Find Academic Supervisors

• Classical Music Performance
• Cello Repertoire
• Chamber Music
• +3 more

Raphael Wallfisch is a distinguished cello professor at the Royal College of Music (RCM) and holds a concurrent professorship in cello at the Zurich University of the Arts (Zürich Hochschule der Kunst). Born in London to a family of eminent musicians—his mother Anita Lasker-Wallfisch is a renowned cellist and his father Peter Wallfisch a pianist—he has dedicated his life to cello performance and pedagogy. His career spans over four decades of international acclaim, featuring collaborations with prestigious orchestras like the London Symphony, Berlin Symphony, and Los Angeles Philharmonic, alongside appearances at major festivals including the BBC Proms and Edinburgh Festival. Education & Training: He trained under celebrated cellists and musicians such as Amaryllis Fleming, Gregor Piatigorsky (during his studies in California), and others. His masterclass experiences include performing chamber music with Jascha Heifetz under Piatigorsky’s mentorship. Though formal degree details are not specified, his lineage and training suggest deep roots in classical performance pedagogy. Research Interests & Artistic Contributions: Wallfisch is renowned for championing cello repertoire beyond mainstream works, particularly British concertos (Finzi, Delius, Bax) and 20th/21st-century compositions. He has collaborated closely with leading British composers such as Sir Peter Maxwell Davies and James MacMillan, who have created works specifically tailored for his artistry. His recordings on labels like EMI and Chandos highlight lesser-explored pieces by Dohnanyi, Respighi, and Hindemith, alongside iconic composers like Richard Strauss and Dvorak. Artistic Achievements: - Winner of the 1985 Gaspar Cassadó International Cello Competition in Florence - Holder of a prestigious professorship at two major music institutions - Extensive discography emphasizing niche classical and contemporary works Teaching & Mentorship: A globally sought-after instructor, he balances performance with pedagogical leadership. His teaching engagements include formal professorships and masterclasses, though specifics about grants or formal advising programs are not detailed in the text. Instrumentation: He performs on historically significant cellos, including a 1760 Gennaro Gagliano and the 1733 Montagnana ‘Ex-Romberg’, as well as a custom modern cello crafted by Patrick Robin.

• Classical Music
• Orchestral Performance
• Double Bass Pedagogy
• +3 more

Anthony Hougham is a Professor of Double Bass at the Royal College of Music (RCM), where he maintains a distinguished academic and performance career. He holds positions as Principal Double Bass with the Royal Opera House Orchestra and frequently guest-performs with major London orchestras such as the London Symphony Orchestra and Royal Philharmonic Orchestra. His expertise spans orchestral performance, chamber music, and pedagogy. Education: Studied at Trinity College of Music under Frederick Wigston, winning prestigious awards for his bass and solo string performances. Professional roles include leadership in ensembles like The Soloists, a chamber group of Royal Opera House principals, and participation in high-profile events such as Mozart’s Per Questa Bella Mano recital with Giuseppe Sabbatini. Teaching & Outreach: Extensive pedagogical experience includes examining at RCM, Royal Academy of Music, and Trinity College. Engages youth orchestras across Kent, Essex, and Herts, and collaborates on education initiatives with the Royal Opera House. His work emphasizes both instrumental mastery and accessible music education. Awards: Cruft Prize (Double Bass), Kantrovitch Prize (Solo Strings) Ensembles: Royal Opera House Orchestra, London Symphony Orchestra, The Soloists Education Focus: Double Bass technique, orchestral repertoire, and youth music development

