She integrates literature with cartography and geography, emphasizing iterative text-image relationships. Key publications include Reading and Mapping Fiction: Spatialising the Literary Text (2020) and Romantic Cartographies (2020). She teaches courses such as Victorian Popular Fiction and Place; Space; Text on MA and undergraduate levels. Scientific awards include the Digital Humanities Institute for Social Futures Fellow (2019/20). She supervises postgraduate research in: Draft process analysis of Romantic/Victorian writers Literary mapping and geography Digital projects on Lake District region Projects include the £900,000 AHRC-funded Chronotopic Cartographies (2017-2021) and Litcraft. Active in outreach, she organizes training sessions and museum events.

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.

• Victorian Studies
• Neo-Victorian Studies
• Gender Studies
• +7 more

Lilia Louati is an Assistant Professor at the American University of the Middle East (AMU, Kuwait), affiliated with the Center for Anglophone Studies (CAS). She previously held ATER positions at Toulouse Jean-Jaurès University and the National Higher Institute of Teaching and Education in Toulouse, France. Her academic journey includes a doctorate from Toulouse Jean-Jaurès University completed in 2022. Her research focuses on Victorian and neo-Victorian literature , with particular emphasis on gender, feminist theory, corporeality, and reader-response. She explores how female protagonists are reimagined in contemporary literature through feminist lenses, analyzing themes such as bodily autonomy, spatial identity, and authorship. Her work intersects literary studies with philosophical and socio-cultural frameworks. Her publications include a 2022 journal article in Contemporary British Studies and several conference papers presented between 2019 and 2021. These works collectively examine neo-Victorian representations of women, exploring subfields such as spatialization of identity, feminist corporealism, female authorship, and narrative agency. Her scholarship demonstrates a cohesive and evolving engagement with feminist literary theory. Literature Gender Studies Feminist Theory Victorian and Neo-Victorian Fiction Corporeality Urban Space in Literature Scientific Contributions: “Sexsation and the Neo-New Woman in Sarah Waters’s Fingersmith (2002)” (2022) “(In)hospitality of the Female Body in Michel Faber’s The Crimson Petal and the White (2002)” (2021) “Spatialising Character in The Crimson Petal and the White (2002)” (2021) “Female Authorship as Theft: Female Prometheus Figures in Fingersmith (2002)” (2019) “Neo-Victorian (dis)integrations” (2019) Lilia Louati has co-organized academic events such as the conference Victorian and Edwardian Interiors and the study day Mirror games , contributing to scholarly discourse in her field. She is actively engaged in research and teaching in English literature and feminist studies.

Andrew McPhersonView profile

Professor

• Music Computing
• New Interfaces for Musical Expression
• Digital Signal Processing
• +3 more

Andrew McPherson is a Professor of Musical Interaction at Queen Mary University of London, affiliated with the School of Electronic Engineering and Computer Science and the Centre for Multimodal AI. He leads the Augmented Instruments Laboratory, a research team focused on music technology and interdisciplinary collaboration. His work bridges electrical engineering, composition, and human-computer interaction, emphasizing the creation of new tools for musicians through hardware/software interfaces and expressive performance modeling. McPherson's research interests include augmented instruments, digital signal processing, and the design of intuitive musical interfaces. He has pioneered projects like the Bela embedded platform and the Magnetic Resonator Piano, emphasizing practical applications in traditional and experimental music venues. Collaborations with artists and industry inform his approach, ensuring research outputs are artistically relevant and accessible. Education & Expertise: Trained in electrical engineering and composition, McPherson combines technical proficiency with artistic sensibility. His lab’s projects, such as the TouchKeys and hackable instruments, highlight his focus on democratizing music technology. Grants & Awards: He holds a Royal Academy of Engineering Senior Research Fellowship (2021–2026) and an ERC Consolidator Grant (2023–2027). He co-leads the UKRI Centre for Doctoral Training in Artificial Intelligence and Music, fostering future researchers in AI-driven music innovation. Labs/Teams: The Augmented Instruments Lab collaborates across disciplines, with dual affiliation at Queen Mary and Imperial College London’s Dyson School of Design Engineering. The lab’s work spans from foundational research to industry partnerships, including spinout company Augmented Instruments Ltd, which supports maker communities and industry consultancy.

