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Robin André RolfhamreView profile

Professor

• Early Modern Music
• Music Pedagogy
• Performance Practice
• +9 more

Robin André Rolfhamre is a Professor in the Department of Classical Music and Music Education at the University of Agder, Faculty of Fine Arts. His work bridges performance, pedagogy, and research, with a focus on Early Modern music (c. 1400–1700) and its contemporary relevance. His research interests include: Early Modern Music and Performance Practice Music Pedagogy and Digital Education Rhetoric and Performativity in Music Organology and Tone Production Interdisciplinary Approaches to Musicology Historically Informed Performance (HIP) His recent publications reflect a strong trend toward digital music education, the social dimensions of early music, and the philosophical underpinnings of performance. He explores how rhetoric shapes musical expression, how digital tools can enhance conservatory training, and how performance functions as a form of democratic and social engagement. His work often combines historical analysis with contemporary pedagogical and ethical reflection. Scientific awards received: Agder Academy of Sciences and Letters’ Research Prize for Young Researchers Vest-Agder County Council’s Artist Scholarship The Norwegian Arts Council’s Artist Scholarship (Diversestipend) He is an elected member of the Agder Academy of Sciences and Letters and has supervised Master’s and PhD students. He has led significant projects such as the SERVICE project on digital learning in music education and is the organiser of the REMP (Reconfiguring Early Modern Performance) research group. He is also involved in the Arts in Context research platform and the Research Group for Song Lyrics. He is actively engaged in performance as a lutenist and guitarist, is a composer and producer, and serves as a Pyramid Historical Strings Artist, performing on Lauri Niskanen instruments.

John SupkoView profile

Associate Professor

• Generative Art
• Electronic Music
• Artificial Intelligence in Music
• +3 more

John Supko is an Associate Professor of Music and Theater Studies at Duke University's Trinity College of Arts & Sciences. He also serves as Core Faculty in Innovation & Entrepreneurship and previously held roles like Interim Director of the PhD Program in Computational Media, Arts & Culture. Educated at Indiana University (B.Mus., 2002), Princeton University (M.F.A., 2005; Ph.D., 2009), he specializes in generative music that blends human creativity with algorithmic processes. His research explores intersections of chance, traditional notation, and real-time score generation. Notable projects include s_traits (a generative environment based on Bill Seaman’s text) and USINE (a 24-hour work combining ensemble and algorithmic electronics). His work has been hailed as 'spellbindingly beautiful' and 'hypnotic' for its fusion of sound, text, and technology. Recent artistic works include Time Becomes Again (2024) and Crossed Shadows (2024), emphasizing algorithmic innovation. Awards include the Hunt Family Publication Award (2013) and the Leo Kaplan Award (2008). Teaching spans composition, generative media, and arts entrepreneurship, reflecting his commitment to interdisciplinary creativity. Supko’s collaborations extend to computational media and experimental performance, with works exhibited globally. His lab focuses on using technology to disrupt conventional musical frameworks, advocating for 'exuberant rule-breaking' in artistic exploration.

Mark DresserView profile

Professor

• Contemporary Music
• Jazz
• Free Improvisation
• +7 more

Mark Dresser is Professor of Music at the University of California, San Diego (UCSD), where he has been a faculty member since 2004. He earned both his B.A. and M.A. from UCSD, studying under Professor Bertram Turetzky. He has also taught at Princeton University, the New School University, and Hampshire College. Education: B.A., University of California, San Diego M.A., University of California, San Diego Fulbright Fellow, Italy (1983), studying with Maestro Franco Petracchi Mark Dresser is a Grammy-nominated bassist, composer, and innovator in contemporary music. His research focuses on expanding the sonic possibilities of the double bass through extended techniques, unconventional amplification, and interdisciplinary collaboration. He has authored a chapter in ARCANA and articles in The Strad on multiphonics and harmonics. His artistic work spans solo performance, ensemble leadership (e.g., Trio M, Arcado String Trio), and telematic music projects like Deep Tones for Peace . He is deeply engaged in improvisation, silent film scoring, and collaborative composition across media. His recent articles and recordings reflect a sustained exploration in avant-garde jazz, experimental composition, and telematic performance. Themes include extended instrumental techniques, interdisciplinary art, and innovative ensemble dynamics. His works blend jazz, classical, and free improvisation traditions into a unique sonic language. Scientific and Artistic Awards: Doris Duke Impact Award (2015) Shifting Foundation Award (2015) Fulbright Fellowship (1983) Two New York Foundation for the Arts Grants Meet the Composer Commissions Fellowships: MacDowell Colony, Civitella Ranieri, Bellagio, Akrai Mark Dresser has advised numerous emerging musicians and has been involved in significant research grants supporting telematic performance and interdisciplinary projects. He curates performance series and educational initiatives, including the Virtual Tour: A Reduced-Carbon Footprint Concert Series. He serves on the boards of the International Society of Bassists, the International Society of Improvised Music, and the Deep Listening Institute, contributing to the advancement of experimental music and improvisational practices. He leads and collaborates with several ensembles, including Trio M (with Myra Melford and Matt Wilson), Mauger (with Rudresh Mahanthappa and Gerry Hemingway), and a septet performing his original compositions. His UCSD-based research lab and performance groups focus on telematic music, real-time networked performance, and sonic experimentation with the double bass.