• Classical Music
• Orchestral Performance
• Instrumental Pedagogy
• +3 more

Rodrigo Moro Martin is a Professor of Double Bass at the Royal College of Music in London and holds the position of Principal Double Bass in the London Symphony Orchestra and Mahler Chamber Orchestra. He also teaches at Forum Musicae School in Madrid. Born in Salamanca, he began studying double bass at age eight, later moving to the UK to attend the Yehudi Menuhin School. He earned a first-class honors degree from the Royal College of Music under Caroline Emery, followed by a master’s degree from Luzern Hochschule under Bozo Paradzik. Education: Yehudi Menuhin School (UK) Royal College of Music (London, 1st class honors, Tagore Gold Medal) Luzern Hochschule (Switzerland, Master’s degree) His professional career includes performances with prestigious orchestras such as the Royal Concertgebouw Orchestra, Berlin’s Deutsches Symphonie Orchester, and the Helsinki Philharmonic Orchestra. His expertise spans orchestral performance, chamber music, and instrumental teaching. He balances academic leadership with active participation in global orchestral projects. Awards: Tagore Gold Medal (presented by HRH King Charles) As a professor, he contributes to the training of future musicians through his roles at the RCM and Forum Musicae. His affiliations with leading orchestras reflect his dual identity as a performer and educator.

Gabriele RagghiantiView profile

Professor

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

Gabriele Ragghianti is a Professor of Double Bass at the Royal College of Music (RCM) in London, one of the world's most prestigious institutions. He also holds a tenure at the Luigi Boccherini Music Institute in Lucca and has taught at institutions such as the Hochschule Nürnberg, Conservatoire de Paris, and the Norwegian National Academy in Oslo. His career spans over 35 years as the principal double bassist of I Solisti Veneti, performing in 85 countries and collaborating with renowned ensembles like the Gulbenkian Orchestra and Salvatore Accardo's Italian Chamber Orchestra. Education: Studied at the Luigi Boccherini Institute, graduating cum laude under Maestro S. Grazzini. His performances emphasize chamber music and orchestral repertoires across eras, highlighted by recordings with artists such as Tiziano Mealli and the Rossini Quartet. Over 150 CDs and DVDs feature his work, including Bottesini and Rossini sonatas. He has performed in iconic venues like Tokyo's Suntory Hall, Vienna's Musikverein, and New York's Lincoln Center. Notable collaborations include using historical instruments such as Domenico Dragonetti’s Gasparo da Salò bass in Venice and Stradivari instruments in Madrid. His teaching focuses on advancing double bass technique and chamber music.

• Oboe Performance
• Contemporary Classical Music
• Improvisation
• +3 more

Olivier Stankiewicz serves as Professor of Oboe at the Royal College of Music (RCM) Woodwind Faculty since 2015, concurrently holding the position of Principal Oboe with the London Symphony Orchestra. An internationally active performer, he regularly appears at major venues including Wigmore Hall, Snape Maltings, and the Louvre, collaborating with ensembles such as the Doric and Castalian String Quartets. Stankiewicz completed his musical training at the Conservatoire National Supérieur de Musique in Paris (2009-2014), where he studied oboe and theory. His educational achievements were recognized in 2013 when he was named 'classical revelation' by the French association ADAMI. His artistic focus centers on expanding the oboe repertoire through contemporary works and experimental practices. Stankiewicz actively premieres new compositions including Laurent Durupt's concerto (2019) and Tonia Ko's 'Highwire' for oboe and electronics (2017). He explores interdisciplinary approaches through improvisation and sound painting, frequently collaborating with composers to push technical and expressive boundaries of the instrument. As a dedicated educator, he has conducted masterclasses at Juilliard School, Manhattan School of Music, Sibelius Academy, and Voksenåsen Summer Academy. His pedagogical approach emphasizes interpretative depth and technical mastery while encouraging artistic innovation among students. His distinguished achievements include: 1st Prize at Young Concert Artists auditions (Leipzig/New York) 1st Prize at International Oboe Competition in Japan Selection by Young Classical Artists Trust (2016) ADAMI Classical Revelation award (2013) Stankiewicz maintains significant collaborative projects including the WARN!NG Collective which he co-founded in 2011, specializing in experimental concert-installations and sound painting. He currently performs with Berlin Counterpoint and an improvisation trio featuring composer Ted Moore and Tonia Ko, creating innovative performance experiences broadcast on France Musique and presented at venues like Gaîté Lyrique and Printemps des Arts of Monaco.