Brona MartinView profile

Researcher

• Electroacoustic Music
• Acoustic Ecology
• Spatial Audio Technology
• +3 more

Brona Martin is a Postdoctoral Research Associate in Music and Audio Technology at the University of Kent's School of Arts. She leads the AHRC-funded project ‘A Sonic Palimpsest: Revisiting Chatham Historic Dockyards’ , focusing on narrative electroacoustic music, acoustic ecology, and spatial audio techniques to create inclusive soundscapes. Her work bridges heritage preservation and emerging technologies, exploring VR, smartphone apps, and streaming platforms for community engagement. Her research outputs include installations, conference presentations, and published works in interdisciplinary venues like International Computer Music Conference and (In)tangible heritage(s) . Brona collaborates with the IKO Spatial Audio group at the University of Greenwich and received Arts Council England funding for an immersive VR project. Her website bronamartin.org showcases her creative and academic work.

Susannah Lyon-WhaleyView profile

Research Fellow

• Art History
• Literature
• Material Culture
• +3 more

Susannah Lyon-Whaley is a Marie Sklodowska-Curie Actions Postdoctoral Fellow at the University of York (since July 2024) and previously served as a Professional Teaching Fellow at Waipapa Taumata Rau (The University of Auckland). She holds a Master's in English Literature and a PhD in Art History from the University of Auckland (2019 and 2023 respectively), supported by a University Doctoral Scholarship. Her research focuses on women’s engagement with nature across art, literature, and material culture in global and colonial contexts. Her current project, Observing, Consuming, Engaging, Appropriating Nature (OCEAN) , examines 17th-century British queens consort’s interactions with nature through cabinets, miniatures, and materials from global regions. She has published on Aotearoa New Zealand poets Robin Hyde and Mary Stanley, artist Rita Angus, and Stuart-era queens’ artistic patronage and spa visits. She edited Floral Culture and the Tudor and Stuart Courts (2024). External activities include hosting The Royal Studies Podcast and co-organizing the Women and Flowers Research Network . She holds the Marie Sklodowska-Curie Fellowship and University Doctoral Scholarship.

Brona MartinView profile

Lecturer

• Electroacoustic Composition
• Acoustic Ecology
• Spatial Audio Applications
• +5 more

Dr. Brona Martin is a Lecturer in Music and Sound at the University of Greenwich, affiliated with the School of Stage and Screen within the Faculty of Liberal Arts and Sciences. Her work focuses on Electroacoustic composition, acoustic ecology, and spatialisation techniques to reveal understated sonic characters in real and imaginary soundscapes. She explores inclusive creative music technology through community engagement projects and innovative media like VR, smartphone apps, and streaming platforms. Her research includes spatial audio applications in electroacoustic music, VR, and gaming, as well as leading projects like The Record Shop and Black Music Project , which document the cultural role of record stores through oral histories and multimedia resources. She serves as Knowledge Exchange Lead for the SOUND/IMAGE Research group. Brona teaches on the MA in Music and Sound Design course, specifically the Audiovisual Composition for Film, Games and Media module. No specific scientific awards are listed, but her international performances and residencies highlight her artistic reach.

Diana ChesterView profile

Senior Lecturer

• Acoustic Ecology
• Data Sonification
• Deep Listening
• +6 more

Dr Diana Chester is a Senior Lecturer in Media and Communications at the University of Sydney, specializing in sound studies, ethnography, and interdisciplinary artistic research. Her affiliations include the Sydney Environment Institute and Sydney Nano Institute. She holds a BA from Mount Holyoke College, MA from Columbia University, and PhD from the University of Porto. Research focuses on acoustic ecology, data sonification, and sound's role in religion and culture. Notable projects include Sonic Encounters: The Islamic Call to Prayer (2021) and collaborations with institutions like the Smithsonian and Oxford University. She has been an artist-in-residence in Mongolia, Iceland, and Sweden. Current projects: 'Listening to Earth', 'Sounding Antarctica', and 'Nanoresonance' Key awards: 2024 RAWspace Residency, 2023 Oxford Visiting Scholar Teaching includes Media Production, Research Practices, and Sound Design Her work bridges art and scholarship through sound installations, audio essays, and sonic data visualization. International collaborations span Mongolia's ancestral listening practices to Yale's study of Brooklyn's Lipka Tatars. Grants: Sydney Environment Institute Fellowships, Sydney Nano Catalyst Grant Media: Featured in ABC Sydney, Sydney Morning Herald, and Silkway News

