جست‌وجوی استاد و پژوهشگر

Lynn Heldingمشاهده پروفایل

استاد

• Voice Pedagogy
• Vocology
• Cognitive Science
• +۴ مورد دیگر

Lynn Helding serves as Professor of Practice in Voice and Vocal Pedagogy at the University of Southern California's Thornton School of Music, where she also coordinates the Vocology & Voice Pedagogy program. She is a distinguished author, most notably of The Musician's Mind: Teaching, Learning and Performance in the Age of Brain Science , and was appointed Editor-in-Chief of the Journal of Singing in 2023. With decades of experience as both a performer and pedagogue, Helding bridges the gap between voice science and artistic practice, advocating for cognitive science as the "Third Pillar of Voice Science" alongside physiology and acoustics. Helding's educational background includes: Master's Degree in Vocal Pedagogy with Distinction from Westminster Choir College of Rider University (2005) Artist Diploma from Indiana University (1988), where she was the first singer ever accepted into this prestigious program Completion of the Summer Vocology Institute at the National Center for Voice and Speech Helding's research focuses on the application of cognitive science to voice pedagogy, with particular emphasis on motor learning theory and expertise studies from social psychology. She pioneered the concept of cognitive science as the "Third Pillar of Voice Science," arguing that understanding the brain's role is essential for effective voice teaching. Her work challenges traditional approaches by emphasizing the "how" of teaching over the "what," advocating for science-informed (rather than science-based) pedagogy that respects both scientific findings and artistic tradition. Helding's research has significant implications for addressing performance anxiety, optimizing practice methods, and developing more effective teaching strategies that account for how musicians actually learn. Her scholarly contributions demonstrate a consistent focus on bridging cognitive science with practical voice teaching. Rather than treating voice science as purely technical knowledge, Helding examines how this information can be effectively communicated to students, recognizing that the delivery method is as important as the content itself. This approach has led to innovative frameworks for evidence-based voice pedagogy that consider both physiological realities and cognitive processing limitations. Helding's significant recognition includes: Lifetime Achievement Award from the Contemporary Commercial Music (CCM) Vocal Pedagogy Institute at Shenandoah University (2020) Van L. Lawrence Fellowship, jointly awarded by the Voice Foundation and the National Association of Teachers of Singing Foundation (2005) Induction into the prestigious American Academy of Teachers of Singing (2022) Recognition as a "legendary figure in the field of voice pedagogy" As an educator, Helding maintains a thriving studio with private clients including members of the Los Angeles Opera and Los Angeles Master Chorale. Her USC Thornton voice students have earned fellowships to prestigious programs including the Aspen and Tanglewood Music Festivals. She has presented masterclasses described as "life-altering" at major voice conferences throughout the United States, Europe, and Australia. Helding previously served twenty-two years as Associate Professor of Voice and Director of Performance Studies at Dickinson College, and four years as voice faculty at Vanderbilt University's Blair School of Music. Helding is actively involved with the USC Voice Center at Keck Medicine of USC as a team member, where she applies her vocology expertise to help singers with functional vocal issues and those recovering from voice surgery. She is a co-founder of the NATS Science-Informed Voice Pedagogy Institute and frequently collaborates with voice scientists and medical professionals to advance the field of vocology.

Miguel Chuaquiمشاهده پروفایل

استاد

• Electroacoustic Music
• Music Composition
• Interactive Dance Systems
• +۳ مورد دیگر

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.

