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Jonathan BassView profile

Professor

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

Jonathan Bass is a Professor of Piano at Boston Conservatory at Berklee, where he has been on the faculty since 1993. He is also affiliated with New England Conservatory in the Preparatory School and has taught at institutions like San Jose State University and Boston University School of Music. Education: Bachelor of Music (Juilliard School), Master of Music (Juilliard School), Doctor of Music (Indiana University School of Music) with studies at Tchaikovsky Conservatory in Moscow and Oberlin College. His research interests span piano performance, chamber music interpretation, and classical repertoire. Collaborative highlights include performances with the Boston Symphony Chamber Players, violinist Joseph Silverstein, and his wife Tatiana Dimitriades in the Boston Duo. He co-founded the Walden Chamber Players in 1997, producing three critically acclaimed albums. Recent performances and recordings emphasize works by Bach, Chopin, Scriabin, and contemporary composers like Augusta Read Thomas and Daniel Pinkham. His career as a Steinway Artist includes solo performances at Carnegie Hall's Weill Recital Hall and global tours. Scientific Awards: First Prize (Joanna Hodges International Piano Competition, 1993), Bronze Medal and Mozart Prize (Robert Casadesus International Piano Competition, 1987), Clara Slater Memorial Award (2021), among others. He has been a juror for competitions like the Boston Symphony Young Artists Concerto Competition and served as masterclass instructor at institutions including NEC and Walnut Hill School. His students have won numerous competition prizes, and he has conducted residencies at universities such as Trinity and University of Idaho.

• Musical Acoustics
• Physical Modeling of Musical Instruments
• Wind Instrument Aerodynamics
• +4 more

Professor Vasileios Chatziioannou serves as Faculty Member and PhD Supervisor within the Department of Music Acoustics at the University of Music and Performing Arts Vienna. His academic leadership spans the Faculty of Music, where he guides doctoral candidates through the Structured Doctoral Program Performing Matters. His institutional role encompasses supervision across Ethnomusicology, Music in Society, and Musicology programs. His research focuses on the physics of musical instruments, with particular expertise in wind instrument aerodynamics and string-bow interaction mechanics. He employs advanced experimental techniques including particle image velocimetry (PIV) and high-speed motion capture alongside computational modeling. His work bridges theoretical acoustics with practical instrument design considerations, examining phenomena from tone hole geometry effects to friction dynamics in bowed strings. Analysis of his recent publications reveals a strong emphasis on energy-stable numerical methods for real-time simulation of musical instrument physics. His work consistently addresses the challenge of balancing computational efficiency with physical accuracy, particularly in modeling nonlinear phenomena like stick-slip friction and collision dynamics. The research trajectory shows increasing integration of experimental validation with computational models. While no specific scientific awards are documented in the provided materials, his sustained publication record in high-impact acoustics journals demonstrates significant scholarly contribution. His work regularly appears in specialized forums like the Journal of the Acoustical Society of America, particularly within special issues on musical instrument modeling. Professor Chatziioannou's supervision activities focus on computational and experimental approaches to musical instrument physics. His research program involves interdisciplinary collaboration between acousticians, instrument makers, and performers. Current projects include robotic replication of bowing techniques and 3D-printed instrument component optimization, reflecting his commitment to translating theoretical findings into practical applications for musicians and instrument designers.

John FremgenView profile

Associate Professor

• Jazz Studies
• Jazz Bass
• Improvisation
• +3 more

John Fremgen is an Associate Professor of Jazz Studies at the University of Texas at Austin, directing the Alternative Improvisation Music Ensemble (AIME). He holds a BM from Millikin University and a MM from the University of Southern California. Specializing in jazz bass performance and pedagogy, Fremgen teaches courses including Jazz Theory, Jazz Improvisation, and Jazz Bass Techniques. His research and performance focus on blending traditional jazz bass foundations with modern improvisational techniques. Active globally, Fremgen has performed in 15+ countries with artists like PJ Olsson, Christopher Cross, and Shelly Berg. He has released three albums on Viewpoint Records: Meanwhile (2002), Pieces of String (2002), and If Not Now (2005). Critics praise his versatility, citing his mastery of both upright and electric bass in diverse settings. As an educator, Fremgen has conducted masterclasses at institutions such as the Rimsky Korsakov Conservatory (Russia) and the Rhythmic Music Conservatory (Denmark). His pedagogical work emphasizes creative improvisation and technical proficiency. Current ensembles include the AIME and collaborations with Grammy-winning artists.

