Find Academic Supervisors

Jonathan NangleView profile

Lecturer

• Electro-Acoustic Composition
• Live Electronics
• Interactive Sound Installation
• +3 more

Jonathan Nangle is a Lecturer in Music Technology and Electro-Acoustic Composition at the Royal Irish Academy of Music. His work spans acoustic/electro-acoustic composition, live electronics, installations, and improvisation. Educated at Trinity College Dublin under Donnacha Dennehy, Rob Canning, and later privately with Kevin Volans, his music has been performed by ensembles like RTÉ National Symphony Orchestra and Crash Ensemble. Research interests include spatial music, interactive installations, and hybrid acoustic/digital forms. Notable works include Pause (Ergodos, 2017), Iridescent Cobalt Glow (2015), and our headlights blew softly... which earned a 2009 Rostrum commendation. Awards include dual Irish Rostrum representations (2009/2011) and the 2007 AIC/Music 21 Prize. Recordings span solo piano works to ensemble commissions, often integrating innovative electronic elements. His work has been broadcast internationally and choreographed for stage/film. Current roles include academic teaching and ongoing creative exploration at the intersection of technology and traditional composition.

Christopher CastroView profile

Assistant Professor

• Music Composition
• Music Theory
• Western Art Music
• +3 more

Christopher Castro serves as an Assistant Professor of Composition at Chapman University's College of Performing Arts. A composer and double bassist from Brooklyn, New York, he combines academic rigor with avant-garde experimentation. Ph.D. in Composition and Theory from University of California, Davis Bachelor of Music from Juilliard School (Double Bass & Composition) His research bridges Western Art Music traditions with contemporary innovations , creating works that merge: Johannes Ockeghem's polyphonic complexity John Coltrane's spiritual intensity Modernist structural experimentation Historical reconstruction techniques Jazz-classical hybrid forms Interdisciplinary performance formats Recent compositions demonstrate trends in flexible instrumentation , text-music relationships , and genre synthesis . His output spans chamber works, orchestral pieces, and vocal compositions with equal mastery. Scientific recognition includes: 2023 Fromm Music Foundation Commission (Harvard University) Chamber Music America's 2021 Classical Commissioning Award As a new music advocate , Castro collaborates with ensembles like: Left Coast Chamber Ensemble (artistic advisory board) New Mexico Contemporary Ensemble Los Angeles Philharmonic's Upbeat Live series Lyris Quartet and Sharon Harms

• Music Composition
• Ethnomusicology
• Music Psychology
• +3 more

Dr. John Hails is a Senior Lecturer and Reader in Music at Edinburgh Napier University , where he teaches aesthetics, music psychology, composition, and ethnomusicology. He holds a PhD in Music from Durham University (2008) and has trained under notable composers like Brian Ferneyhough and Richard Barrett. His research focuses on experimental composition, marginal musical practices, and interdisciplinary aesthetics. Educations: Bachelor’s and Master’s training at Durham University and University of Huddersfield PhD by Portfolio of Compositions (Durham University, 2008) Research Interests: John’s work explores unorthodox intonations, fixed media installations, and the intersection of composition with philosophy and ethnomusicology. He actively presents at international conferences on topics like post-structuralist critiques in music education and communal performance practices. Notable Works: His compositions have been performed by ensembles like the London Sinfonietta and broadcast on BBC Radio 3. Key pieces include enlightenment (microtonal trumpet and media) and Nine for ones in nine , reflecting his experimental approach. Awards & Grants: While no explicit awards are listed, his research is funded by Edinburgh Napier University. He is a core member of the Applied Music Research Centre . Supervision & Grants: He has supervised over 15 postgraduate projects, including PhDs on topics like Musical Cultures of Melanesia and Dialogical Music Systems . His supervisory roles span composition, ethnomusicology, and interdisciplinary studies. Labs/Teams: Active in the Applied Music Research Centre , focusing on creative practice and experimental music dissemination.

