Phillip Shovk is a Lecturer in Piano and Collaborative Piano at the Sydney Conservatorium of Music, University of Sydney. A renowned concert pianist, chamber musician, and pedagogue, he holds a Master of Fine Arts from Moscow State Conservatory under Valery Kastelsky. His accolades include the 1987 Vanni di Motta Competition Laureate, Hephzibah Menuhin Prize (1988), and Best Accompanist at the 1994 Tchaikovsky Competition. Education: Began studies with Anatole Mirosznyk, continued at Sydney Conservatorium High School under George Humphrey, then Moscow State Conservatory with Valery Kastelsky. Research interests focus on piano performance, collaborative music, and pedagogy, particularly exploring Russian and European classical traditions. His performances span 20+ countries, emphasizing Romantic and 20th-century repertoire. Teaching roles include positions at Paris' Conservatoire Rachmaninoff, Australian Institute of Music, and Chetham’s School of Music. He has adjudicated major competitions like the Sydney International Piano Competition and Singapore National Piano Competition. Recordings include Tchaikovsky/Mussorgsky (Master Performers) and Mozart Violin Sonatas for two pianos (Toccata Classics).
Elena Cologni is an Associate Professor of Contemporary Art and Critical Practice at the Cambridge School of Art, Anglia Ruskin University. She serves as the Cambridge School of Art Research Lead, PGR Coordinator, Panel 32 Art and Design REF 2021 and 2029 Convenor, School Research Ethics Panel Chair, and leads the Wellbeing, Care Aesthetics and Art Research and Education Unit (We CARE). She is also the ARU partnership Lead for the British Council Venice Biennale Fellowships Programme and the Art and Health Academic Lead for The Culture Capital Exchange Programme 2022-23. Her educational background includes: BA in Fine Art from Accademia di Belle Arti Brera in Milan MA in Sculpture from Bretton Hall College, Leeds University PhD in Fine Art and Philosophy from University of the Arts London, Central Saint Martin's College of Art and Design (2004) Cologni develops dialogic and situated artistic strategies for observing, recording and stimulating awareness of everyday experiences. Her interdisciplinary approach intersects artistic research with environmental psychology, care ethics, philosophy, and gender studies, resulting in dialogic sculptures, public interventions, performance scores, and drawings. Her work explores place attachment, ecofeminism, spatialized art practices, and the relationship between art, wellbeing, and care aesthetics. She is particularly interested in how artistic practice can facilitate the sharing of insights and the location of situated knowledges within our relations with one another, place, and the environment, creating instruments to stimulate awareness of everyday experiences through relational, participatory and dialogic approaches. Her publication portfolio reveals a consistent trajectory examining care ethics, dialogic practices, and the intersection of art with social and environmental concerns. She frequently investigates how artistic interventions can create spaces for dialogue about care, wellbeing, and our relationship to place and community, often bridging theoretical frameworks from feminist theory, environmental psychology, and performance studies with practical artistic applications that engage with public space, memory, and perception. Her notable recognition includes: Seeds of Attachment - The Shape of the Public's Health award - first prize - Royal Society for Public Health in collaboration with the Royal Society of Sculptors (2019) Artist Bursaries from Artists Newsletter (2018) Cologni supervises research students and has secured numerous research grants including the Practicing Feminist Care Aesthetics grant from The Getty Research Institute (2023/2025), Practices of care as ecofeminist and spatialized art funded by the Artist International Development Fund (Arts Council England and British Council 2018/19), and The Places of Memory commissioned by Universita' di Pisa (2022). She regularly collaborates with art galleries, museums, and the NHS Foundation Trust on educational activities and creative interventions that bridge art, health, and wellbeing. She leads the Wellbeing, Care Aesthetics and Art Research and Education Unit (We CARE) and coordinates the ARU Arts, Health and Wellbeing Research Network. Her work often involves community collaborations, as seen in projects like The Places of Memory, which engaged with local communities in Pisa, and Seeds of Attachment, which explored parent-child bonds in relation to place attachment through nomadic dialogic sculptures inspired by Margaret Lowenfeld's Mosaic Test.