• Multichannel Spatialisation
• Music Interaction
• Gesture Recognition
• +3 more

Dr. Paul Modler is an Academic Associate for Sound and Acoustics in the Media Art Department at Karlsruhe University of Arts and Design (HfG), Germany. He holds a Diplom-Ingenieur from the University of Karlsruhe and a PhD in Music Technology from the University of York, UK. As a full-time lecturer and researcher, his work focuses on multichannel spatialisation, music interaction, gesture recognition, and improvisation techniques. Education: Diplom-Ingenieur (Engineering), University of Karlsruhe PhD in Music Technology, University of York, UK His research explores the intersection of acoustic technologies with artistic expression, emphasizing innovative approaches to sound design and interactive music systems. Modler’s contributions bridge engineering principles with creative media practices, reflecting the university’s mission to integrate traditional arts with digital media. No recent publications or awards were explicitly listed in the provided materials.

Emma MargetsonView profile

Senior Lecturer

• Acousmatic Composition
• Sound Art
• Sound Diffusion
• +4 more

Dr. Emma Margetson is a Senior Lecturer in Music and Sound at the University of Greenwich, affiliated with the School of Stage and Screen and the Faculty of Liberal Arts and Sciences. She holds a PhD in Electroacoustic Composition from the University of Birmingham, funded by the Midlands3Cities Doctoral Training Partnership (M3C). Her work spans acousmatic composition, sound art, and immersive audio practices, with a focus on spatialisation, site-specific installations, and audience engagement. She leads the MA Music and Sound Design program and co-directs the Loudspeaker Orchestra Concert Series. Education: PhD in Electroacoustic Composition, University of Birmingham (2021) MA Music: Electroacoustic/Sonic Art (Distinction), University of Birmingham BMus Music (First Class Honors), University of Birmingham PGCert HE, Fellow of the Higher Education Academy (FHEA) Her research investigates sound diffusion, spatialisation, and community music practices. Notable awards include a special mention in the Métamorphoses Competition (2020), a First Prize in the Space of Sound Competition (2019), and the Young Artist Award (2018). She has collaborated with institutions like the Royal Observatory and the Ikon Gallery, and her work appears on labels such as empreintes DIGITALes and Urban Arts Berlin. Emma’s roles include Programme Leader for the MA Music and Sound Design course and Co-Director of the Loudspeaker Orchestra Concert Series. She contributes to the SOUND/IMAGE Research Centre, exploring sound-image intersections in art and technology.

• Music Composition
• Opera
• Sonic Environments
• +3 more

Dr. Ann Cleare is an Assistant Professor of Music and Media Technologies at Trinity College Dublin. She holds a PhD from Harvard University and an Honorary Doctorate from the National University of Ireland, recognizing her contributions to contemporary music. Her work spans concert music, opera, experimental sound installations, and hybrid instrument design, focusing on timbre, texture, and the psychological impact of sound. She is an artist-in-residence with the Crash Ensemble and a member of Young Academy Ireland. Her research explores intersections between sound and visual dimensions, exemplified by projects like rinn (a time-travel chamber opera) and TERRARIUM (a multimedia collaboration with Crash Ensemble). Key collaborations include works with Ensemble SurPlus, BBC Scottish Symphony Orchestra, and the National Symphony Orchestra of Ireland. Awards include the 2019 Ernst von Siemens Composer Prize and fellowships at Villa Concordia (2024) and Civitella Ranieri (2023). Her recent projects include MIDHE , a large-scale work commissioned by RTÉ for Ireland’s National Concert Hall, and The Little Lives , an opera addressing propaganda’s societal impact. Educational affiliations include Trinity College Dublin, IRCAM, and University College Cork. Education: PhD Harvard University, Studies at IRCAM, University College Cork Affiliations: Young Academy Ireland, Artist-in-Residence (Crash Ensemble) Notable Works: eyam series, eöl , Meridians , gravity dreams

Benoit GranierView profile

Assistant Professor

• Electroacoustic Music Composition
• Intercultural Dialogue
• Sonic Art
• +4 more