Donald CrockettView profile

Professor

• Music Composition
• Contemporary Classical Music
• Orchestral Conducting
• +4 more

Donald Crockett is a Professor and Chair of the Composition Department at the University of Southern California (USC) Thornton School of Music, and Senior Composer-in-Residence with the Bennington Chamber Music Conference. He has held significant roles in contemporary music composition and conducting, including Assistant Dean for Faculty Affairs at USC. His research and creative work spans orchestral and chamber music, opera, and instrumental compositions. Notable projects include conducting and composing for ensembles like SAKURA, HOCKET, and Xtet, with a focus on ecological themes and interdisciplinary collaboration. Major compositions include Carving an Alphabet (2020) for cello quintet, And the River (2018) for piano duo and chamber orchestra, and Night Scenes (2017) for piano trio, alongside a diverse portfolio of chamber operas and concertos. Arts and Letters Award in Music (2013), American Academy of Arts and Letters Guggenheim Fellowship (2006) Grants: Barlow Endowment, Bogliasco Foundation, Copland Fund, National Endowment for the Arts Active as a conductor, Crockett has premiered over a hundred orchestral works by student composers and collaborated with renowned ensembles like the Los Angeles Chamber Orchestra and Hilliard Ensemble. His music is published by Keiser Classical and recorded on labels including Albany, ECM, and New World Records.

Miguel ChuaquiView profile

Professor

• Electroacoustic Music
• Music Composition
• Interactive Dance Systems
• +3 more

Miguel Chuaqui is a Chilean-American composer and Professor at the University of Utah School of Music, where he serves as Chair of the Composition Area since 2009. Born in 1964 in Berkeley, California, and raised in Santiago, Chile, he holds a PhD in Composition from the University of California at Berkeley, with academic roots in both Mathematics and Music. Education: BA in Mathematics and Music (University of California-Berkeley, 1987), MA in Music (University of California-Berkeley, 1989), PhD in Music (University of California-Berkeley, 1994) Chuaqui's creative practice spans orchestral, chamber, vocal, and electroacoustic works, with performances across the U.S. and internationally by ensembles such as Speculum Musicae, Earplay, and the Society for Electro-Acoustic Music in the United States (SEAMUS). His research emphasizes collaborations in diverse areas, including interactive dance systems with Modern Dance and therapeutic musical applications with the School of Medicine. His compositions reflect an intersection of technology and traditional instruments, often incorporating live electronics and interactive elements. Recent compositions like La Búsqueda (2024), Inseparable (2024), and Encuentro Fugaz (2024) highlight his focus on chamber works and electroacoustic innovation. He has also demonstrated a sustained commitment to solo and ensemble works, integrating Latin American cultural motifs with contemporary techniques. Scientific and Musical Awards Award in Music from the American Academy of Arts and Letters Aaron Copland Recording Grant Eisner Prize Nicola de Lorenzo Award Society for Universal Sacred Music award Induction into the National Association of Composers of Chile President’s Award from SEAMUS (2008) 2024-2025 Big 12 Faculty Fellowship As an educator, Chuaqui has taught courses including Advanced Electronic Music Composition, Senior Composition, and PhD-level Composition at the University of Utah since 2024. He hosted the 2008 SEAMUS National Conference and serves as a NASM Visiting Evaluator, maintaining leadership roles in music education and composition pedagogy.

David MilsomView profile

Senior Lecturer

• Music Performance
• Violin
• Historical Violin Performing Practices
• +5 more

Dr David Milsom is a Senior Lecturer in Music at the University of Huddersfield , specializing in performance practice and historical violin techniques. He coordinates classical performance studies and teaches both performance and musicology. University of Sheffield: BMus (1st Class), MMus, PhD His research focuses on 19th-century violin performing practices , including acoustic recordings analysis and annotated score studies. Recent projects explore Brahms and Franck violin sonatas through historically informed approaches. David leads the Historical Performance Research Group and collaborates on digital performance projects via the MMT YouTube channel. He co-founded the professional Brigantes Orchestra and period instrument group Four's Company . Scientific Awards Edison Fellowship (British Library, 2003) AHRC Fellowship (2006) He serves as external examiner for Royal Birmingham Conservatoire and Leeds Conservatoire, and actively supervises PhD students while integrating research into undergraduate teaching.

Anna Starzec-MakandasisView profile

Assistant Professor

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

Anna Starzec-Makandasis is an Assistant Professor at the I.J. Paderewski Academy of Music in Poznan, Poland, affiliated with the Institute of String Instruments . She teaches piano accompaniment and holds a qualified doctor degree in music art (2019). Her career spans solo and chamber music performance across Poland, Italy, Norway, Germany, Israel, and the USA. Educated at I.J. Paderewski Academy of Music (MA 2005), Oklahoma City University (MM 2010), Southern Methodist University (Artist Certificate 2012), and Stony Brook University (Doctor of Arts 2012) Her research focuses on piano performance, chamber music interpretation, and Polish music. She has released four critically acclaimed CDs, including works by Scarlatti, Lutosławski, and Gawroński, and contributed to the publication Viola: Spectrum of Artistic Imperative (2018). Her performances include collaborations with violinist Anna Maria Staśkiewicz, violist Mariusz Murawski, and orchestras in Oklahoma and Tel Aviv. Recipient of multiple awards: Third Prize in Rome (2003), First Prize at OMTA (2006), Grand Prize Virtuoso in London (2016) Notable achievements: Lecture-recitals on Domenico Scarlatti’s sonatas (2018), performances at Felicia Blumenthal Festival (Tel Aviv), Polish Chamber Music Conference (2020)