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
Juha Torvinen is a University Lecturer at the Department of Philosophy, History and Arts Studies , Faculty of Humanities , University of Helsinki , and a Docent at the University of Turku since 2012. His work bridges musicology , ecological activism , and historical analysis of composers under Nazi regimes. Research Focus : Ecomusicology Environmental and Social Justice Nordic Music and Cultural Identity Modernism and Esotericism Historical Musicology Music and Politics His recent publications explore themes like environmental slow activism , self-denazification in composer correspondence , and esoteric elements in Nordic music . He leads projects including "Finnish Musicians in Nazi Germany" and "Activist Music Research for Social Justice" , funded by the Kone Foundation . Scientific Awards : 2017: Nominated for Vuoden Tiedekynä (The Scientific Article of the Year) In his role as a doctoral program supervisor , Torvinen mentors students in Philosophy, Arts, and Society . He actively participates in academic events, including conferences , seminars , and peer review . His media engagement spans radio programs , documentaries , and public commentary on music and society.
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.
Professor Alexander-Sergei Ramirez is a distinguished classical guitarist serving in the Guitar Department at the Robert Schumann Hochschule Düsseldorf. Born into a family of artists in Lima, Peru, he has established an international career as both performer and educator since joining the faculty in 1997. His research and performance interests center on classical guitar performance with specializations in Latin American guitar repertoire, Spanish guitar music, and historical guitar works. Ramirez has made significant contributions to musicology through his rediscovery and performance of previously unknown works by Peruvian composer Pedro Ximénez de Abrill, bringing important historical compositions to modern audiences. His extensive discography reveals trends across multiple musical traditions, with recent recordings exploring multinational guitar repertoire spanning five continents as featured in his critically acclaimed 'Odyssey' album. Ramirez's work demonstrates exceptional technical mastery combined with deep musical understanding across diverse stylistic periods from Renaissance to contemporary compositions. First prize at the Alhambra International Guitar Competition CD of the month on MusicalWeb CD of the month by Ecos magazine Voted CD of the month by Ecos magazine for 'Odyssey' As an educator, Ramirez mentors the next generation of guitarists while maintaining an active international performing schedule. His recordings with major labels like Deutsche Grammophon and DENON have received enthusiastic reviews, with critics describing his work as 'the most fascinating 75 minutes I have ever heard' and 'Spanish school par excellence.' Ramirez also explores historical performance practices through his work with romantic guitar in a duo with fortepianist Sheila Arnold.
Nicolas Donin is a Professor and Chair of Musicology at the University of Geneva and a Senior Researcher at IRCAM (Paris), leading the 'Analysis of Musical Practices' team within STMS Labs. He specializes in interdisciplinary musicology, focusing on 20th- and 21st-century musics, compositional processes, and the intersection of music history with social sciences. Elected to the Academy of Europe in 2020, he has held key roles such as Head of IRCAM’s Research Group and Pedagogical Board Member at the Ecole des Hautes Etudes en Sciences Sociales. His research explores post-Wagnerian listening practices, post-spectral aesthetics, and ethnography of creative processes. He led major French research programs (MuTeC, GEMME) and founded the Tracking Creative Process in Music conference series. Over 100 publications span music analysis, composition theory, and interdisciplinarity, with edited volumes like *L’Analyse musicale, une pratique et son histoire* (2009) and *Théories de la composition musicale au XXe siècle* (2013). As an associate member of Oxford University’s Faculty of Music and the Centre de Recherche sur les Arts et le Langage, he contributes to musicological discourse and institutional leadership. His work bridges empirical research, historical analysis, and social science methodologies.