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

Richard Hosford is a Professor of Clarinet at the Royal College of Music, holding FRCM, ARCM, and DipRCM(Perf) qualifications. He serves as Principal Clarinet of the BBC Symphony Orchestra and has held roles with the London Philharmonic and Chamber Orchestra of Europe. His performances include major concertos by Mozart, Weber, Nielsen, and contemporary works by Birtwistle and Eötvös. As a chamber musician, he collaborates with ensembles like the Nash Ensemble and Gaudier Ensemble, specializing in classical and modern repertoire. Notable recordings include the Copland Concerto (BBCSO), Brahms Quintet (Nash Ensemble), and Poulenc/Saint-Saëns chamber works. Teaching since 1998, he conducts masterclasses at UK conservatoires and focuses on clarinet pedagogy. His discography features works by Brahms, Beethoven, and contemporary composers, frequently recognized by BBC Radio 3.

Frédéric LambertView profile

Lecturer

• Music Performance
• Chamber Music
• String Instruments
• +3 more

Frédéric Lambert is a Course Instructor (Viola) at McGill University’s Schulich School of Music and holds a doctorate in viola performance from McGill (2011). He is a founding member of the Lloyd Carr-Harris String Quartet (2002–2007), which won the 2005 Fischoff Chamber Music Competition Grand Prize and toured internationally. Since 2007, he has been a member of the Molinari Quartet, renowned for its recordings of contemporary classical works, including R. Murray Schafer’s complete quartets. The quartet’s recordings on ATMA Classique received prestigious awards like Diapason d’Or and Echo Klassik. Lambert also teaches at Université du Québec à Montréal and has been a music critic for Radio-Canada’s Médium Large since 2012. Education: PhD in Viola Performance (McGill University, 2011) His research and performance interests focus on classical and contemporary string performance, chamber music interpretation, and music criticism. Lambert’s work with the Molinari Quartet emphasizes 20th- and 21st-century repertoire, particularly under-explored works by composers like Kurtág and Gubaidulina. Awards: Diapason d’Or (2016), Echo Klassik (2017) He actively contributes to music education through teaching and ensemble leadership, balancing performance, scholarship, and media engagement.

Sachi MurasugiView profile

Lecturer

• Violin Instruction
• Viola Instruction
• Strings Ensemble
• +3 more

Sachi Murasugi is a Lecturer in the Department of Music at Salisbury University, specializing in violin, viola, and strings ensemble direction. She holds roles as an Applied Upper Strings Instructor and Director of Strings Ensembles. Her expertise focuses on instrumental pedagogy and ensemble performance. Contact: scmurasugi@salisbury.edu, Fulton Hall 236.

Carlton VossView profile

Adjunct Professor

• Composition
• Music Theory
• Orchestral Music
• +3 more

Carlton Voss is an American composer and adjunct professor of music theory at Columbia University (2005-09). He holds a DMA in composition from Columbia (2003) and a BA summa cum laude from Harvard (1994). His works include orchestral pieces like Sinfonietta (1989) and chamber works like String Quartet No. 2 (2007-08). Voss has performed as a violist and served as senior editor of Current Musicology (1998-2002). Notable awards include the Kennedy Center Friedheim Award finalist (1992) and the Prix Nadia-Boulanger (1996). His research focuses on contemporary orchestral/chamber composition, blending avant-garde techniques with classical traditions. Recent works emphasize experimental forms in string quartets and electroacoustic compositions. Educations: BA Harvard (1994), MA/DMA Columbia (1996/2003) Key roles: Columbia teaching assistant (1995-96, 1998-2001), violist in contemporary ensembles His compositional style incorporates minimalist elements with modernist harmonies, often inspired by dance and poetry (e.g., Landscape with Boat based on Wallace Stevens). Recent trends show increased focus on solo and ensemble works exploring extended instrumental techniques. Awards: Kennedy Center Friedheim finalist (1992), Hugh F. MacColl Prize (1993), Columbia Faculty Fellowships (1994-2001) Teaching and advising: Taught music theory courses at Columbia; no listed formal advisees. Grants included Columbia Fellowships supporting his doctoral research. Labs/affiliations: Senior editor of Current Musicology (1998-2002); active in New York contemporary music scene.

