Find Academic Supervisors

Jeremy W. SmithView profile

Assistant Professor

• Analysis of Electronic Dance Music (EDM)
• Video-Game Music Analysis
• Music Theory Pedagogy
• +3 more

Jeremy W. Smith is an Assistant Professor of Music Theory at The Ohio State University. His research focuses on the analysis of electronic dance music (EDM), particularly the role of continuous processes such as glissandi, accelerations, and filter sweeps in shaping subgenre aesthetics and listener experience. He also explores video-game music through semiotic and hermeneutic frameworks. His teaching includes courses on popular music analysis and video-game music studies. Smith holds a PhD from the University of Minnesota (2019) and degrees from the University of Toronto, including a BM (2013), BEd (2013), and MA (2015). As a performer, he plays euphonium and trombone with local ensembles. Education: PhD, Music Theory, University of Minnesota, 2019 MA, Music Theory, University of Toronto, 2015 BM, Music, University of Toronto, 2013 BEd, Education, University of Toronto, 2013 Research Interests: Smith’s work examines how continuous processes in EDM contribute to structural and aesthetic functions, including orientation, ornamentation, and disorientation. He applies semiotic analysis to fan adaptations of video-game music, such as The Legend of Zelda: Majora’s Mask . His analyses address broader questions about music’s role in cultural and technological contexts. Publications: His recent articles explore EDM subgenres, breakdown aesthetics, and the technical creation of continuous processes via automation curves. While his work emphasizes EDM, it also intersects with pop music and game music studies, highlighting cross-disciplinary themes like authenticity in electronic music and listener engagement.

David ChevanView profile

Professor

• Jazz
• Improvisation
• Jewish Music
• +3 more

David Chevan is a Professor in the Music Department at Southern Connecticut State University (SCSU), where he teaches Jazz History, American Music, and Jewish Music courses. He also offers applied instruction in improvisation for students of all skill levels and directs the SCSU Jazz Standards Ensemble. Academic Rank: Professor of Music Key Research Areas: Jazz, improvisation, Jewish music, ensemble pedagogy Performance Highlights: Co-founder of The Afro-Semitic Experience, Nu Haven Kapelye, and Theodicy Jazz Collective His scholarly work appears in the Grove Dictionary of American Music (2013), focusing on jazz musicians like Doc Cheatham and Scott LaFaro. Recent performances include concerts in Toronto, Italy, and at the Middletown Fireworks Festival (2024). He has received grants from CSU-AAUP for projects like Music for the Nu Haven Kapelye and Jazz Souls on Fire . Chevan's performances blend jazz with interfaith themes, including collaborations at venues like the State Capitol Building (Hartford, 2024) and the Great Synagogue of Florence (2023). He also explores improvisation pedagogy through presentations at conferences such as the College Music Society Northeast Chapter Meeting (2017).

Jobey WilsonView profile

Assistant Professor

• Music Education
• Brass Instruments
• Marching Band Direction
• +3 more

Jobey Wilson is an Assistant Professor of Music at Pittsburg State University, directing the Pride of the Plains Marching Band, Symphonic Band, and Pep Bands. He teaches applied Tuba, Euphonium, Trombone, and courses in Brass Techniques and Chamber Music. Wilson is a Principal Tuba in multiple orchestras and a solo artist for PARMA Recordings. He founded Camp Jobey Summer Brass Institutes in 2012 and previously taught at Bentley University, Boston College, and others. Education: D.M.A. (Boston University), M.M. (New England Conservatory), B.M. (University of Oklahoma) Research interests focus on brass pedagogy and ensemble performance. His students attend top institutions like Juilliard and New England Conservatory. Wilson has performed with the Boston Pops, Boston Ballet, and other prestigious groups. Notable achievements include silver medals with the Triton Brass Quintet and leadership in music education initiatives. He also serves as a clinician for Eastman Music Company and maintains active freelance performance roles. Camp Jobey Summer Brass Institutes provide specialized training, often featuring guest artists. His career bridges academic teaching, professional performance, and youth music education.

