George A. Sprengelmeyer is an Associate Professor of Music and Director of the Music Program at Quinnipiac University. A guitarist, teacher, and scholar, he earned his Doctor of Musical Arts (D.M.A.) from the Peabody Conservatory of Johns Hopkins University. Education: BM, Hartt College of Music MM, Hartt College of Music D.M.A, Johns Hopkins University His research spans Guitar Performance , Celtic Music , and Philosophy of Music , with a focus on Zen influences in avant-garde composition. In 2022, he co-presented on John Cage's Zen-inspired methods at the Pacific Association for the Continental Tradition conference. He teaches courses including Private Music Lessons and American Popular Music: From the Blues to Hip Hop . As Artistic Director of the Frank J. Natale concert series, he contributes to arts administration. Contact: George.Sprengelmeyer@quinnipiac.edu , Office: 515 Sherman Ave 211.
Joachim Held is a Professor of Historical Lute Instruments at the Bremen University of the Arts (Hochschule für Künste Bremen) since 2010. He also teaches at the Royal Conservatory in The Hague since September 2007. Born in Hamburg in 1963, Held received his musical training at the Schola Cantorum Basiliensis under Eugen Dombois and Hopkinson Smith, graduating in 1988 with a Diploma in Early Music. His educational background includes studies with Jürgen Hübscher at the Karlsruhe University of Music from 1988 to 1990, where he completed his artistic final examination. In 1990, he won second prize at the Concours Musica Antiqua of the Flanders Festival in Bruges, launching his international career. Joachim Held is renowned for his expertise in historical lute instruments and early music performance. His research interests span across: Historical Lute Performance Practice Baroque Music Repertoire Renaissance Music Historical Performance Techniques Early Music Instrumentology Lute Musicology Held has built an impressive discography of solo recordings focusing on lute music from various historical periods and regions. His recordings show a particular focus on German, Italian, French, Austrian, Polish, and English lute repertoire from the Renaissance and Baroque periods. His 2006 CD "Erfreuliche Lautenlust" with works by Austrian Baroque composers for Baroque lute earned him the prestigious Echo Klassik 2006 award for the best solo recording in the 17th/18th century category. His notable awards include: Echo Klassik 2006 for the best solo recording in the 17th/18th century category Second prize at the Concours Musica Antiqua of the Flanders Festival in Bruges (1990) As an active performer, Joachim Held has maintained a vibrant international career since the early 1990s. He has performed regularly under the direction of Nikolaus Harnoncourt since 1993 and with Il Giardino Armonico (Milan) since 1992. He has participated in productions of major operas including Francesco Cavalli's "La Calisto" and Monteverdi's "L'Incoronazione di Poppea." His concert activities span across Europe, Africa, Japan, and South America, with performances at major festivals and venues. Held is also involved in academic activities including symposia on early music topics, such as the symposium "John Dowland's Activities on the Continent" held at the HfK Bremen in April 2022. He is scheduled to participate in a Lute Symposium at the Bremen University of the Arts on September 22nd-23rd, 2025.
Timothy J. Campbell is Associate Professor of Music at the University of South Dakota's College of Fine Arts, where he conducts the Symphonic Choir and Collegium Musicum. He serves as Chorus Director for the South Dakota Symphony Orchestra and founded the professional vocal ensemble Transept, whose 2021 debut album 'Live at the Cathedral' received Grammy-winning studio mastering. His educational background includes a B.S. from Bemidji State University, M.M. from the University of Minnesota, and D.M.A. from the University of Arizona. Prior academic appointments include West Virginia University and roles with Men's Consort Houston and St. Luke's Early Music Ensemble. Dr. Campbell specializes in choral conducting, vocal performance, and early music with emphasis on consort singing and historical performance practice. His research bridges Renaissance repertoire with contemporary choral works, focusing on innovative programming and vocal arts development across South Dakota's educational institutions. His recent publications and presentations reveal consistent themes in choral pedagogy, early music revival, and artistic curation. Key trends include practical conducting tools for educators, exploration of Bach's sacred works, and cross-era programming strategies that connect plainchant with modern compositions through vocal consort techniques. Through Transept's education initiatives and USD teaching roles, he mentors students via applied voice lessons, choral literature courses, and conducting practicums. His outreach extends to high school and church ensembles across South Dakota, fostering community engagement through masterclasses and collaborative performances. Dr. Campbell leads multiple ensembles including the USD Symphonic Choir, Collegium Musicum, and professional group Transept. His direction of the South Dakota Symphony Orchestra Chorus for major works like Handel's Messiah and Bach's St. Matthew Passion demonstrates his leadership in regional performing arts.