• Musicology
• Ethnomusicology
• Jewish Studies
• +5 more

Prof. Nikolay Kaufman is a distinguished scholar and arranger of Jewish musical folklore, specializing in Ashkenazic and Sephardic traditions. Over five decades, he has meticulously documented songs from synagogues and communities, preserving both unaltered melodies and his own complex arrangements. His work bridges musicology and performance, emphasizing cultural heritage and vocal techniques. He has published extensively on Jewish musicology and contributed to Bulgarian choral traditions. His research focuses on the interplay between religious/secular contexts, vocal ensembles (choirs, solos), and cultural influences. Notable techniques include multi-colored harmony, ornamentation, and 'instrumental' choir effects. His upcoming publication will categorize songs by ensemble, culture, and occasion. Kaufman’s arrangements often require specialized interpretation for languages like Yiddish and Ladino, using Cyrillic and Latin scripts. Kaufman’s articles analyze historical and contemporary music, from Beethoven’s compositional methods to Bulgarian folk ensembles. He advocates for interdisciplinary approaches, linking music to drama, psychoacoustics, and education. His contributions span pedagogy (solfège, cello schools) and cultural preservation, reflecting a deep engagement with both Eastern European and global musical traditions. Key Projects: Arrangements of Jewish songs, hybrid cultural pieces (e.g., Mira la Mar), Bulgarian-Jewish fusion. Publications: Over 15 articles (2013–2015) on musicology, education, and performance. Legacy: Preservation of fading traditions and professional choir techniques.

Salvatore MacchiaView profile

Professor

• Composition
• String Bass Performance
• Jazz Music
• +4 more

Salvatore Macchia is a Professor of Composition and String Bass at the University of Massachusetts Amherst, affiliated with the Department of Music and Dance in the College of Humanities and Fine Arts. He holds a BM from the Hartt School of Music, and MMA and DMA degrees from Yale University, studying under renowned bassists and composers. Education: BM (Hartt School of Music), MMA & DMA (Yale University) Professor Macchia is a distinguished doublebass soloist, performing across America and Europe with orchestras such as the Berkshire Choral Festival Orchestra, Dinosaur Annex, and Springfield Symphony Orchestra (as principal bass). He has premiered nearly 100 compositions featuring the doublebass. His career spans diverse ensembles, including Duo Cambiata, Iadone Consort (as violonist), and Ritornello (as gambist). He has collaborated with institutions like the American Academy in Rome, Warsaw Autumn Festival, and Aspen Festival, with compositions published by Rinaldo and Dorn Presses. His former academic appointments include positions at the University of Evansville, Southern Illinois University, University of the Pacific, and Amherst and Bennington Colleges. His recordings are available on labels such as Gasparo and CRI.

