Isobelle Mcguinness serves as a Strings Tutor at the Music Centre within Aberystwyth Arts Centre, Aberystwyth University, where she provides specialized instruction in string instrument performance and pedagogy. Her academic focus centers on Music Education with specific expertise in String Instruments (e.g., violin, cello) and broader Music theory and practice, emphasizing hands-on training for students at the university's arts facility. Contact for academic inquiries may be directed to ism9@aber.ac.uk.
Lauren Schloemer Wilson serves as an Instructor of Violin, Viola, Mandolin, and Ukulele at Northern Kentucky University's Music Preparatory program within the School of the Arts, College of Arts and Sciences. She directs the Adult Orchestra class and provides private instruction across multiple string instruments for community students. Her educational foundation includes a Music Education degree with Orchestral Studies emphasis from Northern Kentucky University. Ms. Schloemer Wilson specializes in diverse performance genres spanning classical, gypsy jazz, bluegrass, folk, country, and pre-swing era big band music. As a versatile multi-instrumentalist and vocalist, she actively performs with ensembles including The Burning Caravan (Cincinnati's premier gypsy jazz band), The Sweet Peas duo, and Steve Covington and the Humble Strays. Her community engagement extends to the Cincinnati Arts Association's Arts in Healing program where she delivers therapeutic string performances at healthcare facilities since 2015. Her notable recognition includes a 2012 Cincinnati Entertainment Awards nomination for Album of the Year with her band Hickory Robot. As an educator, she develops musical proficiency across all ages through NKU Music Preparatory's community programs while maintaining an active performance career collaborating with artists like Michael Bublé and Vince Herman. Her teaching encompasses fiddle, violin, viola, cello, ukulele, and beginner mandolin, banjo, and guitar instruction. Ms. Schloemer Wilson integrates professional performance with community education, balancing her NKU teaching role with multiple musical projects that demonstrate exceptional versatility across traditional and contemporary string repertoire.
Anna Joiner is a Visiting Associate Professor of Music at Furman University, specializing in Viola, Chamber Music, and String Education. She holds degrees from Florida State University (D.M., M.M.E., M.M.) and Furman University (B.M.). Roles: Performer with orchestras and festivals (e.g., Aspen, Brevard), co-author of research for international conferences, and contributor to journals like The American String Teacher and American Suzuki Journal . Previous positions: Associate Professor of Viola and Director of the Pre-College Division at the University of Georgia School of Music (pre-1994). Research interests include Suzuki pedagogy, string education, and collaborative performance. She is co-founder of The Joiner Duo, with performances in South America and a CD release ( Intermezzo , 2000). Awards include the Distinguished Alumni Award (2009) and recognition in the Atlanta Pro-Mozart Competition (1988). Teaching philosophy emphasizes critical thinking and nurturing student growth through music, aligning with Furman’s liberal arts mission.
Jeff Bradetich is the Regents Professor of Double Bass at the University of North Texas, leading the world's largest double bass program. He holds a distinguished career as a performer, educator, and pedagogue, recognized by the New York Times as 'the master of his instrument.' His affiliations include roles as Executive Director of the International Society of Bassists and founder of the Bradetich Foundation, advancing double bass performance and education globally. Education: Studied at Northwestern University under Warren Benfield and Joseph Guastafeste, earning bachelor's and master's degrees. Influential mentors include Helmuth Rilling and Gary Karr. His research focuses on double bass pedagogy, performance technique, and transcriptions of solo works. Research Interests: Innovations in bass technique, educational methodologies for string instruments, and expanding the double bass repertoire. He has transcribed over 100 solo works and produced instructional videos and DVDs, including recordings of Bach suites and contemporary compositions. Publications & Impact: Authored Double Bass: The Ultimate Challenge (2009), a seminal pedagogical text. His articles in The Strad and Double Bassist explore performance practices and teaching strategies. The Bradetich Foundation hosts international competitions and masterclasses, fostering global talent. Teaching & Mentorship: Directed over 1,000 master classes worldwide and mentored students in major orchestras across five continents. His legacy includes shaping future generations of bassists through annual international workshops and the Mittenwald Masterclass series.