Michael RushmanView profile

Lecturer

• Music
• Trombone Performance
• Orchestral Performance
• +2 more

Michael Rushman is a professional trombonist and music educator currently serving as trombone instructor at Biola University's Conservatory of Music, Chapman University, and Irvine Valley College across Southern California. His educational background includes: Master of Music in Trombone Performance from University of Southern California Thornton School of Music Bachelor of Music in Trombone Performance and Bachelor of Arts in Philosophy from Chapman University (summa cum laude) Additional studies with Haim Avitsur at Hartt School of Music As a performer, Rushman maintains an active freelance career with major ensembles including Los Angeles Chamber Orchestra, Pacific Symphony, Redlands Symphony, Riverside Philharmonic, and Monterey Symphony. His international experience includes performances with the American Institute of Musical Studies orchestra in Austria (2017), while his local work features regular engagements with Disneyland Resort ensembles including the renowned Disneyland Band. His professional focus integrates trombone performance mastery with orchestral training and music education, emphasizing practical brass pedagogy and ensemble collaboration within contemporary performance contexts.

Fabrice FitchView profile

Research Fellow

• Music Composition
• Musicology
• Renaissance Music
• +3 more

Fabrice Fitch is a Senior Research Fellow at the Royal Conservatoire of Scotland, where he focuses on artistic research, early music, and musicology. He holds dual nationality (France/Canada), having been raised in Toronto and Bordeaux, and has lived in the United Kingdom since 1991. His academic journey includes studies at the Conservatoire National de Région de Bordeaux, McGill University, and private mentorship from Brian Ferneyhough, supported by Canada Council for the Arts grants. Research Interests: Fitch’s career spans both composition and musicology. His compositions explore the acoustic properties of instruments and prioritize audience communication, often written for soloists, duos, or small ensembles. Since 1986-7, collaborations with performers have been central to his work, leading to two ongoing cycles: Per Serafino Calbarsi (inspired by François Rabelais) and agricologies (blending Alexander Agricola’s Renaissance music with modern artists like Cornelia Parker). His musicology focuses on early Renaissance composers (Ockeghem, Obrecht, Agricola) and their relevance to contemporary practice. Publications & Collaborations: Recent work includes the 2024 scholarly edition of Jacob Obrecht’s Missa Scaramella and a 2020 Cambridge University Press book on Renaissance polyphony. He has contributed to journals like the Journal of the Alamire Foundation , analyzing modular composition in Motetti Missales and recovering anonymous works. His research bridges historical analysis with practical performance, emphasizing manuscript studies and interdisciplinary approaches. Awards & Recognition: Supported by Canada Council for the Arts grants during his studies, Fitch’s editorial work (e.g., Loyset Compère’s motets) and performances with ensembles like Exaudi and Fretwork highlight his scholarly and artistic impact.

Paul ThébergeView profile

Professor

• Music Technology
• Sound Studies
• Internet and Music
• +3 more

Paul Théberge is a Professor at Carleton University, cross-appointed to the Institute for Comparative Studies in Literature, Art and Culture and the School for Studies in Art and Culture (Music). He teaches graduate courses in Cultural Mediations (technologies of culture), Film Studies (sound in visual media), and Music (sound studies), reflecting his interdisciplinary academic home within Ottawa's major research institution. His research interrogates the material and cultural dimensions of sound technologies, with core expertise in music-technology-culture intersections, internet-mediated musical practices, and sonic applications in film/television. Théberge's scholarship bridges musicology, media studies, and science and technology studies, examining how recording technologies reshape creative practice and auditory experience across historical periods from analog tape to digital streaming platforms. Analysis of his 15 most recent publications reveals persistent engagement with sound's materiality—from multichannel audio histories to the embodied nature of listening—and consistent exploration of technological transitions, particularly the internet's disruption of traditional music production/distribution models. His work demonstrates deep methodological versatility spanning archival research, ethnographic observation, and creative composition. Scientific recognition includes: International Association for the Study of Popular Music (US branch, 1998) Society for Ethnomusicology (2000) While the source text doesn't specify current advising activities, his extensive editorial work (e.g., co-editing Living Stereo ) and composition output suggest significant mentorship through collaborative projects. His research has been supported through Canada Research Chair funding and industry partnerships like Sony Classical International.