Sally P O'ReillyView profile

Professor

• Music
• String Quartet
• Chamber Music
• +3 more

Sally P O'Reilly serves as a Professor in the School of Music at the University of Minnesota, Twin Cities campus. Her contact email is oreil004@umn.edu. Her research centers on string quartet pedagogy and music education, with a demonstrated focus on developing instructional materials for string ensembles. The publication record reveals sustained scholarly activity from 1979 through 2000, primarily through educational books published by Neil A. Kjos Music Company. Analysis of her 18 research outputs shows consistent thematic concentration on string instrument education, with 5 detailed publications between 1997-2000 forming a cohesive series of "String Quartet Sampler" volumes. These works target practical chamber music training across multiple skill levels. No scientific awards or honors are documented in the available records. Information regarding graduate student supervision, research grants, laboratory facilities, or collaborative teams is not present in the provided materials.

David RileyView profile

Professor

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

David Riley is a Professor and Director of Piano Accompanying and Chamber Music at the University of Oregon School of Music and Dance since 2004. He specializes in Keyboard Performance , Piano Accompanying , and Chamber Music collaboration. Education: Doctorate (DMA) from Eastman School of Music Master's from Cleveland Institute of Music Bachelor's from Ithaca College His research and performance focus includes: Contemporary Collaborative Techniques Historical Chamber Repertoire Keyboard-Pedagogy Innovation Performance highlights: Merkin Hall with New York Philharmonic Chamber Players Carnegie Hall recitals Oregon Bach Festival collaborations International tours in Germany, Canada, and France Award recognitions: 2008 Canadian Independent Music Awards 'Favorite Classical CD' 2007 Silver Wave Film Festival 'Best Music' 2004 East Coast Music Award 'Best Classical Recording' He actively mentors graduate students in Collaborative Piano and provides graduate assistantships in studio accompanying and opera. The Eugene location offers unique access to coastal environments, hiking, and skiing alongside academic pursuits.

Jacob ShawView profile

Professor

• Cello Performance
• Music Education
• Mental Health in Elite Classical Music Training
• +3 more

Jacob Shaw is Professor of Cello at the Royal Northern College of Music and Visiting International Chair of Cello at the Royal Welsh College of Music and Drama. An internationally acclaimed British cellist with a career spanning nearly two decades across five continents, he has performed at major concert venues including Carnegie Hall, Berlin Konzerthaus, and Royal Albert Hall. Based in Denmark for over 15 years, he balances his academic roles with leadership of the innovative Scandinavian Cello School. Shaw's research interests focus on transformative approaches to music education, particularly through his groundbreaking work at the Scandinavian Cello School (SCS) , which he founded in 2016. His research spans three key areas: Biodiversity and Sustainability in Performing Arts (2022-2025), Mental Health within Elite Classical Music Training (2016-2024), and the MERITAcubed European partnership project (2025-2029). The SCS represents a holistic approach to music education that combines world-class training with mental wellness practices, sustainable living, and community engagement. His recent publications reveal a consistent focus on innovative approaches to cello performance and music education. The 2024 Strad article 'The Road to Vienna' and corresponding recording explore performance preparation, while the 2021 New York Times feature highlighted his unique 'Musical Farm' concept that went viral with 2.1 billion views. His work increasingly emphasizes the integration of sustainability practices, mental wellness, and community engagement within classical music training. His scientific recognition includes the Danish National Radio Firesoul Award for his mental health work in music education, along with numerous competition prizes during his performing career. Additional honors stem from the viral success of SCS, which has been featured in major global media outlets. Shaw has secured substantial research funding including support from the Danish Arts Council, Augustinus Foundation, W. Demant Foundation, Greenland Resources, and most significantly a €2.8 million grant from Creative Europe. His advisory work extends through SCS Consultancy, serving industry leaders like Deutsche Grammophon and business clients including Ernst & Young and McKinsey & Company. In 2022, he served as Director of Culture for the UNESCO World Heritage Site of Stevns Klint. The Scandinavian Cello School operates from a historic 1800s farm near the UNESCO World Heritage site of Stevns Klint in Denmark, welcoming approximately 150 guests annually. The school has gained international recognition for its unique ethos that achieves a healthy work-life balance alongside world-class music training. Outreach concerts, outdoor experiences, and collective living form part of their philosophy to create more balanced and ultimately better musicians. The school has succeeded in bringing classical music to new audiences in untraditional surroundings, challenging and strengthening both international and Danish musical talents.