Evelyn Ficarra is a Professor of Interdisciplinary Composition (Music) at the University of Sussex, School of Media, Arts and Humanities. She holds a PhD from the University of California, Berkeley, and prior degrees from the University of Sussex and the National Film and Television School. Her work bridges music, sound art, and interdisciplinary collaboration, focusing on electro-acoustic practices, time-lapse media, and robotics in performance. She co-directs the Centre for Research in Opera and Music Theatre and is affiliated with the Sussex Humanities Lab. Educational background includes a BA (Hons) and MA from the University of Sussex (1985-1986), followed by a PhD at UC Berkeley (2011). Between 1998-2005, she worked as a freelance sound editor in film/TV before returning to academia. She teaches across undergraduate to MA levels, supervising PhD students and leading modules in composition, film music, and electronic practices. Her research explores intersections between music, robotics, and performance through projects like Robot Opera, which investigates human-AI interaction. Notable works include Robo_Po /// Robo_Op (2021), Listening Creates an Opening (2018), and Summer, Winter, Spring (2018). She collaborates with dancers, animators, and roboticists, and maintains an active improvisation practice with groups like Concrete Sun and soeurs sonores . Her compositional output spans chamber music, electroacoustic works, and sound installations, supported by grants from organizations such as the Arts Council England and the Hinrichsen Foundation. Recent projects include What Larks (2022) and Strange Birds (2021).
Erik Gøsta Ilmari Zeppezauer is an Assistant Professor at the University of Agder’s Institute of Music, specializing in double bass performance and chamber music pedagogy. He holds a prominent role as Principal Solo Bassist in the Kristiansand Symphony Orchestra since 2010. Education: Ingesund Academy of Music (Arvika, Sweden) under Bjørn F Holmvik and Karel Netolica Postgraduate studies at the Orchestra Academy of the National Center for Orchestral Studies in London with Duncan McTier Research & Performance Focus: Zeppezauer is renowned for expertise in 18th-century repertoire, particularly using a 1750 Venetian fretted five-string bass tuned in original Viennese style. His work bridges historical performance practice with modern orchestral demands. Key areas include: Early music interpretation (Baroque/Classical eras) Chamber music collaborations Instrumental technique preservation Professional Affiliations: Former Principal Bassist of Danish Radio Symphony Orchestra (1992–2002) Member of Munich Philharmonic under Sergiu Celibidache (1995–) Ongoing involvement with European early music ensembles (e.g., Hofkapelle Munich, La Stagione Frankfurt) Teaching: Active educator since 1992, previously at Malmö Academy of Music (1992–2002), now mentoring double bass and chamber music at University of Agder.
Tina Zhao is a Lecturer at the Butler School of Music, University of Texas at Austin, specializing in violin instruction. She has studied violin since the age of nine and served as concertmistress of her high school orchestras, demonstrating deep engagement with music performance and education. Her professional affiliations include roles in the String Project at UT, where she contributes to violin pedagogy. Contact her at zhaotina417@gmail.com or via the MRH 2.634 campus location. Research interests and teaching areas focus on violin performance, string instrument education, and orchestral training methodologies. As a current student at the Butler School of Music under Daniel Ching’s mentorship, she continues to develop her expertise in music while teaching and performing nationally.
Mika Syms is a cellist and educator affiliated with the Butler School of Music at the University of Texas at Austin. She serves as a String Project Instructor, Cello, and is completing a degree in Music Education under the mentorship of Bion Tsang. Education: Music Education Degree (in progress), University of Texas at Austin Research & Professional Focus: Specializes in cello pedagogy and applied music instruction. Active in community music education through the UT String Project. Interests span orchestral training, chamber music, and string instrument performance. Teaching and Studio Practice: Instructs various string classes at the University of Texas at Austin. Maintains a private cello studio, contributing to broader music education initiatives.