Thomas Almliمشاهده پروفایل

استاد

• Choral Music
• Vocal Jazz
• Voice Pedagogy
• +۹ مورد دیگر

Thomas Almli is a Full Professor and current Music Program Chair at Bellevue College, where he has led choral music activities since 2002. He directs the award-winning Celebration Jazz Singers and BC Chamber Singers, and teaches Music Theory, History of Jazz, and History of Rock and Roll. His research and teaching focus on science-based voice pedagogy across classical, contemporary commercial music (CCM), musical theater, and jazz genres. He maintains an active academic and private voice studio, emphasizing vocal health and performance excellence. Almli is also the Director of the Federal Way Chorale and is regularly engaged as a clinician, adjudicator, arranger, and composer. He is an active member of several professional organizations including ACDA, WMEA, NAfME, NCCO, JEN, and NATS. Selected Awards: Tacoma Arts Commission Outstanding Educator Bellevue Arts Commission Excellence Award Bellevue College Pillar of the Foundation Award Performance awards and invitations from ACDA, NWACDA, IAJE, and JEN He advises students in vocal performance and choral leadership and has significantly contributed to music education at both the collegiate and community levels. His work bridges academic rigor with artistic excellence, supported by ongoing professional engagement and performance. Almli is part of the College of Arts and Humanities at Bellevue College and leads initiatives in choral and vocal jazz performance, contributing to a vibrant music program with strong community ties.

Martha Elliottمشاهده پروفایل

مدرس

• Historical Performance Practice
• German Lieder
• 20th Century Musical Theatre
• +۳ مورد دیگر

Martha Elliott is a Lecturer in Voice at Princeton University's Music Department since 1985. She has performed globally with ensembles like Continuum and the Princeton University Orchestra, and her teaching focuses on vocal performance practices from Baroque to contemporary music. A.B. cum laude, Princeton University (1982) M.M., Juilliard School (1984) Fellowship at Aspen Music School (1983) Fellowship at Tanglewood Music Festival (1984) Oberlin Baroque Performance Institute (1987) Her research interests include historical performance practice , Baroque singing , and mindfulness in vocal pedagogy . She has also explored menopause and vocal health , with publications on the topic. Her publications, including two books, emphasize Baroque music and historical vocal techniques . Academic keywords span musicology , early music , and vocal education . Martha Elliott has received recognition including a Grammy nomination for her performance in 2005 and critical acclaim for her books in Early Music America and Classical Singer Magazine . She has taught generations of vocal students, many of whom pursued professional careers in musical theatre, opera, and graduate programs. Her courses at Princeton include German Lieder , Baroque Vocal Chamber Music , and musical theatre .

• Vocal Music
• Chamber Music
• Piano Performance
• +۷ مورد دیگر

Anna Mikolon is a Professor at the Academy of Music in Gdańsk, where she serves as Head of the Inter-Faculty Department of Accompaniment since 2022. She also works as a pianist-repetiteur in the Faculty of Vocal and Acting and as a piano teacher and accompanist at the Complex of Music Schools in Gdańsk-Wrzeszcz. PhD in Musical Arts (2018) Doctoral studies at the Academy of Music in Gdańsk Graduated from Grażyna Bacewicz State Primary School of Music and Fryderyk Chopin State Secondary School of Music Her research focuses on Vocal Music , Chamber Music , and Music Pedagogy , with notable monographs on the interpretation of Shostakovich's works and the role of imagination in pianist education. Recent publications explore Ukrainian influences in Noskowski's piano music and social impacts of children's songs. Anna's artistic career spans 1,300+ concerts across Europe, including collaborations with the Baltic Opera and participation in festivals like Gdańsk Music Summer. She has received the Cultural Scholarship of the City of Gdańsk and multiple competition awards as an accompanist. Her scientific awards include: First Prize, Early Music Competition (Łódź) First Prize, Solfeggio Competition (Łódź) Cultural Scholarship of the City of Gdańsk (2017) She has contributed to numerous student awards through her accompaniment and teaching, and her work integrates interdisciplinary influences from theatre, literature, and visual arts into musical interpretation.

Michael Burdenمشاهده پروفایل

استاد

• Opera Studies
• Music History
• Dance Performance
• +۳ مورد دیگر

Professor Michael Burden is a Fellow in Music at New College, University of Oxford, and Professor of Opera Studies. His research focuses on the history of the London stage (1660–1860), emphasizing opera staging techniques, dance performance, and Henry Purcell’s music. A former Duff Cooper Literary Prize judge, he has directed Oxford’s New Chamber Opera and co-founded the Oxford Dance Symposium. Education: BA/MA from University of Adelaide; PhD from University of Edinburgh. Leadership: Past President of the British Society for 18th-century Studies, Visitor of the Ashmolean Museum, and RISM Trustee. His publications include studies on Shakespearean adaptation in opera, dance iconography, and libretto interventions. He co-edits the complete Stradella and John Eccles editions and leads the ongoing London Stage Project 1800–1900 , aiming to document 19th-century theatre calendars. Collaborative work includes the Oxford-Princeton grant on historical performance practices in London and New York. Scientific awards include his role as a Duff Cooper Prize judge, though no personal honors are listed. His teaching spans music history from Medieval to 21st-century, with specializations in opera historiography and analysis.