Tullis RennieView profile

Senior Lecturer

• Ethnography in sound
• Music and Identity
• Narratives of Field Recording
• +6 more

Dr. Tullis Rennie is a Senior Lecturer in Music at City, University of London, where he teaches in the Department of Music. An accomplished composer, improvising trombonist, electronic musician, and field recordist, his work spans sound installation, community-engaged projects, multi-channel concert works, video, mixed media, and live performances. Dr. Rennie's academic background includes: PhD in Composition from Queen's University Belfast (2016) MusM in Electroacoustic Music Composition from the University of Manchester (2006) MusB (Hons) in Music from the University of Manchester (2005), where he received the Peter J Leonard prize for composition His research focuses on the intersection of sound art and ethnographic practice, exploring how musical composition can serve as a threshold between documentation and artistic expression. Dr. Rennie's work particularly examines: Ethnography in sound Music and Identity Narratives of Field Recording Sampling cultures Participative approaches to Sound Art Dr. Rennie's extensive publication record demonstrates a consistent exploration of the relationship between sound, community, and identity. His recent works increasingly focus on collaborative, community-engaged projects that challenge traditional hierarchies in sound art creation and consumption. His compositions and academic writings reveal a deep commitment to ethical considerations in field recording and a growing emphasis on distributed authorship in socially engaged sound practices. His notable achievements include: Receiving the Peter J Leonard prize for composition during his undergraduate studies Co-founding Insectotròpics, an award-winning audio-visual collective based in Barcelona Completing two residencies at the UFRJ in Rio de Janeiro (2013-14) As an educator and mentor, Dr. Rennie supervises research students including Jonathan Higgins and Gunseli Naz Ferel Ucar. His teaching and research are closely intertwined with his professional activities as a performer, having appeared with notable ensembles such as Anton Hunter's Article XI, Cath Roberts' Favourite Animals, and QUBe at prestigious venues including Café Oto, IKLECTIK, and Hundred Years Gallery. Dr. Rennie co-founded Walls On Walls with visual artist Laurie Nouchka, an ongoing collaborative research project creating participatory site-specific audiovisual installations with communities across London. He is also a founder member of Insectotròpics, an award-winning audio-visual collective based in Barcelona. These projects exemplify his commitment to community engagement and interdisciplinary collaboration.

Henry HoweyView profile

Professor

• Brass Performance
• Chamber Music
• Low Brass Pedagogy
• +3 more

Dr. Henry Howey is a Professor of Low Brass at the School of Music, Sam Houston State University (SHSU), where he has served as faculty since 1976. Specializing in euphonium and tuba performance, he holds a Doctor of Musical Arts (DMA) degree and has performed extensively with the United States Army Band in Washington D.C. His academic training includes brass and musical studies at the University of Illinois (B.M., M.M.) and the University of Iowa (D.M.A.). State coordinator for wind all-state tryout music Founder of the Sam Houston Brass Quintet Active performer in chamber music groups on alto, tenor, and bass trombone Dr. Howey contributes to music education and performance at SHSU while maintaining a career as a versatile brass musician.

Timothy HoweView profile

Associate Professor

• Trombone Performance
• Orchestral Music
• Music Education
• +3 more

Dr. Timothy Howe is an Associate Professor of Trombone and Coordinator of the Brass Area at the School of Music, University of Missouri. He holds a DMA from the University of Nebraska-Lincoln and has extensive experience in orchestral performance, including roles as Second Trombone of the Omaha Symphony and Principal Trombone of multiple ensembles. His research focuses on historical trombone performance practices, particularly in 18th- and early 19th-century German/Austrian orchestral works. Education: Doctor of Musical Arts (DMA), University of Nebraska-Lincoln (2002) Master of Music, University of Nebraska-Lincoln (1995) Bachelor of Music, Northwestern University (1983) His research interests include historical performance practices, brass ensemble techniques, and pedagogy. Dr. Howe has been honored as a Distinguished Arts Alumni by the University of Nebraska-Lincoln and has performed widely, including solo recitals across the U.S. and China. He is a founding member of the Drei Bones Trombone Trio, which has released multiple CDs and performed internationally. Professional Activities: Directed the Trombone Choir at the University of Missouri Former faculty at Arkansas Tech University, University of Nebraska-Lincoln, and other institutions Region jazz clinician and past president of the Arkansas Jazz Educators Association Labs/Teams: Drei Bones Trombone Trio (active since 2016 with two CD releases) and Trombone Choir leadership.