Bion Tsang is Professor of Cello and Division Head of Strings at the University of Texas at Austin's College of Fine Arts, where he holds the Joe R. & Teresa Lozano Long Chair in Cello. With a distinguished career spanning decades, Professor Tsang has established himself as a leading cellist, educator, and artistic director who has performed on major international stages and earned a Grammy nomination for his work on the PBS special 'A Company of Voices: Conspirare in Concert'. Professor Tsang's research and performance interests center on classical cello repertoire with particular emphasis on Romantic and Baroque periods. His recent recordings demonstrate mastery across diverse styles, from Bach's solo suites to contemporary interpretations of Romantic concertos. His work on Schumann's Cello Concerto, featured in the PBS 'Now Hear This' series, showcases his commitment to historically informed performance practices while bringing fresh interpretive insights to canonical works. His discography reveals a performer deeply engaged with both traditional and innovative approaches to cello performance, with recent projects including 'Cantabile' (2023), 'Bach Cello Suites' (2021), and 'Dvořák/Enescu Cello Concertos' (2019). These recordings demonstrate his technical mastery and interpretive depth across multiple musical eras and styles. Grammy nomination for 'A Company of Voices: Conspirare in Concert' (Harmonia Mundi) Featured performer on PBS Great Performances 'Now Hear This' series Joe R. & Teresa Lozano Long Chair in Cello recipient As an educator, Professor Tsang has mentored generations of string players while maintaining an active performance schedule that includes collaborations with leading orchestras worldwide. His tenure as artistic director of the Laurel Festival of the Arts for ten years demonstrates his commitment to artistic leadership beyond the university setting. Professor Tsang's approach to teaching and performance emphasizes historical context, technical excellence, and expressive communication, making him a respected figure in the international cello community.
Ann Yeung is a Professor of Harp and Chair of the Strings Area at the University of Illinois’s School of Music. She holds leadership roles in the World Harp Congress and USA International Harp Competition. Her career spans performance, pedagogy, and repertoire expansion with international recognition. Education: BMus (highest distinction), MMus, Performer’s Certificate, Artist Diploma, and DMus from Indiana University. Specializes in harp performance and strings education. Research focuses on Henriette Renié’s legacy, Parish Alvars, and 19th/20th-century harp repertoire. Recent articles explore Renié’s Concerto en ut mineur and modern performance practices. Her work bridges historical analysis with contemporary pedagogy. Articles highlight trends in harp musicology, performance practice, and educational strategies. Awards include teaching excellence and service recognitions from Illinois and industry peers. Labs/Teams: Founder/Director of the Illinois Summer Harp Class (ISHC), co-leader of the Aletheia Duo Entrepreneurship Series. Advises students globally, many achieving top prizes and leadership roles in music education and orchestras.
Christina McGann is an Adjunct Assistant Professor of Violin and Viola at Vanderbilt University's Blair School of Music. She serves as Concertmaster of the Nashville Opera Orchestra and was violist of the Blair String Quartet (2020-2023). Her career spans performances at prestigious venues like the Kennedy Center and Tel Aviv Performing Arts Center, alongside concerto collaborations with orchestras including the National Symphony Orchestra and St. Petersburg Academic Symphony. McGann holds degrees from The Juilliard School (B.Mus. & M.Mus.) and a D.M.A. from SUNY Stony Brook. Education: Bachelor of Music (B.Mus.) in Violin Performance, Juilliard School Master of Music (M.Mus.) in Violin Performance, Juilliard School Doctor of Musical Arts (D.M.A.), SUNY Stony Brook Research & Pedagogy: A dedicated educator, McGann began teaching through Juilliard’s Morse Fellow program in public schools. She has taught at Brooklyn College Preparatory, coached chamber music at SUNY-Purchase, and completed Suzuki pedagogy training. Her expertise bridges performance excellence and innovative music education. Awards & Recognition: Johansen International Competition National Symphony Young Soloist Competition Lennox Competition Ackerman Chamber Music Competition (Trio Artica) Chamber Music Yellow Springs (iO Quartet) Fischoff Chamber Music Competition Career Highlights: McGann’s international performances include engagements in Korea, El Salvador, Europe, and across the U.S. She balances solo, orchestral, and chamber music roles while advancing music education through residencies and faculty positions.