Erik Santos is an Associate Professor and Chair of Composition within the University of Michigan's School of Music, Theatre & Dance. He holds DMA and MM degrees in Composition from the University of Michigan and a BM in Voice from Indiana University of Pennsylvania. His research spans acoustic/electronic music, dance-theater production, and interdisciplinary collaborations. Notable projects include scores for the Japanese butoh company Dairakudakan and the October Babies band's multicultural music. He co-created the Fukushima-inspired documentary series (e.g., Threshold: Whispers of Fukushima) and films exploring post-disaster cultural resilience. Recipient of the 2020 Sousa-ABA-Ostwald Prize Charles Ives Fellowship (American Academy of Arts and Letters) Organized the Fukushima Tribute Concert featuring Yamakiya Taiko ensemble His work emphasizes non-traditional performance spaces (dance clubs, museums, digital platforms) and integrates spontaneous sensory experiences with music. Santos actively collaborates with international artists and organizations, including the Center for Japanese Studies and Willis Sound label.
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.
Martin Robertson is a renowned saxophone professor at the Royal College of Music (RCM) and the Guildhall School of Music and Drama. He graduated from the RCM in 1984 with studies in saxophone and clarinet under Stephen Trier and John McCaw, winning the Boosey and Hawkes Music Prize. His career spans international solo performances with orchestras like the Berlin, Los Angeles, and London Philharmonics, collaborating with conductors such as Simon Rattle and Vladimir Jurowski. Robertson is celebrated for his fusion of classical, jazz, and world music, particularly through collaborations with composers Mark-Anthony Turnage and George Fenton. His work includes Turnage’s Blood on the Floor and Fenton’s orchestral scores for films like Earth and Planet Earth . Robertson’s academic roles include leading the Woodwind department at RCM since 1994 and teaching at Guildhall since 2012. His research interests emphasize cross-genre exploration, using instruments like the duduk and taragato to bridge cultural musical traditions. He has premiered works such as Turnage’s About Water (2007) and Anna Nicole (2011), an opera exploring tragic biography through modern musical language. His performances include high-profile events like the BBC Proms and collaborations with ensembles such as the Delta Saxophone Quartet, which he joined in 2009. Robertson’s film credits span major projects, including Shakespeare in Love , Billy Elliott , and King Arthur . Beyond the concert stage, he advocates for contemporary saxophone repertoire through academic and ensemble work, fostering innovation in woodwind performance. Robertson’s awards include the Boosey and Hawkes Prize (1984), and his recordings, such as Poirot Variants (2010) and Tony Banks’ Six (2012), highlight his versatility across genres. His teaching integrates jazz improvisation, classical technique, and contemporary experimentation, shaping a new generation of woodwind musicians.
Kimberly H. Henthorn serves as Department Head of Chemical Engineering and Associate Professor at Rose-Hulman Institute of Technology. She holds a PhD from Purdue University (2004) and a BS from Rose-Hulman (1999). Her research focuses on particle technology, microfluidic systems, and chocolate production engineering, collaborating with students and faculty to enhance laboratory experiments. She advises Delta Delta Delta sorority and has industry experience with Dow Chemical, Reilly Industries, and consulting roles at Mo-Sci Corporation, Brewer Science, and Pfizer. Education: PhD in Chemical Engineering, Purdue University, 2004 BS in Chemical Engineering, Rose-Hulman Institute of Technology, 1999 Research Interests: Dr. Henthorn's work emphasizes fine particle characterization, multiphase process optimization, and innovative applications of microfluidics. Her chocolate production research bridges engineering principles with industrial food science, showcasing interdisciplinary innovation. Awards: 2015 Excellence in Service Award 2021 Rose-Hulman Collegiate Alumni Award 2023 Dean's Outstanding Teacher Award 2024 Dean's Outstanding Academic Advisor Award Advising & Engagement: Serves as academic advisor for Delta Delta Delta sorority while maintaining industry connections through consulting. Active in campus culture via Engineers in Concert tap-dancing performances. Labs & Teams: Leads chemical engineering laboratory development initiatives, integrating new experimental techniques for student education and research.