Stacey DavisView profile

Professor

• Music Theory
• Music Perception and Cognition
• Music Pedagogy
• +1 more

Stacey Davis serves as Acting Director of the School of Music and Professor of Music Theory at the University of Texas at San Antonio within the College of Liberal and Fine Arts. A Northwestern University Ph.D. graduate, she received the 2019 University of Texas System Regents' Outstanding Teaching Award and holds the Distinguished Teaching Professor title. Her academic credentials include: Ph.D. in Music Theory, Northwestern University (2001) M.M. in Music Theory, Northwestern University (1997) B.M. in Violin Performance, Arizona State University (1996) Dr. Davis's research integrates music theory, cognition, and performance practice with primary focus on J.S. Bach's unaccompanied string works and Britten's cello suites. She investigates how implied polyphony influences listener perception and performer expressivity, while also exploring metric ambiguity, expressive consistency, and pedagogical innovations in aural skills and rhythm/meter instruction. Her interdisciplinary approach combines analytical, empirical, and pedagogical methodologies, resulting in publications across leading journals including Music Perception and Psychology of Music. Recent work demonstrates increasing use of motion capture technology to quantify expressive gestures in violin performance. Major scholarly contributions have been recognized through: University of Texas System Regents' Outstanding Teaching Award (2019) Membership in UTSA Academy of Distinguished Teaching Scholars Distinguished Teaching Professor designation at UTSA As an educator, Dr. Davis teaches undergraduate and graduate courses spanning basic theory skills to advanced topics like 20th-century analysis and rhythm/meter pedagogy. Her leadership as Acting Director and active conference participation indicate significant programmatic influence beyond classroom instruction. Collaborative research with scholars like Tina Huberth and Takako Fujioka employs motion capture technology to study performance expressivity, though no formal lab structure is specified in available materials.

• Music Performance
• Piano Performance
• Harp Performance
• +3 more

Aylın Doğan serves as a Lecturer in the Piano, Harp and Guitar Department at Istanbul State Conservatory, Mimar Sinan Fine Arts University, where she specializes in instrumental performance instruction. Education Licence (Bachelor's Degree) in Music, Piano, Harp and Guitar Program, Mimar Sinan Fine Arts University, Istanbul State Conservatory (1986-1991) Research and Teaching Focus Her academic work centers on advanced performance techniques for keyboard and string instruments, with dedicated expertise in piano, harp, and guitar repertoire. She emphasizes historical performance practices and technical mastery within Western classical traditions, shaping curricula that bridge theoretical knowledge with stage-ready artistry. Her pedagogical approach integrates centuries of conservatory tradition with contemporary interpretive methods. Professional Engagement Dr. Doğan actively participates in institutional scientific activities and artistic productions at Turkey's premier conservatory, though specific projects remain undocumented in available records. Her career exemplifies the dual academic-artistic mission of music conservatories through continuous performance and scholarly contributions to instrumental education.