Jonathan ReycraftView profile

Lecturer

• Applied Music
• Trombone Performance
• Orchestral Music
• +1 more

Jonathan Reycraft is a Lecturer in the Department of Music at Washington University, specializing in Trombone Performance. He serves as the Utility Trombone with the St. Louis Symphony and previously held the role of Assistant Principal Trombone with the United States Naval Academy Band (2005–2013). He holds a Bachelor of Music from Indiana University School of Music (1998) and a Master of Music from the University of Maryland (2005). Education: Bachelor of Music in Trombone Performance, Indiana University School of Music (1998) Master of Music in Trombone Performance, University of Maryland (2005) Research & Performance: Focuses on trombone performance, orchestral techniques, and music pedagogy. Notable achievements include solo performances with the United States Naval Academy Band and Atlantic Wind Symphony, as well as participation in prestigious competitions. Awards: Finalist, Minnesota Orchestra Zellmer Competition Winner, National Solo Competition (Eastern Trombone Workshop) Orchestral Affiliations: Performs with the St. Louis Symphony, Baltimore Symphony Orchestra, and National Symphony Orchestra. His professional network includes collaborations with prominent musicians such as Michael Canipe and Scott Hartman.

• Contemporary Composition
• New Music
• Instrumental Techniques
• +4 more

Dr. Eric Skytterholm Egan serves as Associate Professor of Composition in Durham University's Department of Music and holds an Associate Fellowship at the Institute of Advanced Study. An Irish-Norwegian composer based in northern England, Egan's creative practice centers on formal clarity through the synthesis of historical musical elements and innovative instrumental techniques, resulting in expansive textural palettes across diverse ensembles. Egan completed his PhD in Composition in May 2010 under Richard Rijnvos at Durham University. His scholarly trajectory demonstrates deep integration of academic research with practical composition, evidenced by extensive collaborations with leading international ensembles and performances at major venues including Konzerthaus Wien and Southbank Centre. Egan's research explores contemporary composition through dual lenses of historical synthesis and technical innovation. His work systematically investigates textural complexity, extended instrumental techniques, and formal architecture across solo, chamber, and orchestral contexts. Key thematic strands include political narratives (e.g., North Korea conflict studies), literary engagement (James Joyce), and environmental soundscapes (Arctic fieldwork), often manifested through experimental notation and spatialized performance practices. Recent publications reveal intensified focus on geopolitical themes and interdisciplinary collaboration. The 2025 Geohumanities journal article on Arctic soundscapes exemplifies his expansion into environmental fieldwork, while compositions like 'Conflict as Artefact' demonstrate sustained political engagement. His output increasingly integrates technology with acoustic performance, particularly through ensemble residencies exploring real-time sound processing and spatial audio techniques. Egan actively cultivates next-generation musicians through hands-on leadership of Durham's performance ecosystems. As producer of Ensemble 7Bridges and E7B SoundLab, director of student ensemble NAME, and curator of the annual KLANG festival, he creates vital platforms for emerging composers. These initiatives facilitate direct mentorship with professional ensembles like Arditti Quartet while connecting academic research with public performance at venues including Sage Gateshead and National Concert Hall Dublin. Through Ensemble 7Bridges' residency program and E7B SoundLab's experimental studio, Egan has established Durham as a hub for contemporary music innovation. These platforms enable collaborative development of new works with ensembles including Roentgen Connection and Cikada, while KLANG festival serves as the department's flagship public engagement vehicle, featuring premieres from international composers and student works alike. His leadership fosters a distinctive creative ecosystem bridging academic research, professional performance, and community outreach.

Tony BakerView profile

Professor

• Brass
• Instrumental Studies
• Jazz Studies
• +3 more

Tony Baker is a Professor of Trombone at the University of North Texas (UNT) College of Music. He previously served as Assistant Professor of Trombone at Ohio University and Visiting Assistant Professor of Trombone and Euphonium at Kent State University. His primary affiliations include the Dallas Opera Orchestra and the UNT Faculty Brass ensemble. He holds degrees from the University of Minnesota and the University of Central Arkansas. Education: University of Minnesota University of Central Arkansas Known internationally for trombone performance, Baker has soloed at major festivals including the International Trombone Festival in Birmingham, UK (2007), and performed with ensembles such as the ProMusica Chamber Orchestra and Woody Herman Band. His jazz work includes recordings with Sounds of Blackness (Grammy-nominated album Time for Healing ) and leadership roles in jazz education. Awards: 1991 Music Teachers National Association Wurlitzer Collegiate Artist National Competition (First Place) Baker’s teaching spans academia and jazz workshops, including roles at UNT’s Jazz Combo Workshop and Yellowstone Jazz Camps. He has hosted international festivals and collaborated with institutions like the Royal Northern College of Music and Oberlin Conservatory. Professional memberships include the Dallas Opera Orchestra and Appalachian Trombone Quartet. His current leave (Fall 2024) highlights ongoing scholarly engagement.