Dr. Haydar Aygun serves as Associate Professor in Acoustics and Building Services at the Bioscience and Bioengineering Research Centre, Department of Civil and Building Services Engineering, University of Salford. He holds multiple leadership roles including Course Director for the MSc Environmental and Architectural Acoustics, Diploma in Acoustics and Noise Control, and The Acoustics Apprenticeship programs. With a PhD in Acoustics and Vibration from the University of Hull (2006), his academic foundation includes a MSc in Advanced Materials, Processes and Manufacturing (2002) and a BSc in Mechanical Engineering. Dr. Aygun's research spans multiple critical domains of acoustics: Development and characterization of novel acoustic materials and metamaterials for noise control Duct acoustics and sound propagation through complex media Biomedical applications including bone analysis and respiratory sound detection Vibration control of porous materials using advanced computational methods Environmental noise assessment and building acoustics solutions His publication record shows consistent scholarly output with 46 research items from 2006-2025, demonstrating particular productivity in recent years (7 publications in 2023). His work shows increasing integration of computational methods with experimental validation, expanding applications in medical diagnostics and sustainable building technologies. Dr. Aygun actively contributes to the academic community through multiple service roles: Editorial Board Member for Journal of Applied Acoustics EPSRC Grant Reviewer Reviewer for Journal of Applied Acoustics and Journal of the Acoustical Society of America Deputy leader of Biomedical Acoustics Special Interest Group within UK Acoustics Network As an educator, Dr. Aygun has supervised numerous PhD students and teaches across multiple levels from undergraduate Building Services Engineering to specialized postgraduate Acoustics programs. His consultancy work bridges academic expertise with practical industry applications in noise assessment, building acoustics, and event sound management.
Bunji Izumi is an Assistant Professor at the Department of Architecture and Technology, Faculty of Architecture and Design, NTNU, supported by the Scandinavia-Japan Sasakawa Lectureship. He holds a Dipl.-Ing., M.Sc., and B.Eng., and is a registered architect in Japan. His career includes roles at Nikken Sekkei Ltd. (Tokyo) as Senior Computational Designer and Associate in Structural Design, and at Driendl Architects in Vienna, Austria. His research focuses on structural engineering, timber-steel composite systems, fire safety, digital design, and sustainable architecture. Key areas include optimization methods in architectural design, circular timber structures, and interdisciplinary collaboration between architects and engineers. Publications highlight work on foldable canopies, fire-resistant composites, BIM integration, and structural education reforms. He contributes to exhibitions like IASS 2019 and collaborates on projects such as the Shogakukan Building and Vienna Indoor Swimming Pool. His educational background includes postgraduate studies at TU Vienna and the University of Tokyo, emphasizing structural design and timber engineering. Current research trends emphasize sustainability, circular design, and computational workflows.
Associate Professor Hilde Norbakken is a vocalist, pianist, songwriter and educator at the Department of Popular Music, Faculty of Fine Arts, University of Agder (UiA). Co-director of the Centre of Excellence CreateMe , she teaches vocal and songwriting, leads the Bachelor in Popular Music programme, and maintains an active artistic career that spans concerts, album releases and theatre productions. Education & Affiliations Faculty of Fine Arts, University of Agder – Department of Popular Music CoE CreateMe – Co-director Study-programme leader – Bachelor in Popular Music Research & Artistic Focus Norbakken’s research profile is rooted in artistic development . She explores vocal technique, genre-specific interpretation, artistic identity and the craft of songwriting. Central themes include the formation of vocal and artistic character, lyric writing, ensemble interaction ( samspill ), live performance practice and the intersection between life experience and musical expression. Her creative output ranges from intimate duo albums such as Open Doors (2014) and Hold You with the Kristiansand Symphony Orchestra, to large-scale concert concepts like Lydhør – en konsertsamtale , where conversation and performance merge. She frequently collaborates with Norwegian artists as a featured vocalist, arranger and pianist, and she produces vocal performances for theatre and symphony productions. Publication Trends Across the last fifteen registered outputs (2020-2024), the work clusters around three strands: (1) live concert-talks that combine dialogue and song to deepen audience engagement; (2) album releases and singles that showcase original songwriting and vocal arrangement; and (3) production and arrangement work for theatre, jazz ensembles and symphony orchestras, highlighting her versatility as both performer and music director. Scientific & Artistic Awards No specific prizes, medals or fellowships are recorded in the supplied material. Teaching & Student Supervision Norbakken teaches individual and group vocal classes, songwriting workshops and genre studies. She is the programme leader for the Bachelor in Popular Music and is actively developing new curricula for Bachelor and Master level songwriting programmes. No named PhD or Master advisees appear in the text. Labs & Teams She is a core member of the research groups Popular Music Performance and Songwriting and Production at UiA, and through her role in CoE CreateMe she contributes to interdisciplinary projects that bridge artistic practice, technology and education.