Katharina Thomaمشاهده پروفایل

استاد

• Opera Directing
• Classical Music
• Scenic Arts
• +۳ مورد دیگر

Prof. Katharina Thoma is a renowned opera director currently serving as Head of the Opera School at the University of Music Würzburg . She also holds the positions of Deputy Chair of the Music Academy and Dean of Studies . With a career spanning major European opera houses including the Royal Opera House Covent Garden and Glyndebourne Festival, she specializes in blending historical accuracy with modern theatrical innovation. Studied piano at Lübeck University of Music Resident director at Dortmund Opera (2011-2014) Visiting professor at Graz University of Music (2018) Freelance director since 2008 Katharina Thoma's research and practice focus on opera stage direction , scenic training for singers , and historical opera interpretation . Her work spans from Baroque masterpieces to contemporary political operas, emphasizing: Contextual authenticity in period-specific productions Modern reinterpretation of classical works Interdisciplinary approaches to staging Integration of visual and musical elements Training of next-generation opera performers Exploration of war-related themes in opera Notable productions include: 2024: Johann Strauss' The Bat (University of Music Würzburg) 2023: De Falla's El retablo de Maese Pedro 2022: Britten's The Rape of Lucretia 2019: Schönberg's Pierrot lunaire 2007: European Opera Directing Competition Finalist Her artistic contributions have been recognized with: Second Prize at the European Opera Directing Competition 'Camerata Nuova' (2007) Katharina Thoma actively mentors young singers and develops innovative opera productions at the University of Music Würzburg's Opera School. Her recent work includes: Wagner operas debut (2019/20 season) Collaboration with composers like Richard Jones and Christof Loy Participation in renowned festivals (Munich Biennale, Glyndebourne) The Opera School under her leadership focuses on comprehensive training combining: Historical performance practices Contemporary staging techniques Technical vocal training Interdisciplinary collaboration

• Medieval Music
• Classical Period Music
• Romantic Era Music
• +۷ مورد دیگر

Ann-Katrin Zimmermann is an apl. Professor (non-tenured professor) at the Musicological Institute within the Faculty of Philosophy at the University of Tübingen. She has held this position since 2018, following her time as a private lecturer from 2012-2018. In addition to her academic work, she serves as a dramaturg at the Gewandhaus Leipzig since 2013 and has teaching assignments at LMU Munich, Felix Mendelssohn Bartholdy University of Music and Theatre, and Leipzig University since 2012. Her educational background includes: Habilitation (2012) on "Forms of slow movements in the classical cycle" Promotion/PhD (2006) on "Studies on medieval three-part harmony" Master's degree in musicology, philosophy and art history from University of Tübingen and University of Oxford (1998-2003) Professor Zimmermann's research spans multiple eras and aspects of music history and theory. Her work focuses particularly on polyphony of the 12th and 13th centuries, keyboard music from the 15th-18th centuries, early German-language music terminology, and the works of Heinrich Schütz, composers of the Viennese classics, and Richard Strauss. She has made significant contributions to the fields of organology, instrumentation, music iconography, and 19th-century symphonies, with particular interest in cross-temporal aspects of genre, form, and composition. Her extensive publication record shows a consistent focus on historical music analysis, particularly examining compositional strategies across different periods. Her recent work has increasingly focused on Richard Strauss and Mozart, while maintaining her longstanding interest in early music traditions and terminology. She has published numerous articles in prestigious journals and contributed to important edited volumes in musicology. Professor Zimmermann is actively involved in the academic community: Member of the Society for Music History in Baden-Württemberg since 2009 Member of the DHV since 2012 Throughout her career, Zimmermann has balanced academic research with practical musical experience. She has been a bassoonist and leader of various vocal and instrumental ensembles since 1998, and served as a church musician from 1997-2014. Her work as a dramaturg at the Gewandhaus Leipzig since 2013 demonstrates her commitment to connecting scholarly research with contemporary musical practice.