Liza LimView profile

Professor

• Ecological Musicology
• Transcultural Composition
• Gender Studies in Music
• +3 more

Professor Liza Lim is the Sculthorpe Chair of Australian Music and Professor of Composition at the Sydney Conservatorium of Music, University of Sydney. Her research focuses on ecological listening, transcultural collaboration, and climate communication through music. She leads the ARC Laureate Fellowship 'Multispecies Creativity and Climate Communication' (2025-2029) and has received prestigious awards including the OPUS KLASSIK (2024) and Order of Australia (2023). Lim’s works, such as Extinction Events and Dawn Chorus and Annunciation Triptych , explore themes of gender, ecology, and spirituality. She mentors students in projects like Threads of a Latvian Sound World and Climate Change Temporalities . Lim collaborates internationally with institutions like Ensemble Klangforum Wien and Harvard University. Education: Not explicitly stated in text, but implies advanced training in composition. Research: Prioritizes ecological and transcultural practices, funded by ARC and global foundations. Lim’s discography spans 40+ CDs, with works published by Ricordi Berlin. Her recent projects include A Sutured World (2024) and commissions for Lucerne Festival (2026). She also serves as Guest Professor at Frankfurt University of Music and Harvard collaborator.

Carl VineView profile

Senior Lecturer

• Composition
• Orchestral Music
• Chamber Music
• +3 more

Carl Vine AO is a Senior Lecturer in Composition at the Sydney Conservatorium of Music (University of Sydney) since 2014. He is a prominent Australian composer with an extensive catalog of orchestral works, including eight symphonies and thirteen concertos. His piano music is internationally recognized, featured on over 60 albums. Vine also contributed to film, television, dance, and theatre scores, including the 1996 Atlanta Olympics Closing Ceremony music. Education: Studied piano with Stephen Dornan and composition with John Exton at the University of Western Australia. Professional roles included Artistic Director of Musica Viva Australia (2000–2019), Huntington Estate Music Festival (2006), and Musica Viva Festival Sydney (2008). Research interests focus on modern art music composition, blending classical traditions with innovative techniques. Notable works include Piano Sonata No 1 , Poppy , and Five Hallucinations . Awards include Officer of the Order of Australia (2014) and multiple APRA-AMC Awards. Recent Compositions: Piano Sonata No 4, Symphony No 8, Implacable Gifts (piano concerto), Five Hallucinations (trombone concerto). Awards: 1993–2019 APRA-AMC Awards, Don Banks Award, Sir Bernard Heinze Award. Labs/Teams: Active with Sydney Symphony Orchestra, Melbourne Symphony Orchestra, and collaborations with ensembles like the Goldner String Quartet and Nexas Quartet.

• Classical Music Performance
• Double Bass
• Chamber Music
• +3 more

Kees Boersma is a Lecturer in Double Bass at the Sydney Conservatorium of Music, University of Sydney. He holds a DipMus from the Victorian College of the Arts and postgraduate studies at the Sweelinck Conservatorium in Amsterdam. Boersma has performed with prestigious ensembles including the Royal Concertgebouworkest, Sydney Symphony Orchestra (SSO), Hong Kong Philharmonic, and West Australian Symphony Orchestra. His roles include principal bassist with the SSO since 1990 and artistic director of the Sydney Symphony Vanguard Collective. Education : Victorian College of the Arts (DipMus) Sweelinck Conservatorium, Amsterdam (Postgraduate) Research & Performance Interests : Specializes in double bass performance across classical and contemporary repertoires. Active in chamber music with groups like the Sydney Soloists, Australia Ensemble, and ELISION (contemporary music). Notable performances include world premieres of Colin Bright’s bass concerto and works by Donatoni, Barrett, and Ferneyhough. Recent Performances : Highlights include 2016’s The Witching Hour with the Australian World Orchestra and 2015’s Bass Extravaganza at the Art Gallery of NSW. Recorded works include The Galant Bassoon (2008) and Chamber of Horrors (2005). Awards & Recognition : No formal awards listed, though his extensive performance history and artistic direction roles reflect significant professional recognition. Teaching & Mentorship : Long-term tutor with Australian Youth Orchestra’s National Music Camps. Presented at double bass conferences and contributed to music education through recitals and masterclasses. Labs/Teams : Founding member of ELISION (contemporary music), Sydney Soloists, and regular contributor to Musica Viva tours.

