Robert Quinney is an Associate Professor and Tutorial Fellow in Music at New College, University of Oxford. He serves as Director of the renowned Choir of New College and maintains an active career as a solo organist and guest conductor. His roles include lecturing on Techniques of Composition and Choral Performance at the Oxford Faculty of Music, alongside teaching historical topics on J.S. Bach's keyboard music. Education: Undergraduate and graduate studies at King's College, Cambridge. Early career included positions at Westminster Cathedral and Westminster Abbey, followed by directorships at Peterborough Cathedral and Oxford. He directs the Edington Festival of Music within the Liturgy, blending performance with liturgical context. Research focuses on Bach's keyboard works and their reception in sacred vocal music, with New College Choir's performances of Bach cantatas in 18th-century Lutheran liturgical frameworks exemplifying this work. His recordings span Renaissance, Baroque, and Romantic repertoires, emphasizing historically informed performance practices. Performance highlights include solo organ recitals, guest conducting with BBC Singers, and collaborations with ensembles like The Sixteen. Compositions include organ works (e.g., Orgelbüchlein Project) and choral pieces such as the Short Service.
Magdalena A. Stern-Baczewska is a Senior Lecturer in Music at Columbia University and Director of its Music Performance Program. A renowned pianist and harpsichordist, she balances academic teaching with an international performing career, blending traditional classical repertoire with innovative跨界 projects. Born in Poland, her early training under state restrictions contrasted sharply with later freedoms, enabling collaborations with figures like composer Tan Dun and experimental works like Hip-Hopsichord . Her Music for Dreams series, developed with sleep medicine insights, combines therapeutic intent with classical reinterpretations. Education highlights include degrees from Mannes College and Manhattan School of Music, culminating in a doctoral dissertation on Bach’s cantabile style. Awards include Poland’s Minister of Culture honor and Yamaha Artist status. Teaching spans global masterclasses using cutting-edge Remote Lesson Yamaha Disklavier technology. Her programming often features underrepresented composers like African-American figures Margaret Bonds and Florence Price, reflecting post-2020 commitments to equity. Recent pandemic-era initiatives include virtual music appreciation programs for seniors and Bach@Home lectures. She currently serves as Artistic Director for the Kosciuszko Foundation Chopin Competition and the BlueSleep Music label.
Stewart Smith is a Senior Lecturer at the Western Australian Academy of Performing Arts (WAAPA), part of Edith Cowan University. He leads the Centre for Keyboard Heritage and Performance Research and serves as assistant organist at St George's Cathedral in Perth. Previously, he held leadership positions as head of department and Dean of Music at WAAPA, but has returned to focus on teaching and research. Master of Music, Royal Academy of Music and London University Certificate IV in Assessment & Workplace Training, TAFE WA (2006) Smith's research spans historical musicology, early music, performance practice, improvisation, and historical keyboard instruments, with particular focus on Baroque repertoire and English music from 1700-1850. His work uniquely bridges scholarly research with practical performance, exploring how historical understanding informs contemporary interpretation. He has developed significant expertise in reception history, examining how musical works have been understood and performed across different eras. Analysis of his recent publications reveals consistent exploration of performance authenticity, particularly regarding Baroque practices. His work demonstrates increasing interdisciplinary approaches, connecting musicology with cultural studies, instrument history, and cross-cultural influences. The research shows particular strength in keyboard performance traditions and their evolution. Solo harpsichord recital for ABC's Sunday Live voted one of the year's best broadcasts Five-CD set of French Baroque music on ABC Classics label received international acclaim Smith has secured substantial research funding, including a major Australian Research Council grant for French Baroque research and recent significant grants from the Feilman Foundation ($350,000) and Wright Burt Foundation ($100,000) for keyboard instrument restoration. He actively supervises 5 current PhD students and has guided numerous completed research projects across musicology, performance practice, and historical instruments. As director of the Centre for Keyboard Heritage and Performance Research, he oversees projects focused on historical keyboard instruments and their performance contexts, including the restoration of a 1786 Kirkman harpsichord. Smith maintains an international performance profile, with recent work including Celtic Baroque interpretations, experimental Vivaldi performances, and Ligeti's Volumina. His performance career spans collaborations with major ensembles including the Orchestra of the Antipodes, Pinchgut Opera, and all Australian state symphony orchestras, alongside international appearances at prestigious venues including Westminster Abbey and St Paul's Cathedral.