Karen Flintمشاهده پروفایل

استاد مدعو

• Early Music
• Baroque Music
• Historical Performance Practice
• +۳ مورد دیگر

Karen Flint serves as an Adjunct Professor of Harpsichord at the University of Delaware’s School of Music, part of the College of Arts & Sciences. She is the founder and artistic director of Brandywine Baroque, Delaware’s leading early music ensemble, and established the Dumont Concerts—a festival showcasing harpsichord performances on antique instruments. Flint also created the recording label Plectra Music, which focuses on Baroque repertoire performed on period instruments. Her work includes acclaimed series like Le Clavecin Français and notable albums such as Les Pièces de Clavessin and Corelli Violin Sonatas . Her professional engagements include performances with the Delaware Symphony Orchestra, Baltimore Chamber Orchestra, and UD Chamber Orchestra. Brandywine Baroque’s annual concert series spans locations in Pennsylvania and Delaware, with guest appearances at major venues like the Boston Early Music Festival and Winterthur Museum. Flint’s recordings frequently highlight French Baroque composers and explore underappreciated works, demonstrating her commitment to historical performance practices. Flint’s contributions extend beyond performance to include educational outreach through the University of Delaware and community programs such as the Delaware Youth Wind Ensemble. Her discography reflects a dedication to preserving and revitalizing early music traditions, with projects ranging from Handel’s duets to Telemann’s lesser-known works. She remains an influential figure in the revival of 17th- and 18th-century music through both performance and scholarship.

• Ethnomusicology
• Hindustani classical music
• Rhythmic analysis
• +۳ مورد دیگر

Professor Martin Clayton is a leading scholar in Ethnomusicology at Durham University's Department of Music. He holds a BA in Music and Hindi (1988) and a PhD in Ethnomusicology (1993) from SOAS, University of London. His research focuses on Hindustani classical music, rhythmic analysis, and embodied musical interaction, with a strong emphasis on interdisciplinary approaches combining computational methods and ethnographic fieldwork. Clayton has directed major research projects including the AHRC-funded 'Interpersonal Entrainment in Music Performance' and the EU's EnTimeMent initiative. He is a former editor of the British Journal of Ethnomusicology and has served on committees for the British Forum for Ethnomusicology and European Seminar in Ethnomusicology. His work bridges ethnomusicology, music psychology, and computational analysis, with key contributions to understanding entrainment in music performance across cultures. Recent publications explore rhythmic structures in North Indian rāga performance, computational analysis of musical gestures, and cross-cultural comparative studies. His research often employs innovative methodologies like automated video analysis and motion capture to study performer interactions. Clayton was elected a Fellow of the British Academy in 2020 and currently holds a Leverhulme Trust Major Research Fellowship. His advising spans projects on Indian classical music, Afro-Brazilian ritual music, and global guitar practices. Notable collaborations include work with computational music researchers and movement scientists, yielding datasets on entrainment in diverse musical contexts. Clayton’s work has been disseminated through edited volumes, software tools like movementsync , and international conferences.

Anna Elisabet Einarssonمشاهده پروفایل

استاد

• Opera
• Performing Arts
• Classical Music
• +۳ مورد دیگر

Anna Elisabet Einarsson is a Dean at the Academy of Opera , part of the Oslo National Academy of the Arts . She holds degrees in organ, conducting, baroque interpretation from the Malmö Academy of Music and specialized opera training from the Oslo National Academy of Opera. As an active opera and concert singer since her 2000 debut, she has premiered contemporary works, received accolades like the Royal Norwegian Academy of Music Award, and been nominated for a US Grammy. Education in organ, conducting, and baroque interpretation Opera singer with international acclaim Focus on sustainable careers in the arts Research on collective creative processes and accessibility Her research explores intersections between opera, societal challenges, and gender diversity, with recent publications addressing cultural policy and non-binary representation. She has collaborated on academic lectures and workshops, emphasizing career development and risk management in creative teams. Scientific awards include: Royal Norwegian Academy of Music Award US Grammy nomination Her work bridges artistic practice with pedagogical innovation, contributing to Norway’s performing arts discourse through leadership and scholarship.