Benoit Granier is an Assistant Professor at Coventry University's School of Media and Performing Arts, specializing in Music Technology. He holds a PhD in computer music and composition from Trinity College Dublin. Previously, he taught at the Central Conservatory of Music in Beijing, fostering cultural exchange between China and Western countries. He founded the Timi Modern Music Ensemble to bridge traditional Chinese and Western instruments. His research focuses on electroacoustic composition, intercultural dialogue, and sound spatialisation. Education: Doctorate in Music Composition from Trinity College Dublin (2007), with studies on graphical notation and controlled improvisation. He also researched spectral music and post-spectral techniques (2003). Research interests include blending traditional instruments with modern electroacoustic techniques, music business entrepreneurship, and sonic art. His works have been performed globally at venues like Carnegie Hall and Tokyo's Performing Arts Center. He is currently developing a piece based on Dante's Divine Comedy with 3D visuals and surround sound, as well as a commissioned composition for the Guangxi University Chinese orchestra. Notable contributions include compositions for major orchestras and soloists, and explorations of music technology education in the UK during lockdowns. He remains active in collaborative projects across disciplines like dance and philosophy.

Monty AdkinsView profile

Professor

• Digital Music
• Electronic Music Composition
• Sonic Art Installations
• +4 more

Monty Adkins is a Professor and currently Acting Pro Vice-Chancellor for Research, Innovation, and Knowledge Exchange at the University of Huddersfield. He also serves as Dean of the Graduate School. His primary affiliation is with the Department of Media, Humanities and the Arts within the School of Arts and Humanities. Adkins is a composer, performer, and academic specializing in electronic and experimental music, with notable works released by labels like Cryo Chamber and empreintes DIGITALes. His research explores intersections between digital music, sound art, and interdisciplinary collaboration. Education: He studied music at Pembroke College, University of Cambridge, followed by electronic music studies at the University of Birmingham and University of East Anglia. Key roles include Principal Investigator for AHRC-funded projects like 'Ernest Berk: An Expressionist Outsider' and grants from the Leverhulme Trust and British Academy. Research interests span digital music aesthetics, experimental composition, and sound spatialisation. His artistic collaborations involve video artists, photographers, and performers such as Claire Barber and Yan Wang Preston. Awards include the Stockholm Electronic Arts Award and multiple prizes at the Bourges Competition. He actively curates concerts and publishes on music technology and education. Recent projects include the TAAT archive tool analysis (2025) and the 'Lost Voices of Electronic Music' conference (2025). His creative works often address environmental themes and dark ambient genres, exhibited globally in festivals and biennials.

Ruth DockwrayView profile

Associate Professor

• Musicology
• Proxemics in Music
• Sonic Spatialisation
• +4 more

Ruth Dockwray is an Associate Professor of Popular Music and programme leader for the BA Popular Music Performance programme at the University of Chester, Faculty of Arts, Humanities and Social Sciences. She teaches across Music Production and Popular Music Performance programmes at both undergraduate and postgraduate levels, delivering practical, historical and analytical modules. Her educational background includes a PhD from the University of Liverpool and a BMus (Hons) from the University of Wales, Bangor. She completed postgraduate training with a PGCTL(HE) from Southampton Solent University and holds certification as a Senior Fellow of the Higher Education Academy. As a musicologist, Dockwray's research centers on proxemics and sonic spatialisation in popular music recordings and video games. Her work examines how sound is spatially arranged in recordings, with particular focus on rock anthems and the music of Queen. She has developed frameworks for analyzing sonic proxemics and their rhetorical functions in audiovisual media. Her research often explores the relationship between physical space, perception, and musical meaning in recorded contexts. Her publication record from 2008-2022 demonstrates consistent contributions to understanding spatial aspects of music production, with particular emphasis on the 'sound-box' concept and proxemic theory applied to popular music. Her work spans academic journals, book chapters, and conference proceedings, showing interdisciplinary reach across musicology, media studies, and game studies. Senior Fellow of the Higher Education Academy (2023) Dockwray serves as a PhD co-supervisor (including a dissertation on gender and heavy metal) and has extensive examination experience across multiple UK universities including University of Chester, University of Bolton, University of Surrey, and Leeds Beckett University. She undertakes advisory work for institutions including the Open University and serves as external examiner for the BA (Hons) Popular and Commercial Music course at the University of South Wales. Her media contributions include appearances on BBC Radio 4, BBC 2, and BBC 4 discussing musicological features of popular music, including a notable appearance on BBC Radio 3's Music Matters discussing national anthems.