Laurie San MartinView profile

Professor

• Music Composition
• Contemporary Music
• Music Theory
• +4 more

Laurie San Martin is a Professor of Music at the University of California, Davis, serving as department chair and undergraduate advisor for music majors with last names N-Z. She holds a PhD in Theory and Composition from Brandeis University and a B.A. in Music from UC Davis (1991). Her primary roles include teaching composition, music theory, and recital preparation, while maintaining active involvement in compositional research and performance activities. Research & Creative Work: San Martin specializes in contemporary concert music for chamber ensembles, orchestra, and chorus. Her compositions explore intersections of texture and line, often incorporating experimental techniques and cross-cultural influences. Notable works include Witches (2018), a chamber-choral piece with lyrics by Lucy Corin; Night Owls (2024), a Barlow Endowment-commissioned work for Ensemble Ari; and Elective Affinities (2013), blending Korean gayageum with string quartet. She frequently collaborates with ensembles like Earplay, Left Coast Chamber Ensemble, and Volti. Performed internationally in Europe, South America, and Asia Recipient of prestigious awards including the Guggenheim Fellowship (2016), Andrew Imbrie Award (2018), and Barlow Endowment commissions Teaching & Mentorship: As an advisor, she supports music majors while mentoring emerging composers through programs like the Pacific Chamber Orchestra's Dream American workshop. Her pedagogical focus includes fostering creativity and technical mastery in composition students. Recent Activities: In 2023, she served as guest faculty at the Cortona Sessions in Italy, where her works Octurnal , Miniatures , and Conveyer Belt Dreaming were performed. Ongoing projects include a 2025 residency at the São Paulo Contemporary Composers Festival and a new work for the Empyrean Ensemble. Awards & Recognition: Her accolades reflect her impact on contemporary music, including the League of Composers-ISCM Fellowship and ASCAP Morton Gould Young Composer Awards. She has held residencies at prestigious institutions like the MacDowell Colony and Yaddo.

André J. RoyView profile

Associate Professor

• Viola Performance
• Chamber Music
• String Quartet Training
• +2 more

André J. Roy is an Associate Professor and Area Coordinator (Strings) at the Schulich School of Music, McGill University. He previously served as Chair of the Department of Performance. His roles include teaching viola, chamber music, and orchestral studies, alongside leading the McGill International String Quartet Academy (MISQA) as its creator, General, and Artistic Director. He graduated from the Curtis Institute of Music and held the position of 1st Assistant Solo Viola with the Montreal Symphony Orchestra. Prof. Roy’s expertise spans viola performance, string quartet training, and orchestral studies. His pedagogical work has produced students in leading orchestras worldwide, including the New York Philharmonic, London Symphony Orchestra, and La Scala Opera di Milano. He authored String Quartet Technique , a seminal text on quartet training, and is a sought-after guest teacher at institutions like the Colburn School and Royal Conservatory of Music. Research & Pedagogy: Specializes in viola techniques, ensemble coordination, and orchestral training. Awards: McGill’s President’s Prize for Teaching (2008), three Canada Council of the Arts awards. Global Reach: Performs and teaches across North America, Europe, South America, and Asia. His chamber music training has guided quartets to international competitions, including Fischoff, Banff, and Wigmore Hall laureates. He mentors ensembles at festivals like Aldeburgh and Morningside Music Bridge.