Joseph S. C. Lamمشاهده پروفایل

استاد

• Chinese Music
• Musicology
• Ethnomusicology
• +۷ مورد دیگر

Joseph S. C. Lam serves as Professor of Musicology in the School of Music, Theatre & Dance at the University of Michigan , specializing in the musics and cultures of Southern Song (1127-1275), Ming (1368-1644), and modern China (1900-present). His international profile includes regular lectures across China, Europe, and the United States. His research centers on: Historical Chinese music traditions across three dynastic periods Kunqu opera composition and performance practices Ethnomusicological analysis of Shijing (Classic of Poetry) vocalization Queer theory applications in traditional Chinese cross-dressing performance Interdisciplinary connections between Confucian ritual and musical expression Recent publications reveal a cohesive scholarly trajectory emphasizing contextual analysis of Chinese musical heritage, with increasing attention to gender studies and globalization frameworks. His work consistently bridges historical musicology with contemporary performance theory, particularly through examination of textual sources and stage realization practices. No scientific awards were documented in the source material. Teaching activities include courses on Chinese music/culture, ethnomusicology theory, and creative/historical music practices since 2020, with upcoming winter 2024 instruction on shiyue (Shijing-based vocal music). No laboratory facilities or research teams were specified.

Daphne A. Brooksمشاهده پروفایل

استاد

• Black Feminist Theory
• Sound Studies
• Popular Music Culture
• +۷ مورد دیگر

Daphne A. Brooks is William R. Kenan, Jr. Professor of African American Studies, American Studies, Women’s, Gender, and Sexuality Studies, and Music at Yale University, where she contributes to interdisciplinary scholarship at the highest level. Her academic home is in the Faculty of Arts and Sciences, with primary affiliation in the Department of African American Studies. Her research centers on Black feminist theory, sound and music studies, African American performance, and popular culture. Brooks examines how race, gender, and sonic expression intersect in cultural production, especially through the lens of Black women’s intellectual and artistic labor. Her work bridges academic scholarship and public engagement, appearing in peer-reviewed journals and major outlets like The New York Times , The Nation , and Pitchfork . The 15 most recent publications reflect a deep commitment to Black feminist sound, cultural history, and critical listening. Her articles and books analyze figures such as Nina Simone, Prince, Aretha Franklin, Zora Neale Hurston, and Toni Morrison, revealing how music functions as a site of resistance, identity, and revolution. Themes include sonic archives, Black female vocality, genre disruption, and the intellectual life of popular music. Her work has been recognized with numerous awards, including: Errol Hill Award (ASTR) Museum of African American History Stone Book Award (2021) Before Columbus Foundation American Book Award (2022) ASTR Barnard Hewitt Award (2022) Rock and Roll Hall of Fame Ralph J. Gleason Music Book Award (2022) ASCAP Deems Taylor/Virgil Thomson Award (2021) PROSE Award in Music & the Performing Arts (2022) Brooks has advised and mentored emerging scholars through her role as co-editor of the 33 1/3 Sound series and as co-founder of Yale’s Black Sound & the Archive Working Group. She curated the international conference Blackstar Rising & The Purple Reign , which will result in an edited volume. While specific grant details are not mentioned, her book projects with FSG and Duke University Press indicate major scholarly support and institutional backing. She co-founded and co-directs the Black Sound & the Archive Working Group at Yale, a humanities initiative exploring sonic archives and Black cultural memory. This collaborative space fosters interdisciplinary research on sound, race, and history, positioning her as a leader in emerging fields of Black sound studies.

