Live Computer Music Professors and Supervisors

Stefan Zintelمشاهده پروفایل

مدرس

University of Fine Arts SaarGermany

Stefan Zintel is a lecturer and sound artist at Hochschule der Bildenden Künste Saar (HBK Saar), where he has headed the Studio for Acoustic Communication since 1996. Born in 1967 in St. Ingbert, he lives and works in Saarbrücken, Saarland, Germany. Previously, he taught electronic music at Saarbrücken University of Music for ten years. Zintel's research interests center on sound art, electronic music composition, real-time audio processing, and therapeutic sound applications. His work explores the intersection of technology and acoustic communication, with a particular focus on Pure Data (Pd) software and sound installations. Recent projects include 'Sounding Vera Molnár,' which examines human-machine relationships through AI-generated interviews and quadraphonic sound interventions. Zintel's artistic output shows a clear evolution from early electronic music acts like Caterpillar and SCAN to contemporary therapeutic sound applications. His recent publications focus on white noise, pink noise, and natural soundscapes designed for sleep, focus, and tinnitus relief, demonstrating practical applications of his acoustic research. Key artistic achievements: International success since early 1990s with tracks on over 300 compilations Founder of Tildmusic® label (2006) with extensive catalog of therapeutic sound applications Sound installations and performances since 1996, including 'Sounding Vera Molnár' (2024) Extensive teaching career spanning over 25 years in audio technology and electronic music Zintel maintains an active practice balancing academic instruction with creative production. His Studio for Acoustic Communication serves as both a teaching facility and research laboratory, while Tildmusic provides the commercial outlet for his applied acoustic research. This integration of academic and artistic work creates a unique ecosystem where theoretical exploration directly informs practical applications in therapeutic sound technology.

پروفایل رسمی دانشگاه

Marko Cicilianiمشاهده پروفایل

استاد

University of Music and Performing Arts GrazAustria

Marko Ciciliani is a Professor of Composition, Computer Music, and Sound Design at the University of Music and Performing Arts Graz (KUG), affiliated with the Institute for Electronic Music and Acoustics. His role encompasses interdisciplinary research and artistic creation at the intersection of technology and performance. His research focuses on: Electronic & Audiovisual Art : Integrating music with live video, light projections, and lasers. Transmedia Storytelling : Developing speculative narratives across performances, installations, and publications, as seen in projects like 'Why Frets? 2083'. Gamified Performance : Exploring interactive audiovisual experiences through projects like GAPPP (2016–2021). Notable outputs include 5 CDs, 4 multimedia books, and the transmedia publication 'Why Frets? 2083' (2023), which examines fictional technocultural histories through a blend of book and digital media. He directs creative work from the Institute for Electronic Music and Acoustics, utilizing its resources for experimental sound and media projects.

پروفایل رسمی دانشگاه

Axel Berndtمشاهده پروفایل

استاد

Ostwestfalen-Lippe University of Applied SciencesGermany

Professor Axel Berndt holds a Professorship for Modeling of Linked Virtual Data Spaces at Paderborn University's Musicology Seminar Detmold/Paderborn through KreativInstitut.OWL since 2023. His interdisciplinary work bridges musicology, computer science, and digital media, with appointments spanning multiple institutions including OWL University of Applied Sciences, University of Music Detmold, and Technischen Universität Dresden. His research focuses on music informatics , particularly sonification (data-to-sound conversion), AI in music composition , and human-technology interaction in musical contexts. Recent projects include coral reef sonification (winning the 2025 Data Sonification Award), Mozart Deconstructions using AI, and the BMBF-funded IdiN project developing digital sheet music systems for opera theaters. Professor Berndt's publication trends reveal a consistent focus on practical applications of music technology: 2024: FlowScore (MEI streaming), Arpeggiatorum (audio-controlled MIDI), Mozart Deconstructions 2023: Sonification as artistic composition technique, Generative Art Conference publications His scientific recognition includes: Data Sonification Awards 2025 - Climate Change Category for 'The Reef' BMBF DATIpilot Funding for IdiN project (2024) As Principal Investigator for the BMBF-funded IdiN project with Deutsche Oper Berlin, Professor Berndt leads research in human-technology interaction for cultural institutions. His lab develops practical solutions like Arpeggiatorum for pipe organs and the LOSCOPe system for opera score management, with strong industry connections to the games industry, organ building, and museum technology sectors. KreativInstitut.OWL serves as his primary research hub, fostering collaborations between OWL University of Applied Sciences, Detmold University of Music, and Paderborn University. Current projects include Interface Modules for Musical XR, OCANIA networked performances, and ASCIImage Rhapsody live coding installations.