Giulia AccorneroView profile

Assistant Professor

• History of Music Theory
• Media Studies
• Arabic Music Theory
• +8 more

Giulia Accornero serves as Assistant Professor at Yale University with dual appointments in graduate and undergraduate faculties, specializing in the global history of music theory and media studies. Her research centers on early Arabic music theory's reception in European and North American discourse, and how media technologies from notation to digital software reshape musical cognition and listening practices. Education: PhD in Music Theory, Harvard University (2022) Graduate Fellow, Harvard University Center for Italian Renaissance Studies at Villa i Tatti (2020) Bachelor and Master of Arts in Musicology, Conservatorio Giuseppe Verdi of Milan Bachelor of Science in Economics, Università Bocconi in Milan Accornero's scholarly focus spans medieval Mediterranean music theory, climate determinism in musical discourse, and contemporary media's impact on sound perception. Her work uniquely connects historical Arabic theoretical frameworks with modern phenomena like ASMR and digital notation systems, examining how cultural and technological contexts shape musical understanding across eras. Her recent publications reveal consistent exploration of how media technologies mediate musical experience—from proxemic zones in ASMR to cybernetic influences on notation systems. These works collectively demonstrate her interdisciplinary approach bridging musicology, media theory, and global intellectual history. Scientific Awards: Graduate Students Prize, Medieval Academy of America (2022) As co-founder of the AMS Notation, Inscription, and Visualization Study Group (2022) and incoming co-chair of the AMS History of Theory Study Group (2024), Accornero leads significant scholarly initiatives. Her Tartīb project received competitive grants from both the American Musicological Society and Medieval Academy of America to develop open-access digital resources for Arabic music theory research. Through her leadership in AMS study groups and the Tartīb project, Accornero fosters collaborative research environments that bridge historical music theory with digital humanities methodologies, creating new pathways for interdisciplinary scholarship in global music studies.

Maxim VengerovView profile

Professor

• Violin Performance
• Orchestral Conducting
• Music Education
• +4 more

Maxim Vengerov is a Univ.-Prof. of Violin at the Universität Mozarteum Salzburg and holds the Polonsky Visiting Professorship for Violin at the Royal College of Music in London. A world-renowned violinist, conductor, and educator, he has collaborated with major orchestras globally, including the Berlin Philharmonic and London Symphony. Recognized for his dual mastery of violin and conducting, he transitioned to conducting in 2007 under mentors Mstislav Rostropovich and Yuri Simonov, graduating with honors from Moscow’s Ippolitov-Ivanov Institute in 2014. His teaching philosophy emphasizes nurturing young talent, reflected in roles at top conservatories and jury positions for prestigious competitions like the Wieniawski Violin Competition. He has been a UNICEF Goodwill Ambassador since 1997, advocating for children’s rights through music, and supports initiatives like the MIAGI project in South Africa. Awards include the Grammy, Crystal Award (2007), and multiple Gramophone and Edison prizes. Notable instruments include the 1727 'Kreutzer' Stradivarius. His career spans over 3,000 concerts, blending classical traditions with innovative approaches. He advocates for interdisciplinary music education, bridging violin performance, conducting, and pedagogy while championing social causes through art.

David JonesView profile

Lecturer

• Music Accompaniment
• 19th Century Music
• 20th Century Music
• +3 more

David Jones is the Head of Accompaniment and a Lecturer in Piano at the Royal Northern College of Music (RNCM). He holds roles as Staff Pianist Co-ordinator, Junior RNCM Tutor, and academic supervisor. His career spans over 25 years, including a PhD on Jeffrey Lewis's music (2011) and extensive editorial work for Cathedral Press. He specializes in 19th-20th century French and British music, with a focus on accompaniment, mélodie, and opera coaching. Education: BMus (First Class Honours, University of Wales, Bangor), PGDip and MusM (RNCM). Research interests include music archiving, collaborative performance practices, and the works of overlooked composers like Jeffrey Lewis and Robin Stevens. He supervises PhD students on topics such as Arnold Cooke, Louise Farrenc, and Gabriel Pierné. Professional Activities: Pianist for Hallé Choir, founder of Altèri chamber choir, ABRSM examiner (2005-2019). Recordings: Over 10 albums featuring Lewis, Stevens, Bingham, and Williamson. Recent releases include Robin Stevens' Chasing Shadows (2023) and Blooms of Dublin (Anthony Burgess project, 2022). Current projects include archiving Jeffrey Lewis's manuscripts and preparing the Anthony Burgess Foundation's Joycean music collections. His teaching includes undergrad electives on French mélodie and 19th-century opera, alongside postgraduate accompaniment coaching.

Snezhina VrangovaView profile

Associate Professor

• Music Theory
• Composition Analysis
• Bulgarian Music History
• +3 more

Snezhina Vrangova is an Associate Professor with a PhD, specializing in music theory, composition analysis, and Bulgarian musical heritage. Her work focuses on structural-functional analysis, intertextuality in composition, and the evolution of musical forms in Bulgarian and European contexts. Her research explores topics such as Pancho Vladigerov's compositional style, Zdravko Manolov's symphonic works, and the interplay between folk traditions and modernist techniques. She has contributed to academic discourse through analyses of Beethoven's Bagatelles and Bulgarian composers like Vasil Kazandzhiev and Alexander Tekeliev. Key areas of interest include the history of musical analysis in Bulgaria, formal categories in classical and modern music, and the synthesis of national musical identity within European traditions. Her articles often dissect structural ambiguities, stylistic trajectories, and the role of tradition in contemporary composition. Her work frequently references the methodologies of scholars like Tomislav Kerkleski, emphasizing pedagogical frameworks and the evolution of music theory education in Bulgaria.