Jörg LeichtfriedView profile

Lecturer

• Jazz
• Classical Music
• Hip-Hop
• +5 more

Jörg Leichtfried is a Lecturer for Piano at the JAM MUSIC LAB Private University (Vienna) and the Gulda School of Music since 2018. He holds a Master of Arts in Jazz Piano from the Musik und Kunst Privatuniversität Wien (2009) and a teaching qualification in Jazz Piano Pedagogy from the Vienna Conservatory (2010). His academic roles are complemented by active research interests in jazz, classical fusion, and genre experimentation. He has received notable awards including the 2021 Lower Austrian Cultural Music Award and a 2024 State Scholarship for Composition. His research focuses on cross-genre collaborations (e.g., jazz-classical string quartet projects) and improvisation techniques. He has performed internationally at festivals such as the Ermitage Garden Jazz Festival (Moscow), Odessa Jazz Festival (Ukraine), and Carthage Jazz Festival (Tunisia). Masterclasses were held at institutions like the Latvian Academy of Music and the Vytautas Magnus University (Kaunas). Leichtfried’s discography includes over 10 albums, blending jazz with hip-hop, funk, and classical elements. Notable works include Words Have Vanished Into Silence (2025, with Koehne Quartett) and Scandinavian Ballerina (2025, Trio). Collaborations with artists like Georg Wollmann (Friedrich project) and Dominik Fuss (Duo Fuss/Leichtfried) highlight his diverse musical partnerships. His artistic output emphasizes melodic innovation and atmospheric storytelling, as evidenced by reviews describing his work as 'a joy to experience' with 'lush harmonies' and 'edge-of-your-seat improvisation.' Grants and scholarships have supported his artistic development, including a 2012 BMUKK residency in New York.

Adam CarterView profile

Lecturer

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

Adam Carter is a Lecturer in Cello at the Department of Music, College of Arts and Sciences, University of Virginia. He is an active performer serving as the principal cellist of the Charlottesville Symphony and has performed with numerous orchestras including the Richmond Symphony and Wisconsin Chamber Orchestra. He is also a dedicated chamber musician, performing with the Rivanna String Quartet, Artemis Duo, and Virginia Sinfonietta. Dr. Carter holds a Doctoral degree from the University of Wisconsin-Madison, Master's and Bachelor's degrees with distinction from the Eastman School of Music, and attended the North Carolina School of the Arts for high school. His principal teachers include Steven Doane, Rosemary Elliot, Robert Marsh, and Uri Vardi. His research and professional interests center on cello performance, chamber music, and contemporary American music. As a founding member of the Tarab Cello Ensemble, he has championed new works for cello octet and contributed to the creation and promotion of modern American compositions. Dr. Carter's performance career includes recitals and chamber music engagements at institutions such as UNC-Chapel Hill, Wake Forest University, Randolph College, and Bridgewater College. His work has been supported by grants from the Howard Hanson Institute, Foreman Institute, and Fromm Foundation. Top Prizewinner, 1998 Fischoff National Chamber Music Competition Grant from the Howard Hanson Institute for American Music Grant from the Foreman Institute for the Creative and Performing Arts Grant from the Fromm Foundation As an educator, Dr. Carter has previously served as adjunct professor of cello and bass at Ripon College in Wisconsin. He currently mentors students at the University of Virginia and has contributed to the development of young musicians through performance and pedagogy. There is no mention of formal research grants beyond artistic project funding. Dr. Carter is a founding member of the Tarab Cello Ensemble, which has recorded on Bridge Records and Albany Records. He also regularly performs with the Rivanna String Quartet, Artemis Duo, and Virginia Sinfonietta, contributing to a vibrant chamber music scene in Virginia and beyond.

• Composition
• Contemporary Classical Music
• Orchestral Music
• +3 more

Ståle Kleiberg is a Professor at the Department of Music at the Norwegian University of Science and Technology (NTNU). He is a major Norwegian composer with a considerable international reputation, whose works are widely performed in Norway and abroad, often commissioned by well-established orchestras, ensembles, and performers. His music has been published on eight albums that have received outstanding international reviews. Kleiberg's music is characterized by a highly distinctive form of extended tonality and meticulous attention to coloristic details, particularly evident in his orchestral works such as his first symphony, The Bell Reef , and his Violin Concerto . He has created significant large-scale works in oratorio and opera formats, including Mass for Modern Man (premiered in Nidaros Cathedral and Münchner Dom in 2015), David and Bathsheba (premiered in Nidaros Cathedral in 2008), and Requiem – for the victims of Nazi persecution (performed in Washington National Cathedral on September 11, 2004). His innovative approach, formal command, and technical mastery are particularly apparent in his extensive chamber music oeuvre, with a selection of six chamber works published in 2015 on the album Mezzotints – Chamber Music by Ståle Kleiberg . Kleiberg's Requiem forms the principal work in a trilogy dealing with victims of Nazi persecution, alongside the orchestral work Lamento: Cissi Klein in memoriam and the cello concerto Dopo . His recent compositions demonstrate continued exploration across multiple formats including concertos for various instruments, chamber music, and large-scale vocal works, showing consistent development of his distinctive compositional voice. Grammy nomination for Treble and Bass: Concertos by Ståle Kleiberg Grammy nomination for recording of David and Bathsheba Professor Kleiberg has supervised numerous master's theses at NTNU across diverse areas of music scholarship including composition techniques, music history, and music education. His academic work complements his compositional practice, particularly in areas related to Norwegian music history. His influence extends through both his compositions, which continue to be performed internationally, and through his academic role at NTNU where he shapes musical education in Norway.