Dr. Ulrich Bartels is a full-time research associate at the Institute for Music and Musicology, University of Hildesheim, affiliated with the Faculty of Cultural Studies and Aesthetic Communication. He has been associated with the university since 1993 (initially as a lecturer, transitioning to research associate in 2005) and previously taught at the University of Göttingen (2005–2008). His doctorate (1991, University of Göttingen) focused on Wagner's compositional sketches for Tristan und Isolde . Bartels' research centers on historical musicology, editorial philology, and musical interpretation, with emphasis on: Johann Sebastian Bach (critical editions of keyboard works) Ludwig van Beethoven (performance analysis) Richard Wagner (sketch studies, dramaturgy) Piano music and editorial practices His publications include critical editions of Bach's keyboard works (e.g., Italienisches Konzert , French Suites) and extensive scholarly reviews. Bartels' recent reviews (2020–2025) predominantly analyze classical music editions, Wagnerian scholarship, and Beethoven performance, reflecting his expertise in 19th-century repertoire, urtext practices, and music criticism.
AHMET BURAK BASMACIOĞLU is a Professor at Anadolu University State Conservatory's Music Department since 2023. He has held academic positions at the same institution since 1992, including Associate Professor (2010-2023) and Lecturer (1992-2010). His work focuses on early music performance , keyboard pedagogy , and hermeneutics in historical performance . 1992: Hacettepe University undergraduate 1994-1996: Postgraduate at Anadolu University 1996-2003: Master's and PhD in Piano at Anadolu University 1998-2006: Specialization in Early Music at Strasbourg Conservatory His research areas include historically informed performance , baroque keyboard , and basso continuo . He has supervised 6 theses on topics like Bach adaptations and ornamentation systems. His recent publications analyze French Baroque ornaments (2022) and microtonal keyboards (2023), while his conference work explores hermeneutics in early music . As an active performer, he has led harpsichord and organ recitals since 1992, including collaborations with Istanbul Symphony Orchestra (2024) and Ankara Music Festival (2024). He also contributes to academic journals as Special Issue Editor for the International Journal of New Trends in Arts, Sports & Science Education (2022-2024).
Peter Watchorn is a part-time faculty member at Boston College and affiliate lecturer at the Faculty of Divinity. An Australian-born harpsichordist with over 40 years of performance experience, he specializes in Baroque keyboard music and historical instrument construction. His research focuses on J.S. Bach's harpsichord works and 17th-century composers, with recordings of complete Bach compositions. He co-founded the Musica Omnia label and the Boston Bach Ensemble for choral performances. Watchorn teaches courses in music history including Introduction to Music, Baroque music, and specialized Bach studies. His scholarly work includes a biography of harpsichordist Isolde Ahlgrimm.
David Howie is a Lecturer in Collaborative Piano at the Sydney Conservatorium of Music, University of Sydney, where he has been affiliated since 1992. He holds a BMus and GradDipMus(Acc) in accompaniment. Prior to returning to Australia, he was Head of Keyboard Studies at King's College in Somerset, England. His career spans over three decades of teaching and performing internationally. Education: Studied piano under Sonya Hanke and Gordon Watson, later specializing in accompaniment with David Miller and Paul Hamburger. Affiliations: Sydney Conservatorium Ensemble Unit member since 1992. Research interests focus on collaborative piano techniques, chamber music performance practices, and promoting Australian contemporary repertoire through his HD Duo partnership with saxophonist Michael Duke. They released Australian Portrait (2012) and The Fairer Sax , exploring Australian composers and female composers' works. Performance highlights include collaborations with artists like Stanley Drucker, Kamahl, and Dominica Matthews across Europe, America, Asia, and Australia. Recent recordings include Bird Spirit Dreaming (2024) and Music of the Commonwealth (2021), showcasing cross-cultural musical fusions. Grants: 2017 Australian Elizabethan Theatre Trust grant for commissioning new works with HDDuo. Labs/Teams: Co-founder of HD Duo, pioneers of Australian music for saxophone and piano.