Richard Killmer is a Professor of Oboe and Wegman Family Professor of Oboe at the Eastman School of Music, University of Rochester. He has held principal oboe positions with the St. Paul Chamber Orchestra, Oklahoma City Symphony, Aspen Festival Orchestra, and Lake Placid Sinfonietta. His military service included roles with the NORAD Band and Commander’s Dance Band. Educated at University of Northern Colorado (B.A. 1960) and Yale School of Music (M.M., M.M.A., D.M.A.), he also taught at Yale as Visiting Professor of Oboe. Teaching accolades include Eastman’s Eisenhart Award (1984-85) and Yale’s Gustave Stoeckel Award (2006). His career spans orchestral performance, pedagogy, and competition adjudication including CIBC, Geneva, and Prague Spring Competitions. Specializes in classical oboe performance and wind ensemble training with expertise in baroque and contemporary repertoire. Performance history includes summer festivals at Mainly Mozart, Banff Centre, and Sarasota. Maintains active involvement in instrumental education through Eastman’s faculty roles since 1982.
Juan Pedro Gómez is a Professor of Finance at IE University, specializing in the intersection of economics, data analysis, and modern financial systems. He holds a Doctorate in Economics and contributes to IE University's innovative Bachelor in Economics program, emphasizing the application of technology-driven methodologies to economic theory. His research focuses on human behavior in investment contexts, international asset pricing, and the evolving role of data in economic decision-making. Dr. Gómez's academic work bridges traditional economic principles with contemporary challenges, such as automation, big data, and global market dynamics. He has published extensively in journals like the Journal of Finance and Journal of Economic Theory , addressing topics ranging from mutual fund compensation structures to pandemic forecasting using unconventional datasets. His teaching philosophy emphasizes equipping students with skills in data analysis and econometrics to address real-world economic problems. He advocates for economics education that integrates digital transformation and global perspectives to prepare future professionals for tech-driven economies.
Bryn Harrison is a British composer and Senior Lecturer in Composition at the University of Huddersfield. He explores musical temporality through cyclical structures, memory representation, and extended durations. His work has been performed by ensembles including Plus Minus, Elision, and London Symphony Orchestra, with notable premieres at international festivals. Key Works: Receiving the Approaching Memory (2014), Piano Quintet (2017), and Vessels (2013). Research: Focuses on immersive listening, memory, and temporal perception in music. Awards: Recipient of the Paul Hamlyn Foundation Award for Composers. Publications include co-edited books Overcoming Form (2013) and Being Time (2018). Collaborations: Works with ensembles like Wet Ink and Contrechamps, and performers such as Philip Thomas and Aisha Orazbayeva. Supervision: Actively supervises PhD students and contributes to external examinerships at institutions like the Royal College of Music.
Onur Türkmen (b. 1972, Eskişehir) is an Associate Professor at Bilkent University's Faculty of Music and Performing Arts since 2007, serving as Deputy Dean since 2017. Previously, he taught at Bilgi University (2004-2007). Specializes in adaptation of contemporary instrumental techniques to ney , kemençe , kanun , and ud Research focus on Turkish makam systems and natural tuning relationships His research interests span: Temporal and timbral dimensions of Turkish makam Symbolist movement in music (Ahmet Haşim, W.B. Yeats) Microtonal composition techniques Integration of poetry and instrumental music Orchestral conducting methodologies Cultural synthesis in 'Beyond East and West' ERC project Scientific awards : Donizetti Classical Music Awards - Composer of the Year (2018) ISCM World Music Days recognition (2006, 2012) Culture Ireland & Arts Council of Ireland supports (2015, 2019) As founder of NK Ensemble's Sanat Yönetmeni (Artistic Director), he mentors emerging musicians through initiatives like Sei Solo (2020) and Klasik Keyifler Festivals (2012-2018).
Gaute Barlindhaug serves as an Assistant Professor in the Department of Language and Culture at UiT The Arctic University of Norway, within the Faculty of Humanities, Social Sciences and Teacher Education. His academic work bridges artistic practice with scholarly research in sonic arts and cultural documentation. His research interests span Sonic Arts , Sound Studies , Music Technology , and Digital Humanities , with particular focus on the ontological status of sound recordings, the intersection of traditional and digital sound technologies, and the preservation of cultural heritage through both artistic and technological approaches. His work often examines how sonic mediations transform aesthetic experiences and cultural expressions. Analysis of his publications reveals a consistent trajectory exploring the relationship between technology and sonic expression, with recent work incorporating artificial intelligence applications in document preservation. His research demonstrates an interdisciplinary approach that combines artistic practice with scholarly inquiry, particularly evident in his contributions to the Journal for Artistic Research. Barlindhaug is actively involved in multiple research initiatives: Engaging Conflicts in a Digital Era (ENCODE) Worlding Northern Art LAMCOM – Libraries, archives, and museums in the community His scholarly output includes both traditional academic publications and creative works, reflecting his position at the intersection of artistic practice and academic research. His contact information is available through the university directory at gaute.barlindhaug@uit.no.