Ashwini Joshiمشاهده پروفایل

دانشیار

• Voice Disorders
• Speech Science
• Voice Rehabilitation
• +۴ مورد دیگر

Dr. Ashwini Joshi is an Associate Professor and Ph.D. Program Director in the Department of Communication Sciences and Disorders at the University of Houston's College of Liberal Arts and Social Sciences. She directs the Joshi Voice Lab, which focuses on developing evidence-based assessments and treatments for voice disorders. Her research has been consistently funded by prestigious sources including the National Institutes of Health. Dr. Joshi's primary research interests center around voice and voice disorders, with specific emphasis on identifying low-cost assessment tools for voice disorders and developing evidence-based protocols for rehabilitation after vocal fold surgery for benign lesions. Her work bridges clinical practice with scientific investigation to improve voice assessment and treatment methodologies. Her recent publications demonstrate a strong trend toward investigating voice rest protocols after phonomicrosurgery, cultural considerations in voice assessment, and the development of accessible diagnostic tools. These studies frequently incorporate interdisciplinary approaches, examining connections between personality traits and voice rest adherence, cultural factors in voice evaluation, and technological solutions for voice measurement. International Student Award, American Speech-Language-Hearing Foundation (2009) Dr. Joshi serves as Principal Investigator on multiple significant research grants, including a NIH/NIDCD-funded project on Voice Rest Adherence after Phonomicrosurgery (2020-2023). She has successfully mentored numerous graduate students who have co-authored publications with her, particularly in the areas of cultural voice assessment and voice rest protocols. Her lab has established partnerships with Houston Methodist Hospital's Department of Otolaryngology. The Joshi Voice Lab, part of the Department of Communication Sciences and Disorders, is dedicated to advancing voice disorders research through developing low-cost, valid diagnostic tools and evidence-based post-surgical rehabilitation techniques for benign vocal fold lesions. The lab's current research is funded by the National Institute on Deafness and other Communication Disorders at the NIH, with the ultimate goal of improving quality of life for individuals with voice disorders.

James Wrightمشاهده پروفایل

استاد

• Music Philosophy
• Music Aesthetics
• Music Perception
• +۷ مورد دیگر

James Wright is a Professor in the School for Studies in Art and Culture at Carleton University’s Faculty of Arts and Social Sciences. He holds a Ph.D. from McGill University and is a distinguished scholar and composer with a focus on music philosophy, aesthetics, film music, 20th-century music, and post-tonal theory. His research and creative work bridge academic and artistic domains, with international recognition for both scholarly publications and musical compositions. Ph.D., McGill University Dr. Wright’s research interests include music philosophy and aesthetics, music perception, film music, 20th-century music history, post-tonal analysis, dance and music, and the history of music theory. His interdisciplinary approach connects music with philosophy, literature, visual art, and cultural studies. He has published extensively on Schoenberg, Wittgenstein, and Canadian composers like Eldon Rathburn, exploring the intersections of music, identity, and modernity. His recent creative and scholarly works span books, edited volumes, and compositions. Notably, his 2022 co-edited volume Monstrosity, Identity, and Music examines music in horror and speculative media, while his 2023 string quartet Ellen at Scattergood received the 2022 Petrichor Prize. His compositions have been performed globally and recorded by ensembles such as the Gryphon Trio and Quatuor Andara. He has also composed choral works, art songs, and pieces inspired by Canadian art and social themes. Governor-General’s Gold Medal, McGill University Lewis Lockwood Award, American Musicological Society 2022 Petrichor Prize for Composition University of Toronto Louis Applebaum Distinguished Visiting Professor in Composition (2019) James Wright has hosted major academic events, including the international conference “Music and Antifascism,” and his works have been featured in CBC Music, Fanfare Magazine, and international performances. He teaches courses in Western music history and mentors emerging musicians. He is also active in community music initiatives, including collaborations with youth choirs and educational programs. Dr. Wright leads creative projects that integrate music with dance, visual art, and social commentary. His work A Gallery of Song was choreographed and performed at the National Gallery and National Arts Centre, reflecting his commitment to interdisciplinary collaboration. He continues to compose and publish, with upcoming works such as What Angels See (2025) for cello and piano.