Simon MawhinneyView profile

Professor

• Composition
• Computer-assisted composition
• Electronic Music
• +3 more

Simon Mawhinney is a Professor in the School of Arts, English and Languages at Queen's University Belfast, specializing in composition with a focus on instrumental and electronic media. His work bridges complexist music, post-spectral harmonies, and cultural cantillation influences. Notable collaborations include projects with ensembles in Germany, France, and Iceland. He holds a Queen’s University Teaching Award (2012) and has pioneered modules on Messiaen’s music. His research explores new music performance, computer-assisted composition (using OpenMusic), and experimental technologies. Current roles include PhD supervision in composition, convening MA research methods modules, and undergraduate composition instruction. Key achievements include commissions from Ensemble Caput (Iceland) and Garth Knox/Quatuor Béla, resulting in works such as Marlacoo and a viola d’amore/string quartet piece premiered in Paris (2013). Recent projects involve recordings with pianist Mary Dullea and bass flutist Kolbeinn Bjarnason. His fingerprint research areas include labour studies in composition, technical performance practices, and avant-garde instrumentation. Over 35 compositions span decades, with 2016-2019 works emphasizing electronic integration and algorithmic processes. Awards include the AIC Composition Prize (2001) and Ann Driver Trust Award (2000). Professional service roles include Elected Member of the Academic Council since 2010 and Exams Liason Officer (2009-2011). Teaching: Undergraduate modules on Messiaen, Beethoven's late works, and composition techniques Research: Focus on postwar modernism, new musical technologies, and performance-based creation Public Engagement: Active in festivals, radio interviews, and international recitals

• Viola Performance
• Violin Performance
• Baroque Violin
• +4 more

Nimrod Guez is a Professor for Viola at the University of Music Würzburg, where he also serves as deputy speaker of the string instruments section. He holds a prominent position in both modern and historical performance practices, contributing significantly to the field of string performance education. His research and artistic interests focus on viola and violin performance, with a deep specialization in early music and historical performance practice. He is particularly active in chamber music and baroque violin, bridging classical and period performance traditions. Nimrod Guez has received recognition through prestigious awards including the first prize at the 'Aviv' competition in 2002 and a scholarship from the American-Israel Foundation. As an educator and performer, he mentors students in string performance and contributes to the academic and artistic life of the institution through ensemble leadership and performance. He has been a principal violist in major orchestras such as the Gewandhausorchester Leipzig, Bavarian Radio Symphony Orchestra, and since 2019, the Chamber Orchestra of Europe. He is a founding member of the early music ensemble 'L'accademia giocosa' and performs regularly at festivals across Europe, including the Utrecht Kamermuziek Festival and Lockenhaus Festival, collaborating with leading musicians such as Janine Jansen, Vilde Frang, and Nicolas Altstaedt.

Jonathan ColeView profile

Professor

• Contemporary Music
• Experimental Composition
• Music-Theatre
• +4 more

Professor Jonathan Cole is a composer, teacher, and conductor at the Royal College of Music (RCM), where he has taught since 2005 and served as Head of Composition since 2022. His work bridges experimental composition, music-theatre, and site-specific pieces, earning acclaim from the London Sinfonietta, which premiered three of his works and recorded Testament with Oliver Knussen. Born 1970, Cole studied under Simon Bainbridge, Malcolm Williamson, and Louis Andriessen 1997-2006: Works like Ouroboros II and Testament nominated for RPS Awards 2006: Shift toward Luigi Nono-inspired works, exploring score-performer dynamics and London's environmental sounds 2009-2013: Composer-in-association with London Contemporary Orchestra, premiering burburbabbar za (wordless opera) Co-founded re:sound collective in 2012 for unconventional venue performances Cole’s compositions, such as Lucier Clock (2021) and 50 Florentine Breaths (2016), emphasize spatialization, breath techniques, and the tension between structure and decay. His 2025 co-authored article Personal realities I examines artistic identity in conservatoires. Scientific Awards: Royal Philharmonic Composition Prize (1999) RCM Fellowship (2018) RPS Award Nominations for Ouroboros II and Testament Cole mentors research students like Daniel Musashi and has led educational grants such as the Leverhulme LPO Young Composers Scheme (2007-2012). He collaborates with ensembles including the London Sinfonietta, BBC Philharmonic, and Chicago Symphony Orchestra.