Chris Bergson is an Associate Professor of Guitar at Berklee College of Music in Boston, where he teaches private guitar lessons, slide guitar, and songwriting. He is affiliated with the Guitar Department under the College of Performing Arts. A graduate of the Manhattan School of Music with a Bachelor of Music in Jazz Performance, Bergson is internationally recognized as a guitarist, singer, and songwriter rooted in blues, jazz, and American roots music. Bachelor of Music (BM), Jazz Performance, Manhattan School of Music, 1999 Bergson's research and artistic interests center on blues and jazz guitar performance, songwriting, and the cultural dimensions of American roots music. His work blends traditional forms with modern expression, emphasizing authenticity, emotional depth, and technical mastery. He explores the intersections of Delta blues, soul, funk, and jazz, often integrating horn arrangements and collaborative improvisation. His recent recordings reflect a consistent evolution in style and thematic depth, moving from early jazz-blues fusion to mature, soul-infused compositions. Albums like Comforts of Home (2024), All I Got Left (2021), and Bitter Midnight (2017) showcase sophisticated guitar work, live-in-studio energy, and lyrical sincerity. These works emphasize live performance, collaboration with guest artists like Ellis Hooks and Bernard Purdie, and a deep connection to New York’s musical identity. Inducted into the New York Blues Hall of Fame as a Master Blues Artist, 2015 MOJO Magazine's No. 1 Blues Album of the Year 2008 for Fall Changes Five consecutive albums named among MOJO Magazine's Top 10 Blues Albums of the Year Multiple MOJO, Gitarist, and Soul Bag Magazine accolades across 2011–2024 Appointed Jazz Ambassador of the USA by the Kennedy Center and U.S. State Department Bergson has developed a significant career as an educator and performer, drawing from over 25 years of global touring and recording. He mentors students in developing their unique voice and practical performance skills, informed by his extensive experience as both bandleader and sideman. He has not received public grants, but his work is supported through album releases, performance tours, and institutional affiliation with Berklee. His performances span major festivals in the U.S., Europe, Russia, and West Africa, reflecting a broad international reach. Bergson leads the Chris Bergson Band and frequently collaborates with vocalist Ellis Hooks, forming a dynamic duo often compared to Sam & Dave. His recording projects often involve tight-knit ensembles, including horn sections arranged by Jay Collins and European touring bands featuring French and Dutch musicians.
Piet Johan Meyer is a Professor of Computer Music and Media Practice at the Stuttgart University of Music and Performing Arts , where he has been teaching since 2009. He also serves as Dean of Faculty I Computer Music and Media Practice. Studied jazz composition, composition, and jazz trumpet in Boston with Greg Hopkins, Vuk Kulenovic, and Tiger Okoshi Specialized in electronic music at Lübeck University of Music under Dieter Mack Developed expertise in physical modeling synthesis and real-time interaction during DAAD-funded research at IRCAM in Paris His research focuses on electronic music , sound synthesis , and media practice , blending technical foundations with artistic innovation. He has realized over 200 electronic music concerts since 2003 and actively collaborates with ensembles like Ensemble ExVoCo and the Lübeck Philharmonic Orchestra . Scientific recognition: DAAD scholarship for electronic music research Meyer combines academic leadership with performance experience as a jazz trumpeter and electronic music realizer, maintaining strong connections to institutions in Germany, USA, and France.