Sarah Coyl is an Instructor of Violin at the School of Music, University of Nevada, Reno, within the College of Liberal Arts. She is a professional musician with the Reno Philharmonic Orchestra and actively engages in community music outreach programs. Her roles include teaching violin, performing in chamber ensembles, and collaborating with arts organizations. Education: Master of Music (MM), University of Nevada, Reno Bachelor’s degree from Butler University, Indianapolis Research & Interests: Coyl emphasizes fundamental technique in teaching, supports music access for underprivileged communities, and performs across classical and popular genres. She has programmed recitals in non-traditional spaces like hospitals and shelters, fostering community engagement through music. Ensembles & Collaborations: Member of Reno Philharmonic Orchestra Former principal second violin with Butler University Ballet Orchestra Performed with the Nightingale String Quartet (UNR’s quartet-in-residence) Collaborated with artists like Michael Bolton and Johnny Mathis Community Initiatives: Established music programs at inner-city schools (e.g., Edison School of the Arts) and promoted subsidized music lessons for low-income families.
Richard Carrick is the Chair of Composition at Berklee College of Music and a co-founder/co-artistic director of the experimental music ensemble Either/Or. A Guggenheim Fellow and recipient of the Chamber Music America/ASCAP Award, his work spans composition, conducting, and piano performance. He has collaborated with leading ensembles such as the JACK Quartet, Nieuw Ensemble, and Sequitur Ensemble, and his music explores themes like symmetry, spatial depth, and transformation. He holds a BA from Columbia University (1993), a PhD in Composition from the University of California-San Diego (2001), and professional diplomas from IRCAM (France) and the Koninklijk Conservatorium in The Hague (2002). His compositions are distributed by Project Schott New York and have been performed globally, including at the ISCM World Music Days, Darmstadt Summer Festival, and Pacific Rim Festival. Research interests emphasize multicultural influences, avant-garde techniques, and the intersection of music with multimedia. He has conducted over 200 premieres of avant-garde works, notably John Cage’s Party Pieces involving 125 international composers. His teaching spans formal academia and mentorship programs with the New York Philharmonic, focusing on student personal development and fostering unique musical voices. Recent projects include composing a ballet for the New Chamber Ballet ( The Sea , 2023) and developing teaching programs in Rwanda. He continues to explore cross-cultural fusion through works like The Mill for violin and piano, inspired by Korean Pansori traditions.
Professor Robert Bentall is an Associate Professor of Sound Design, Composition, and Performance at Leeds College of Music. He specializes in electroacoustic music, genre hybridisation, and improvisation, blending folk traditions with avant-garde techniques. His work emphasizes the nyckelharpa, an 16-string Swedish instrument, alongside electronic sound design. Education: BMus (University of Manchester, 2010), MMus (University of Sheffield, supervised by Dr. Adrian Moore), PhD (Queen’s University Belfast, Sonic Arts Research Centre, 2015). Key residencies include Stockholm’s Electronic Music Studios (2013) and Cryptic Arts/Cove Park (2017). He co-directs the Emergence Collective and performs in the free-folk duo Resonant Bodies. Awards include the Santander Mobility Scholarship (2012), Franz Liszt Composition Prize finalist (2013), and Arts Council England funding (2020). Recent works include Flatlands (2025) and performances at Sonorities Festival. Teaches modules in electroacoustic composition and supervises MA Music students. Active in theater sound design for companies like Knaïve Theatre and Impermanence.
Hector Scott is a violinist and music educator, currently serving as Head of Strings at Marlborough College. He previously held roles as Head of Instrumental Studies at George Watson’s College and Clifton Hall School, and taught at the Royal Conservatoire of Scotland Junior Academy. His expertise spans violin performance, chamber music advocacy, and orchestral collaboration. Education: Royal Scottish Academy of Music and Drama (RSAMD), Glasgow New England Conservatory, Boston As a performer, Scott led the Saltire Quartet (Queen’s Hall Resident) and Chrysanth Trio, and freelanced with Scotland’s professional orchestras, including the BT Scottish Ensemble. He is a trained Suzuki method teacher and serves on the Music Advisory Committee for the Sir James Caird Travelling Scholarships Trust. His recordings include Sound Asleep for Babies (1993, Classical Music Magazine’s Record of the Year), 300 Years of Music from Scotland , and others focusing on chamber music and acoustic compositions. His work emphasizes both classical performance and innovative music education.