• Contemporary Music
• Solo Violin Repertoire
• Performance Anxiety
• +3 more

Ioana Galu serves as Associate Professor of Violin and Viola in the Department of Music at the University of South Dakota, directing the Violin/Viola Studio and performing with the Rawlins Piano Trio. Previously on faculty at Heidelberg University (2004-2016) and The College of Wooster (2014-2016), she maintains active roles with the Eastern Music Festival since 2004 and co-founded the Romanian-American chamber music festival 'American Musicians in Transylvania'. Her educational background includes: Doctor of Musical Arts in Contemporary Music, Bowling Green State University (2012) Artist Diploma in Violin Performance, University of Cincinnati College-Conservatory of Music (2011) Master of Music in Violin Performance, Bowling Green State University (2003) Master of Music in Violin Performance and Chamber Music, Gheorghe Dima Music Academy, Romania (1999) Bachelor of Music in Violin Performance and Pedagogy, Gheorghe Dima Music Academy (1998) Dr. Galu's research examines Contemporary Music performance practices, Solo Violin Repertoire interpretation, Injury Prevention methodologies, and Performance Anxiety management. Her work bridges technical mastery with expressive artistry, focusing on physical sustainability and psychological resilience for string musicians through practical pedagogical frameworks. Recent scholarly presentations reveal evolving interests in efficient practice systems, bowing mechanics, and the socio-artistic dimensions of performance. She increasingly explores mindfulness applications, genre-crossing repertoire, and recovery of women composers' works, demonstrating commitment to both technical innovation and social relevance in string performance. Notable awards include The American Prize in Chamber Music (2022), Chamber Music Community Engagement Award (2009), and multiple competition prizes from George Enescu Violin Competition (1996) to CCM Concerto Competition (2004). As advisor and grant recipient, she directs the Rawlins Piano Trio with four consecutive South Dakota Arts Council Touring Arts Roster grants (2018-2026). Her leadership extends to Music4Romania board membership and co-founding initiatives promoting Romanian-American cultural exchange. Dr. Galu performs as concertmaster for multiple orchestras and maintains active chamber music collaborations, notably through her festival work connecting Transylvanian and American artists.

Sergio Muñoz LeivaView profile

Academic

• Chamber Music
• Viola Performance
• Music Pedagogy
• +6 more

Sergio Muñoz Leiva is a Professor of Practice in Music and Director of Chamber Music at the Department of Music, College of the Holy Cross, where he teaches viola, chamber music, and music theory. He is also a Lecturer and Music Lesson Instructor, maintaining an active presence in both performance and education. Education: D.M.A., The Juilliard School M.M., Eastman School of Music B.M., New England Conservatory Sergio Muñoz Leiva is a dedicated music educator and performer whose work centers on chamber music, music pedagogy, and holistic performance practice. His teaching philosophy emphasizes critical thinking, embodiment of knowledge, and the integration of students’ lived experiences into musical learning. He is passionate about making music theory accessible and meaningful by linking analytical concepts directly to performance. His research and professional interests include Karen Tuttle’s Coordination system, interdisciplinary learning, and the emotional and physical dimensions of musical expression. Although no formal research articles are listed, his educational and performance activities reflect a deep engagement with music theory, analysis, and performance practice across historical periods—from Baroque to contemporary works. He has premiered pieces by Paola Prestini and Nico Muhly and performs on both modern and baroque viola. Sergio actively mentors students through private instruction and institutional teaching, currently accepting students in Providence, RI, Boston, MA, and online from Chile and Venezuela. He has previously taught at The Juilliard School, Eastman School of Music, University of Rochester, and City College Academy of the Arts. He currently teaches music theory at Project STEP in Boston. He is a member of the Providence Baroque Orchestra and has performed with ensembles such as A Far Cry, Palaver Strings, and the United Nations Chamber Music Society, appearing at venues including Carnegie Hall, The Metropolitan Museum of Art, and the Municipal Theater in Santiago. His artistic collaborators include Kim Kashkashian, Rachel Podger, and Nicholas Phan.

• Jazz Improvisation
• Early Music Performance
• Alexander Technique
• +2 more

David Carter is a Professor of Music at St. Olaf College and currently serves as Vice-Chair of the Music Department. Despite being legally blind due to choroideremia, he maintains an active teaching and performing career. Bachelor of Fine Arts, University of Minnesota Master of Music, Indiana University Doctor of Musical Arts, University of Illinois at Urbana-Champaign A renowned cellist, Dr. Carter studied under Robert Jamieson, Gary Hoffman, Janos Starker, and Tsuyoshi Tsutsumi. He founded the Bridge Chamber Music Festival (1999-2018) and performed with the Melius Trio and as Cello Editor for the Minnesota String Teachers Association newsletter, StringNotes . Dr. Carter has served as Principal Cellist for the Wichita Symphony, Minnesota Orchestra, and St. Paul Chamber Orchestra. He has also held teaching positions at Wichita State University, Rocky Ridge Music Center, Red Lodge Music Festival, and taught at Interlochen Summer Music Camp for 15 years. His research interests focus on jazz improvisation, early music performance (viola da gamba), and the Alexander Technique. Over his 35-year teaching career, his students have gained admission to top graduate programs and hold positions in major symphonies and universities. Recordings include performances on the Centaur label ( Three Pieces for Solo Cello by Phillip Rhodes and works by Amy Beach) and the Limestone label with the Melius Trio. He performs on a 2008 David Folland cello crafted in Northfield, MN.