Thomas ReifView profile

Professor

• Baroque Music
• Classical Music
• Chamber Music
• +4 more

Thomas Reif is a Professor of Violin at the School of Music & Art Education (SOMA) at Mozarteum University. As 1st Coordinated Concertmaster of the Bavarian Radio Symphony Orchestra since 2018, he balances academic leadership with international performance. His roles include solo violinist, chamber musician, and orchestral leader. Education: Studied under Prof. Harald Herzl (Mozarteum Salzburg), Prof. Tanja Becker-Bender (Hamburg), and Prof. Stephan Picard (Hanns Eisler Academy Berlin). Further training with Midori, Ferenc Rados, and others. Holds an M.Mus degree. Research Interests: Specializes in Baroque repertoire with ensemble Breath of Zephyr, exploring works by Roman, Veracini, and Lully through modern reinterpretations. Equally passionate about Argentine tango through Cuarteto SolTango, blending classical techniques with traditional tango forms. Active in chamber music collaborations with artists like Alice Sara Ott and Igor Levit. Recent Trends in Work: Albums like Misión Tango (2021) and POESÍA (2023) showcase his cross-genre exploration. Frequent performances at festivals (Verbier, Eggenfelden) and renowned venues (Konzerthaus Berlin, Smith Center Las Vegas). Awards: Notable prizes include Queen Elisabeth Competition Laureate (2015) and 2nd Prize at the International Mozart Competition (2016). Recipient of scholarships from Alfred-Toepfer-Stiftung and Studienstiftung des Deutschen Volkes. Grants & Labs: Supported by institutional grants. Leads ensemble projects like Breath of Zephyr (Baroque) and Cuarteto SolTango (Tango), emphasizing collaborative innovation.

Scott A. LindrothView profile

Professor

• Music Composition
• Music Theory
• Music and Neuroscience
• +3 more

Scott A. Lindroth is a Professor of Music at Duke University’s Department of Music within the Trinity College of Arts & Sciences. He has held academic roles since 1990, including Vice Provost for the Arts (2007–2018), Chair of the Music Department (2003–2009), and Bass Fellow. His research focuses on music composition, theory, and interdisciplinary areas like music and neuroscience. Notable works include the piano trio *T120* (2021) and the Quintet for Soprano Saxophone and String Quartet (2019). Lindroth is a recipient of prestigious awards such as the Guggenheim Fellowship and Rome Prize. Education: D.M.A. (1991), M.A. (1989) from Yale University; B.M. (1980) from Eastman School of Music Teaching: Courses include composition seminars, music theory, and *Music and the Brain* (co-taught) Grants: MDBF Arts Incubator (2018–2023), Winifred Johnson Clive Foundation residencies His artistic works have been performed nationally, and he actively promotes arts integration through initiatives like Duke’s Ruby Building. Lindroth’s creative projects explore unconventional instruments, such as motorcycle engine parts, reflecting his experimental approach to sound.