Claire Chevallier (born 1969) is a French pianist specializing in historical keyboard performance, currently teaching fortepiano at the Conservatoire Royal de Bruxelles since 2004. She maintains a significant collection of six historical pianos spanning 1842-1920 and is renowned for her expertise in period performance practice from the classical period through French masters of the 20th century. Chevallier studied piano at the musical academies of Nancy, Strasbourg (with Hélène Boschi), and Paris (with Bruno Rigutto), while simultaneously pursuing studies in mathematics and physics. She continued her musical education at the Conservatoire Royal de Bruxelles with Jean-Claude Vanden Eynden and Guy Van Waas, where she was awarded first prize in piano and chamber music. Her fascination with the fortepiano developed through a master class with Jos van Immerseel, leading her to independently study the historical background, construction, and maintenance of these instruments. As a performer, Chevallier is highly acclaimed for her solo recitals, chamber music, and concertos across major European venues including Cité de la Musique in Paris, Concertgebouw Amsterdam, and BOZAR in Brussels. She has developed significant expertise as both a fortepiano specialist and performer, bringing historical instruments to theater productions and interdisciplinary collaborations. Since 2013, she has focused research on Russian piano music and instruments, performing Moussorgsky's works on a Becker piano from 1875. Chevallier's recordings include award-winning albums dedicated to Satie (2008), Liszt (2011), and Moussorgski (2016), as well as the "Piano Works Debussy" (2020). Her work spans French composers like Ravel, Debussy, Satie, and Poulenc, with landmark recordings including Ravel's "Concerto pour la main gauche" with Anima Eterna orchestra. First prize in piano and chamber music, Conservatoire Royal de Bruxelles Member of jury, International Fortepiano Competition (2007, 2010) Member of jury, Liszt Competition Utrecht (2014) Chevallier is celebrated for her interdisciplinary collaborations with artists across dance, theater, and visual arts, including notable projects such as "Chez Bricktop" with Claron McFadden, "Mata-Hari," and "Piano Works Debussy" with dancer Lisbeth Gruwez. She has worked extensively with performing artists including Rosas, David Claerbout, Josse De Pauw, and Jan Lauwers (Needcompany), creating innovative performances that bridge historical music practice with contemporary artistic expression. Her expertise extends to piano tuning and maintenance of historical instruments, documented in her film "CLAIRE CHEVALLIER tunes." She has served as "Friend in Music" at Concertgebouw Brugge (2008-2009) and held a three-year residency at AMUZ Antwerp starting in 2009.
Eric Mentzel serves as Professor of Voice at the University of Oregon School of Music and Dance, specializing in historically-informed vocal performance. An internationally acclaimed concert soloist, he has performed with leading conductors including Andrew Parrott and Howard Arman at venues such as the Amsterdam Concertgebouw and Edinburgh Festival across Europe, Japan, and Australia. His extensive discography of nearly 60 recordings for labels like Sony and Harmonia Mundi has earned multiple international awards including the Preis der deutschen Schallplattenkritik and Diapason d'Or. Mentzel earned his Master of Fine Arts in Early Music Performance from Sarah Lawrence College (1983) and Bachelor of Music in Music Education from Temple University College of Music (1980). His academic training established the foundation for his expertise in historical performance practices spanning medieval to contemporary repertoire. His research focuses on Music Performance, Vocal Performance, Choral Studies, and Historical Performance Practice, with particular emphasis on medieval and Renaissance vocal music including works by Hildegard von Bingen and 15th-century German songbooks. He has also premiered contemporary compositions by Alfred Schnittke, Henri Pousseur, and Garrett Fisher, demonstrating exceptional versatility across historical periods. Mentzel's recent recordings (2001-2016) reveal a consistent scholarly approach to medieval and Renaissance repertoire, especially German and French sources from the 12th-15th centuries, alongside significant contemporary opera projects. His critically acclaimed Vox Iberica series and Hildegard von Bingen recordings have significantly shaped modern understanding of early music performance practices. His major awards include: Preis der deutschen Schallplattenkritik (German Grammy) Diapason d'Or de l'Annee Choc de Musique Diapason d’Or Dix de Repertoire At the University of Oregon, Mentzel mentors undergraduate and graduate students in voice performance and historical practices. He has held guest professorships at the Schola Cantorum in Basel, Royal Conservatoire in The Hague, and University of Music and Performing Arts in Stuttgart, while directing workshops at Vancouver Early Music Programme and Amherst Early Music. Mentzel founded the ensemble Vox Resonat in Germany (1998), re-forming it in Oregon (2013) for innovative programs including Day of the Dead concerts in Eugene's Masonic Cemetery. Since 2015, he has served as Artistic Director of the Seattle Medieval Women’s Choir and maintains long-standing collaborations with ensembles including Sequentia and Huelgas Ensemble.