Stephen Andrew TaylorView profile

Professor

• Music Composition
• Data Sonification
• Genetics and Music
• +8 more

Stephen Andrew Taylor is Professor of Composition-Theory at the University of Illinois, Urbana-Champaign, where he co-directs the Illinois Modern Ensemble. His interdisciplinary work bridges music composition with scientific exploration, creating innovative works that transform complex data into compelling musical experiences. With a career spanning over three decades, Taylor has established himself as a significant voice in contemporary classical music. Northwestern University Cornell University California Institute of the Arts Taylor's research focuses on the intersection of music and science, particularly data sonification where he transforms genetic sequences, astronomical phenomena, and environmental data into musical compositions. His work spans multiple genres including orchestral, chamber, choral, and electronic music, often incorporating live electronics and multimedia elements. He has developed specialized techniques for representing DNA sequences, protein structures, and environmental data through sound, creating what he calls "data-driven music." His theoretical writings explore African rhythm, the music of György Ligeti, and popular artists like Björk and Radiohead. Taylor's recent compositions demonstrate a consistent exploration of scientific concepts through musical form. His works frequently engage with genetics (Winged Helix, Indian Hedgehog), astronomy (Piranesi, Ocean of Air), and environmental concerns (Maumee River Index). The composer employs sophisticated sonification techniques while maintaining strong musical integrity, creating works that are both scientifically informed and artistically compelling. His approach often involves direct collaboration with scientists, resulting in pieces that illuminate complex phenomena through musical expression. Guggenheim Foundation Fellowship (2014-15) American Academy of Arts and Letters Award Howard Foundation Award Conservatoire Américain de Fontainebleau Award Debussy Trio Composition Contest (First prize, 2000) Multiple ASCAP Foundation Awards As an educator, Taylor follows the philosophy of Olivier Messiaen, focusing on helping students develop their own musical personalities rather than imitating his style. His teaching emphasizes the importance of prolific composition as the path to mastery. Taylor has received numerous commissions from major institutions including the Chicago Symphony, Northwestern University, University of Illinois, Pink Martini, and the American Composers Orchestra. His collaborative work extends to popular music, with arrangements performed by orchestras worldwide including the Los Angeles Philharmonic, San Francisco Symphony, and Chicago Symphony. Taylor co-directs the Illinois Modern Ensemble, which serves as a laboratory for contemporary music performance and exploration. His creative partnership with visual artist Hua Nian (his spouse) has resulted in numerous multimedia works where visual elements complement his musical compositions. Through his work with data sonification projects and scientific collaborations, Taylor has established interdisciplinary connections between the School of Music and other departments across the University of Illinois campus.

• Musicology
• Ethnomusicology
• Jewish Studies
• +5 more

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

Marianthi Papalexandri-AlexandriView profile

Associate Professor

• Composition
• Sound Art
• Visual Arts
• +3 more

Marianthi Papalexandri-Alexandri is an Associate Professor of Music Composition and Sound Art at Cornell University , where she joined in 2016. Her work explores the intersection of composition , sound art , and kinetic sculpture , creating instruments that require collaborative performance. Academic Affiliation: Cornell University Department of Music Research Focus: Acoustic Instrument Innovation, Kinetic Sound Art Collaborations: Longtime partnership with kinetic artist Pe Lang International Exhibitions: Kunstmuseum Basel, Venice Biennale of Architecture, Tokyo Art Fair Her awards include the Aurelie Nemours Award (first composer/sound artist to receive it), Dan David Prize , and IMPULS Composition Award . She has received grants from ProHelvetia, Ernst Von Siemens Foundation, and Swedish Arts Council. Scientific contributions include 15 recent works like Modular | n°2 (2017) with motor-activated membranes, and Speaking of Membranes (2014) exploring friction dynamics. These works span subfields: kinetic sound sculpture, unconventional instrument design, and acoustic spatialization. Scientific Recognition Aurelie Nemours Award Werkbeiträge des Kantons Zürich Dan David Prize IMPULS Composition Award Berlin Senate Grants Cornell Biennial Award Her research challenges traditional performer-instrument relationships, with commissions from Klangforum Wien , Ensemble Mosaik , and Neue Vocalsolisten . She creates immersive sound environments using self-constructed devices that emphasize material behavior over digital processing.