Örjan SandredView profile

Professor

• Computer-Assisted Composition
• Electro-Acoustic Music
• Rule-Based Composition
• +3 more

Örjan Sandred is a Professor of Composition at the University of Manitoba's Desautels Faculty of Music, where he founded Studio FLAT for computer music research and production. He teaches composition, computer-assisted composition, and electro-acoustic music while maintaining an active international composition career. Diplomi i Komposition, Royal College of Music Stockholm MFA, Royal College of Music Stockholm Additional studies at McGill University and IRCAM (Paris) His research focuses on Computer-Assisted Composition with emphasis on rule-based systems, live electronics integration, and artificial intelligence applications. Sandred developed the Cluster Engine constraint-solving system for music composition, exploring how computers can process musical ideas through formalized rules. His work bridges acoustic instruments with digital technologies, creating innovative performance systems where musicians interact with responsive computer environments. His recent compositions demonstrate evolving trends in interactive performance systems (Tilting Points, Sketches of Shifting Landscapes), climate change expression (Footprints), and pandemic-era multimedia installations (Sonic Trails: Lockdown). These works consistently integrate live electronics with acoustic instruments through sophisticated Max/MSP patches. Scientific awards include: Guggenheim Fellowship (2022) Fellow of the Royal Society of Canada (2023) DAAD Visiting Professorship at Hochschule für Musik Detmold (2016) Manitoba Arts Council support for major commissions Sandred maintains significant international collaborations with performers and institutions worldwide. His compositions receive regular premieres across Europe, North America, and Asia through commissions from organizations like the Swedish Concert Institute and Théâtre du Châtelet in Paris. He directs Studio FLAT as a hub for computer music research while developing educational resources including his book The Musical Fundamentals of Computer Assisted Composition . Current projects include an installation collaboration with the Royal Winnipeg Ballet and conductors from Sweden/Canada, plus ongoing development of the Cluster Engine system within Max environment through MOZlib.

Tomas KutavičiusView profile

Associate Professor

• Jazz piano
• Jazz composition
• Academic music
• +4 more

Tomas Kutavičius is an Associate Professor at the Jazz Department of Vytautas Magnus University. As both a jazz pianist/composer and a creator of academic music , he bridges improvisational spontaneity with rigorous compositional frameworks. His work spans theater scores , symphonic pieces , and chamber works , often reflecting nature-inspired metaphors and existential themes . His research focuses on the intersections of jazz and classical traditions , improvisation as a creative act , and music as therapy . He emphasizes emotional authenticity and structural purity , drawing parallels between natural rhythms and musical dramaturgy . Kutavičius' compositional trends reveal a shift from jazz ensembles to large-scale symphonic works , with a recurring interest in theatrical collaborations and symbolic motifs . His 2023 solo album Lake epitomizes his improvisational philosophy , while older works like Dieviškas šėlas (2013) showcase his mastery of orchestral dynamics . He teaches jazz improvisation and contemporary composition at Vytautas Magnus University, having previously taught at the M.K. Čiurlionis Art Gymnasium and Vilnius Choral Singing School. His pedagogical approach mirrors his artistic ethos: "shake off dirt to reveal the core" .