Professor Wolfgang Bauer is a renowned trumpet virtuoso and Professor of Trumpet at the State University of Music and Performing Arts Stuttgart (HMDK Stuttgart). He has held this position since 2000 after previously teaching at the Frankfurt University of Music and Performing Arts and leading the trumpet class at the Basel Music Academy. Bauer is considered one of the leading trumpeters of his generation following his consecutive wins at the German Music Competition and the ARD International Music Competition in Munich in 1993. His research and performance interests span multiple areas of trumpet artistry, with particular emphasis on Baroque Music , Classical Repertoire , and Historical Instruments . Bauer has developed a significant focus on the baroque natural trumpet, releasing specialized recordings on historical instruments. His performance career encompasses Solo Performance , Orchestral Collaboration with major ensembles worldwide, and Chamber Music through his ensembles CITY BRASS Stuttgart and the Wolfgang Bauer Consort. Bauer's recorded output shows a clear trajectory from classical trumpet repertoire toward historically informed performance practice, particularly evident in his 2009 recordings on historical instruments. His work encompasses both scholarly exploration of historical performance techniques and accessible educational projects like children's recordings that reached the hr2 audiobook bestseller list. ECHO Klassik as Instrumentalist of the Year (2009) Best Recording of the Year at Soundstage.com (2008) Winner of the ARD International Music Competition Munich Winner of the German Music Competition in Bonn Bruno Frey Prize from the State Academy of Baden-Württemberg Teaching Award of the State of Baden-Württemberg (2017) As an educator, Bauer has significantly impacted trumpet pedagogy, receiving the prestigious Baden-Württemberg teaching prize worth €50,000 in 2017. He regularly conducts master classes worldwide and serves as a lecturer for the German National Youth Orchestra. His research activities are closely tied to his performance practice, particularly his exploration of historical instruments and baroque trumpet techniques. Bauer leads the Wolfgang Bauer Consort, a baroque ensemble specializing in period performance, and founded CITY BRASS Stuttgart, which received the Bruno Frey Foundation sponsorship prize in 2006.
Prof. Dr. Notburga Karl is a Professor of Art Education and Subject Didactics at the Academy of Fine Arts Munich (AdBK Munich), where she has held her position since 2023. Her work bridges theory and practice, focusing on the communicative and transformative dimensions of art. She is based in the Faculty of Art Education, leading research and teaching in innovative educational formats and critical pedagogy. Her research centers on nonverbal, situated forms of knowledge, exploring how art functions as a practice of 'showing' in specific contexts, places, and social situations. She investigates the performative and responsive nature of such knowledge, with strong emphasis on artistic and critical art education, and the methodological frameworks used to study them. Her artistic research manifests in installations, lecture performances, and sculptures that engage transitional and public spaces—such as playgrounds, church naves, and mobile studios—as educational sites. She has pioneered alternative pedagogical models, including the integration of a children’s art laboratory at the University of Bamberg and the development of a cross-generational mobile studio for the BBK regional association. Her vision emphasizes open experimentation, self-critical reflection, and joyful risk-taking in art education as a transformative encounter with others, the world, and the self. Prof. Karl’s work includes curatorial projects with participatory formats and experimental educational programs, such as a paper workshop combined with a concert. Her artistic collaborations include performances like 'Cadavre Exquis' and 'Oskar S exhales,' presented at venues like the Haus der Kunst and Kunstwerk Köln. Email: notburga.karl@adbk.mhn.de
Professor Simon Keefe holds the James Rossiter Hoyle Chair of Music at the University of Sheffield's School of Languages, Arts and Societies. Previously, he served as Professor and Head of Music at City University London (2005-2008) and Head of Department at Sheffield until 2015. An expert in late 18th-century music with particular focus on Mozart, his work spans music reception, biography, and concerto genre analysis. BA, MA, MusM, PGCE, MPhil, PhD (Columbia University) His research explores Mozart's Vienna period (1781-1791), Haydn and Mozart reception patterns through the 19th century, and intersections between biography and musical analysis. He has also investigated 20th-century French popular song traditions and Wagner studies. The Haydn and Mozart in the Long Nineteenth Century (2023) collection demonstrates his focus on comparative reception studies, while earlier works like Mozart's Requiem: Reception, Work, Completion (2012) and Mozart in Context (2019) showcase his biographical and editorial expertise. Research spans manuscript studies, performance practice, and cultural historiography. 2013 Marjorie Weston Emerson Award (Mozart Society of America) Choice Outstanding Academic Title (2019) BBC Music Magazine Best Classical Book (2019) As General Editor of Royal Musical Association monographs and Cambridge University Press series contributor, he shapes academic discourse. His public engagement includes concert lectures at Barbican and BBC collaborations, while supervising topics ranging from Beethoven annotations to Mozart's sacred music.