Joyce Wei-Jo Chen serves as Assistant Professor of Historical Keyboards at the University of Oregon's School of Music and Dance, where she bridges acoustics, history of science, and historical instrument craftsmanship. A native of Taiwan and internationally active harpsichordist, she performs across the United States, Europe, and Asia while advancing research on seventeenth-century sonic epistemologies. Her academic credentials include: Ph.D. in Historical Musicology & Interdisciplinary Humanities (expected 2024), Princeton University M.A. in Historical Musicology (2020), Princeton University D.M.A. in Harpsichord Performance (2017), Stony Brook University M.M. in Harpsichord Performance (2013), Stony Brook University B.S. in Mechanical Engineering (2011), UC Berkeley Chen's research centers on the material culture of sound, examining how artisanal knowledge shaped acoustical theory through hands-on engagement with historical instruments. Her dissertation fieldwork included a four-month apprenticeship at Zuckermann Harpsichords International—the last U.S. harpsichord factory—where she constructed her own instrument while investigating sensory aesthetics in global scientific networks. Recognized with the Delaware Division of Arts' 2018 Individual Artist Fellowship and Early Music America's 2019 Emerging Artist Showcase, she also pioneers access initiatives through collaborations with HBCUs. Her upcoming solo album features English virginalist repertoire, extending her scholarly work into performance practice. Chen has previously taught at St. Joseph's University, University of Delaware, and Delaware State University, developing the HBCU Early Music Access Project with Early Music America and Princeton GradFUTURES. Her mechanical engineering background informs innovative approaches to instrument design, including a senior thesis project on self-tuning harpsichord mechanisms.
Greg Satterthwaite is an Assistant Professor of Jazz Piano and African American Studies at the University of Georgia , affiliated with the Hugh Hodgson School of Music . His work bridges jazz improvisation , Afro-Caribbean musical traditions , and African American cultural identity . Doctor of Musical Arts, University of North Texas Master of Arts in Commercial Music, Florida Atlantic University Bachelor of Music, University of Miami His research and creative output focus on jazz education , cultural hybridity in music , and African diaspora influences . He co-founded JazzSpire.org , a platform for arts advocacy and creative education. At the 2021 Jazz Education Network Conference, he presented a critical analysis of McCoy Tyner’s early recordings, reflecting his scholarly approach to jazz history. His 2023 album Savannah Blue explores Georgia’s coastal culture and Jamaican roots , while his 2024 release Crossing Lines fuses jazz improvisation with Afrobeats, reggae, and neo-soul . Recipient of South Arts 2023 Jazz Road Artist Award Collaborated with Grammy-winning artists (Terreon Gully, Delbert Felix) Performs at major festivals (Swan City Piano Festival, Denton Jazz Festival) As an educator, Satterthwaite integrates mentorship from jazz legends (Stephen Scott, Ron Miller) into his teaching, emphasizing jazz as a living tradition and a tool for cross-cultural storytelling .