Michael WackerbauerView profile

Researcher

• Musicology
• Music History
• Chamber Music
• +6 more

Dr. Michael Wackerbauer is a Researcher at the Institute of Musicology within the Faculty of Philosophy, Arts, History and Social Sciences at the University of Regensburg. Born in Regensburg, he holds dual academic backgrounds in physics (diploma in semiconductor physics) and musicology (doctorate focusing on 19th century chamber music for strings). His academic career has been deeply intertwined with the University of Regensburg since 2000, where he has served in various teaching and research capacities, becoming a permanent scientific assistant at the Institute of Musicology since the winter semester of 2017/18. Wackerbauer's research interests span musicology with particular focus on 19th and 20th century music, chamber music traditions, historical musical instruments, mechanical music, and the cultural history of music festivals, especially the Donaueschingen Music Festival. His scholarly output reveals a distinctive pattern of engagement with German musical heritage, regional music history (particularly Regensburg), and the intersection of technology and music. His publications demonstrate methodological diversity, ranging from archival research and cataloguing to analytical studies of specific compositions and historical festival programming. Among his most significant contributions are his extensive work on the Donaueschingen Music Festival archives, his cataloguing of historical musical instruments in Regensburg's museums, and his research on mechanical music and automatons. His scholarly approach combines meticulous archival work with broader cultural analysis, situating specific musical phenomena within their historical and technological contexts. Wackerbauer has also maintained an active presence in music journalism as an editor of the 'neue musikzeitung' since 2002. His scholarly work has been published through various channels including monographs with ConBrio and Hans Schneider Verlag, contributions to the 'Regensburger Studien zur Musikgeschichte' series, and articles in journals such as Musiktheorie, Die Tonkunst, and Die Musikforschung. He has also co-edited significant volumes including the 2023 special issue 'Mensch - Musik - Maschine' on Johann Nepomuk Mälzel and the 2021 memorial volume 'Musik und Wissenschaft' for Wolfgang Horn. Beyond his academic pursuits, Wackerbauer has maintained a practical connection to music through his long-term artistic activity as a cellist, performing at the Regensburg Theater from 1997-2008 in symphony concerts, opera productions, and musical theater. He was also a co-founder of the Regensburg music magazine 'Mälzels Magazin' in 1998, demonstrating his commitment to both scholarly and public-facing music discourse.

Charles StolteView profile

Professor

• Music Composition
• Saxophone Performance
• Musicology
• +3 more

Dr. Charles Stolte is a Professor of Saxophone, Musicology, and Composition at The King's University, and an Instructor of Saxophone at MacEwan University Conservatory of Music. He holds a D. Mus. from Northwestern University and has taught at institutions including the University of Alberta and Indiana University of Pennsylvania. His career spans international performances, commissions, and compositions. Education: D. Mus. (Northwestern University, 2002), M.Mus. (University of Alberta, 1994), B. Mus. (University of Alberta, Honours with Distinction), BA (The King's University College). Research focuses on modern composition for saxophone, chamber ensembles, and choral works, often blending traditional and experimental techniques. His works have been performed globally and broadcast on CBC Radio. Key achievements include commissions from Canada Council for the Arts, Alberta Foundation for the Arts, and the Royal Canadian College of Organists. Awards and recognitions include an Outreach Grant (Canada Council for the Arts), distinguished teaching at Poland's XII Woodwind Workshop, and performances at the World Saxophone Congress. His compositions explore diverse genres—from avant-garde chamber music to liturgical choral pieces. He leads the Stolte/Segger Duo and is a member of Ensemble Mujirushi. His teaching emphasizes interdisciplinary artistry, with a focus on fostering creativity in music performance and composition.

Stephen GossView profile

Professor

• Composition
• Guitar Performance
• Orchestral Music
• +3 more

Stephen Goss is a Professor of Composition at the University of Surrey and Professor of Guitar at the Royal Academy of Music. He directs the International Guitar Research Centre, blending performance and scholarly work. His roles include teaching composition and musicianship at the Yehudi Menuhin School. Goss is renowned globally for compositions across orchestral, chamber, and solo works, with over 90 CDs recorded by labels like EMI and Deutsche Grammophon. Education: Composition and guitar studies at the Royal Academy of Music, University of Bristol, and University of London. Research: Explores guitarist-composer interplay, pushing boundaries between performance, transcription, and original composition. Research Interests: Modern classical composition, guitar performance innovation, interdisciplinary collaborations with visual art/architecture, and pedagogy emphasizing improvisation and general musicianship. His work often reflects historical influences while embracing contemporary techniques. Grants & Commissions: Major works commissioned by institutions like the Boulder Philharmonic, Scottish Chamber Orchestra, and Hong Kong Academy for Performing Arts. Notable projects include the world's first Theorbo Concerto (2018) and Landscape and Memory (2023 triple album). Labs/Teams: International Guitar Research Centre at the University of Surrey fosters collaborative projects between performers, composers, and scholars.