• Classical Music Performance
• Orchestral Music
• Double Bass Performance
• +3 more

Alex Henery is a Lecturer in Double Bass at the Sydney Conservatorium of Music, University of Sydney. He has been Principal Double Bassist of the Sydney Symphony since 1998, with a career spanning major orchestras including the Royal Philharmonic, London Symphony, and Philharmonia Orchestra. His work bridges classical performance, film soundtrack composition, and educational outreach. Education: Studied double bass at the Sydney Conservatorium (1985-86), followed by training in New York and Boston. Professional roles include Co-Principal Bass positions with the Bournemouth Symphony Orchestra (1990) and London’s Philharmonia Orchestra (1992). Active in Australia’s music scene since the 1990s, collaborating with ensembles like the Omega Ensemble and Australian World Orchestra. Research/Performance Focus: Specializes in double bass performance, orchestral collaborations, and cross-genre projects (e.g., film soundtracks for Happy Feet Two , Mao’s Last Dancer ). Explores Australian musical identity through works like My Country Australia , blending classical traditions with national themes. Recent Performances: Highlights include 2018’s Miss Brill at the Art Gallery of NSW, 2016’s Witching Hour concerto, and Mahler Symphony No.1 recordings (2010). Engages in educational initiatives via the Australian String Academy and Riverina Summer School for Strings. Labs/Teams: Collaborates with the Sydney Symphony Orchestra, Omega Ensemble, and film scoring collectives like Click Track Music Enterprises. Active in recording studios such as the Trackdown Scoring Stage.

• Music Education
• Classical Music Performance
• Strings Pedagogy
• +3 more

Sofia von Atzingen is a Lecturer in the Strings Department at the Federal University of Minas Gerais. Her role focuses on viola instruction and music pedagogy within the Fachgruppe 6: Streichinstrumente (Strings Department). She holds a Doctor of Music degree from the same institution. Her professional activities center on classical music performance, instrumental teaching methods, and music education strategies. Education: Doctor of Music (Universidade Federal de Minas Gerais). Research interests include pedagogical approaches to string instruments, performance techniques in classical music, and curriculum development for music education programs.

Moritz LaßmannView profile

Lecturer

• Contemporary Composition
• Music Notation Techniques
• Instrumentation
• +3 more

Dr. Moritz Laßmann serves as Lecturer for Instrumentation and Notation at the University of Music Karlsruhe's Institute for Music Informatics and Musicology. A graduate of the Karlsruhe program where he completed his soloist exam in 2021 under Markus Hechtle, he maintains an active dual career as both educator and internationally performed composer. His creative research focuses on contemporary composition techniques, particularly in notation innovation and instrumental color exploration. Laßmann's work spans chamber ensembles, solo instrumental compositions, film scoring, and multimedia projects, characterized by meticulous attention to timbral possibilities and structural experimentation. Recent premieres include Rapids (2024) for piano quintet and Im Bann (2024) for ensemble, demonstrating his evolving interest in acoustic phenomena and spatial sound design. His compositional output reveals strong connections to German art song traditions through works like Hölderlin-Liederzyklus (2024), while simultaneously exploring contemporary forms in film scores such as Mortimer and the Vanishings (2022), which earned international festival recognition. The works consistently demonstrate sophisticated integration of traditional instrumental techniques with innovative notational approaches. 1st Prize at Hölderlin Composition Competition (2020) Nominee BEST ORIGINAL SCORE at International Sound & Film Music Festival (2022) GEMA and Deutscher Musikrat Scholarships (Neustart Kultur) Multiple international composition competition awards Regular premieres at European and North American festivals Laßmann actively mentors emerging musicians through masterclasses and educational projects, while maintaining performance relationships with ensembles like Fountain Five Wind Quintet and International Ensemble Modern Academy. His upcoming projects include the accordion solo Helix (2025) and organ work Engramm (2025), continuing his exploration of instrumental transformation and sonic memory concepts.