Lilo Kunkel currently serves as a Senior Lecturer in Music Theory at the University of Music Würzburg. Her academic roles include teaching composition , ear training , and practical piano playing for schools , with specific focus on jazz applications in classical contexts. She holds a doctorate from 2003 with a thesis on Max Reger's piano songs . Doctoral advisor: Prof. Dr. Ulrich Konrad Current affiliation: Fachgruppe Komposition/Musiktheorie Specialization areas: Jazz-oriented choral improvisation, Gershwin's harmonic structures, Mendelssohn/Bach harmonization Her scholarly work combines German Lied traditions with jazz improvisation techniques , particularly evident in her concert series "Jazz on the Pipe Organ." Her publications reveal systematic analysis of: 20th-century tonal developments Impressionist harmonic systems Reger's chromatic language Nystedt's Nordic choral methods Gershwin's Broadway-to-classical transitions
Robert Woolley is a Harpsichord and Clavichord Professor at the Royal College of Music within the Historical Performance school. A leading European performer and teacher of early keyboard instruments, he has made significant contributions to the study and performance of Baroque and Renaissance music. Primary Affiliation: Royal College of Music Roles: Director of Early Music Department (1985–2006), Professor of Harpsichord and Clavichord His expertise spans solo and ensemble performance on harpsichord, organ, and fortepiano, with notable recordings of composers like Purcell, Bach, Scarlatti, and Froberger. He co-founded the Purcell Quartet in 1984 and has performed internationally at major festivals. Students under his mentorship include prominent figures in historical performance, such as Laurence Cummings (Head of Historical Performance, Royal Academy of Music) and multiple Intercollegiate Broadwood Harpsichord Competition prizewinners.
Dr. Mathew Dalgleish is a Senior Lecturer in Games Audio and Technical Design at Staffordshire University since January 2023. Previously, he held roles as Senior Lecturer at the University of Wolverhampton (2010–2022), course leader for programs in Music Technology, and visiting researcher at the Open University’s Music Computing Lab (2009–2011). He earned a CETL-funded PhD (2013) exploring David Tudor-inspired digital music interface (DMI) design. His research focuses on game sound, accessible technologies, sound synthesis, and neglected histories of electronic music. Notable projects include spatial sound design for theater, accessible game controllers, and modular synthesizer innovations. Education: Began sculpture studies at Northumbria University, transferred to Coventry University for completion. Master’s in programming/physical computing under Rolf Gehlhaar, followed by a PhD in DMI design. Research interests span game audio, controller design, assistive technologies, and interdisciplinary projects blending music and technology. He has secured over £300,000 in grants as PI/CI and collaborates with industry partners. Awards include Senior Fellow of the Higher Education Academy (SFHEA). His work bridges academic, artistic, and applied contexts, emphasizing inclusive design and innovative interfaces. Recent articles highlight trends in accessibility (e.g., video game controllers), procedural audio in theater, and modular synthesizer design. He actively contributes to conferences and publications, addressing topics from multisensory cinema to haptic feedback systems for musicians.
Dr Paul Rickard-Ford is a Senior Lecturer and Chair of the Piano Unit at the Sydney Conservatorium of Music, The University of Sydney. He holds a BMus from Melbourne Conservatorium, ARCM from Royal College of Music, and a PhD from the University of Adelaide on Schumann’s late piano works. His career spans international performances, recordings, and teaching, marked by awards such as the 2017 Vice-Chancellor’s Award for Excellence in Teaching and the 1988 Australia Achiever award. His pedagogical philosophy emphasizes 'Freedom and Control' in piano technique and creativity. Research interests include Romantic piano repertoire, performance practice, and pedagogy. He has recorded extensively, including Liszt’s Annees de Pelerinage and Schumann’s late works. Collaborations with Natalia Sheludiakova include world premieres like Carl Vine’s Piano Sonata for Four Hands . His students excel in global competitions, with notable wins in Sydney International Piano Competitions (2012, 2016). He tours Asia annually for masterclasses and performs on ABC Classic FM. Publications include Dr Paul's Treasure Chest | Book 1 (2018) and a chapter in Australian Pianists: A Cross-section of Performers (2010). Awards also include the Clarke Scholarship (London) and Dannreuther Prize for concerto performance. His academic roles involve examiner duties for AMEB and guest lecturing on piano pedagogy.