• Acoustics
• Sound Synthesis
• Mathematical Modeling
• +3 more

Dr. Charlotte Desvages is a Lecturer in the School of Mathematics at the University of Edinburgh, specializing in mathematical computing and technology-enhanced education. She holds a PhD in Musical Acoustics (2018) from the University of Edinburgh and a Physics undergraduate degree from France. Her work bridges acoustics, computational modeling, and pedagogical innovation. She is part of the Technology Enhanced Mathematical Sciences Education group, focusing on integrating learning technologies and improving teaching methodologies. Her research explores physical modeling of musical instruments (e.g., violins), sound synthesis, and numerical methods for simulating instrument behavior. She emphasizes practical applications, such as reconstructing sounds of historical instruments through computational models. Teaching-wise, she focuses on applied mathematics, computational physics, and engineering courses, leveraging her extensive tutoring experience during her PhD. Dr. Desvages advocates for stronger recognition of teaching in academia and believes in fostering student engagement through interactive and technology-driven learning environments. She contributes to the School’s efforts to enhance educational quality and accessibility.

Brigitta BarandunView profile

Lecturer

• Music Education
• Didactics of Classical Violin
• Didactics of Classical Viola
• +4 more

Dr. Brigitta Barandun is a Lecturer in the didactics of classical violin and viola, as well as music education, affiliated with the University of Music and Performing Arts Vienna and actively teaching at Zurich University of the Arts (ZHdK). She has been a faculty member since 2009, contributing significantly to music pedagogy and teacher training in Switzerland and beyond. Education: PhD (Doctor of Philosophy), University of Music and Performing Arts Vienna, 2016 Violin Teaching Diploma, Zurich University of Music (ZHdK), 1987 Primary School Teaching Diploma, Teacher Training College Chur, 1980 Studied violin and chamber music at Ecole Normale de Musique de Paris (1987–1989) Her research and professional focus lies in music education and the didactics of string instruments, particularly classical violin and viola. She has developed extensive expertise in subject-specific teaching methodologies and has contributed to national and international discourse through symposia and educational events in Switzerland, Austria, Germany, and France. Her work bridges performance practice and pedagogical theory, emphasizing effective teaching strategies in classical music. Dr. Barandun has been actively involved in mentoring and music instruction through formal teaching roles and private lessons since 1989. She has served as a lecturer for SMPV and SAMP (Swiss music teacher associations) from 1998 to 2009 and continues to teach at the Küsnacht Music School since 2014. She also contributes as an examiner and expert in music competitions. She is a performing musician, currently a member of the Zurich Symphony Orchestra (ZSO) since 2015 and the string quartet 'A la Q'Art' since 1998. She has taught at the international chamber music course in Schiers, GR (2015–2019), and regularly presents at music education symposia.

Naomi GjevreView profile

Adjunct Professor

• Violin Performance
• Chamber Music
• String Pedagogy
• +3 more

Naomi Gjevre, DMA, is an Adjunct Professor of Violin at Sam Houston State University's School of Music. She specializes in teaching violin, chamber music, string pedagogy, and string methods. A distinguished performer and scholar, Dr. Gjevre co-founded the Lindsayan String Quartet (with residencies) and serves in the Kolonneh String Quartet. Her career spans teaching roles at the University of Wyoming, Midland College, Odessa College, Western Kentucky University, and Florida State University, where she was a teaching assistant. Current: Adjunct Professor, Violin Division at SHSU Performance: Residencies in Germany/Austria with Summit Chamber Players, concerto soloist in USA/Peru Education: BM (University of Minnesota), MM/DM (Florida State University) Dr. Gjevre's research integrates performance practice and historical musicology, notably through her work with original instruments designed by physicist Alfred Stelzner. Her scholarly recordings of Felix Draeseke and Arnold Krug marked the first authentic performances in Germany in a century. She has taught at prestigious institutions like Interlochen Center for the Arts since 2000. Scientific contributions and honors include: National Endowment for the Arts grant recipient Founder of the Medicine Bow Baroque Consort Participation in international festivals: Aspen Music Festival, Strings in the Mountains, Festival Internacional de Música de Cochabamba