Christian Jung is a Research Associate at the Chair of Fundamental Philosophical Questions in Theology at the Catholic University of Eichstätt-Ingolstadt until August 31, 2024. He has held numerous academic positions including Lecturer at the University of Salzburg, University of Frankfurt, and University of Erfurt, specializing in medieval philosophy, mysticism, and German idealism. His educational background is exceptionally diverse, having earned a Doctorate magna cum laude in Philosophy from Heidelberg University (2010) with a dissertation on Aristotle's theory of the human intellect, a Bachelor of Arts in Solo Singing from the Anton Bruckner Private University Linz (2008-2013), and a Bachelor of Arts in Instrumental and Vocal Pedagogy from the University of Music and Performing Arts Vienna (2009-2014). His multilingual abilities include German (native), English, French, Italian, Latin, Greek, Sanskrit, and several other ancient languages. Jung's research primarily focuses on Meister Eckhart's philosophical mysticism, Aristotle's intellect theory, and the intersection of mysticism with German idealism. His work demonstrates a unique synthesis of historical scholarship with philosophical analysis, particularly examining how medieval mystical thought intersects with contemporary philosophical concerns. He has made significant contributions to understanding Eckhart's Parisian Questions and their philosophical implications. His publication record reveals a consistent trajectory exploring the boundaries between philosophy and theology, with particular attention to the conceptual frameworks of mysticism across different historical periods. Jung's scholarship shows increasing engagement with comparative approaches, examining connections between Christian mysticism, Jewish thought, and philosophical traditions from India. Erwin Schrödinger Fellowship from the Austrian Science Fund (FWF) Rome Fellow of the Austrian Academy of Sciences Junior Fellow at the Max Weber College in Erfurt Jung has received substantial research funding, most notably the Erwin Schrödinger Fellowship from the Austrian Science Fund for his project 'Meister Eckhart's Early Parisian Questions in Context' (2015-2019). His academic service includes membership in several scholarly societies including the Görresgesellschaft, Meister-Eckhart-Gesellschaft, and Gesellschaft für Philosophie des Mittelalters und der Renaissance. He has been actively involved in the Eranos Conferences in Ascona, contributing to interdisciplinary dialogues between depth psychology and philosophical theology.
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.
Colter Harper is a Research Assistant Professor in the Department of Anthropology at the University at Buffalo's College of Arts and Sciences, specializing in ethnomusicology with dual expertise as a performing guitarist. His work bridges academic research and musical practice, focusing on West African traditions and African American jazz history through interdisciplinary anthropological frameworks. His educational credentials include: PhD in Music (Ethnomusicology) from the University of Pittsburgh (2011) BA from Duquesne University Harper's research investigates the socio-cultural dimensions of music across Ghana and Pittsburgh, examining jazz historiography, Highlife evolution, traditional Seperewa performance, and proverb-based analytical frameworks. His fieldwork at the University of Ghana explored contemporary music production within audio archiving contexts, while Pittsburgh research analyzes Black musical labor and neighborhood narratives through jazz's social history. Current projects address pitch cognition in African instruments, cultural sustainability of music archives, and intellectual legacies of scholars like J.H. Kwabena Nketia. Publication trends reveal consistent thematic focus across 15+ years: West African music studies (40%), Pittsburgh jazz historiography (30%), and theoretical frameworks for ethnomusicological analysis (30%). Key subfields include oral tradition transmission, cultural labor dynamics, and decolonial approaches to music archiving, with recent work expanding into cognitive analysis of traditional instruments. Scientific recognition includes: Fulbright Scholar award (2020) for research at the University of Ghana's Department of Music