پروفایل رسمی دانشگاه

Rositsa Bechevaمشاهده پروفایل

دانشیار

New Bulgarian UniversityBulgaria

Assoc. Prof. Rositsa Becheva, PhD is a faculty member at Nov Bulgarian University's Faculty of Music, Department of Music, specializing in electronic and computer music. With a PhD in Musicology and Music Art (2004), she has been instrumental in developing electronic music education in Bulgaria since 2000. Her educational background includes: Bachelor's in Piano (1983, Plovdiv Music School); Master's in Music Theory (1990, State Music Academy 'Prof. Pancho Vladigerov'); Postgraduate Qualification in Music Pedagogy (1997, Academy for Musical and Dance Arts-Plovdiv); and PhD (2004, NBU). Becheva's research focuses on digital arts, sound design, computer music, synthesizer methodology, and music technology integration in pedagogy. She pioneered Bulgaria's first synthesizer teaching methodology and developed innovative courses including 'Electronic Music Interpretation' and 'E-sound – live electronic, sound design and music production'. Her publication portfolio spans monographs like 'In the World of Simo Lazarov's Electronic Music' (2018) to technical papers on sound production, noise emancipation, and multimedia integration. Her work demonstrates consistent exploration of electronic sound organization, timbre concepts, and performance practices. Crystal Lyre Award 2016 (Sound and Sound Design) Book of the Year 2018 Special Award New Bulgarian Music 2019 Award for Musicology Becheva actively mentors students through projects like the 'E-SOUND AND VISION' concert series and the 'Electronic Music Interpretation' seminar. She co-founded NBU's 'Stanislav Stanchiev-Stanley' Research and Practice Center for Computer Music and Sound Design, organizing annual events including the 'Universe of Computer Music' festival since 2000. Her creative work integrates electronic music with visual arts through multimedia projects and interdisciplinary happenings.

پروفایل رسمی دانشگاه

Lise Gagnonمشاهده پروفایل

استاد

University of SherbrookeCanada

Lise Gagnon serves as a Full Professor in the Department of Psychology and Director of the Psymusa Research Laboratory (Research Laboratory on Clinical Psychology of Music and Aging). Her teaching encompasses doctoral courses in Adult Clinical Psychology—including Interpersonal Relations (PSY959), Psychological Assessment (PSY903-906), and Psychodynamic Approach (PSY918)—alongside undergraduate instruction in Cognitive Processes (PSY346) and Neuropsychology (PSY445). Her research investigates psychodynamic frameworks in human relationships, normal and pathological cognitive aging, and innovative interventions for Alzheimer's disease. Key foci include psychotherapeutic and musical therapies for patients, emotional recognition through facial/musical cues, and supportive strategies for neurocognitive disorder caregivers. This interdisciplinary work bridges clinical psychology, gerontology, and music therapy to address aging-related cognitive challenges. Recent publications (2016–2018) reveal a strong emphasis on assistive technologies for Alzheimer's care, including electronic agendas and tablet-based cognitive rehabilitation tools. Her team also contributes neuropsychological assessment standards for French-speaking populations and explores choral singing's multidimensional benefits for elderly individuals with autonomy impairments, highlighting non-pharmacological approaches to enhance quality of life. As Director of the Psymusa Laboratory, she leads research integrating music therapy with clinical psychology to develop evidence-based interventions for aging populations, maintaining active collaboration with healthcare systems through supervised doctoral internships (PSY995).

پروفایل رسمی دانشگاه

Paul Rhysمشاهده پروفایل

مدرس ارشد

Anglia Ruskin UniversityUnited Kingdom

Paul Rhys is a Senior Lecturer at Anglia Ruskin University's Cambridge School of Creative Industries within the Faculty of Arts, Humanities, Education and Social Sciences. A composer and conductor specializing in computer-integrated music, his works span piano concertos to birdsong transformations and have been performed internationally, broadcast on radio, and recorded on CD. His academic credentials include: PhD in Composition, Keele University (1996) Diploma in Digital Music Technology, Keele University PGCert Higher Education, Anglia Ruskin University BA (Hons), Oxford University Rhys' research centers on Composition, Microtonality, Nineteen-note equal temperament, and Granular synthesis. He has developed specialized software for fractal micropolyphony and 19-note tuning performance, creating innovative works like the 19-note trumpet Dialogue and choral collections in alternative temperaments. His scholarship bridges computer science and music theory through publications in Computer Music Journal and conference proceedings. Analysis of his 15 most recent publications reveals consistent focus on microtonal systems (particularly 19-note equal temperament) across diverse formats including choral works, instrumental compositions, software development, and theoretical explorations of granular synthesis. The trajectory demonstrates increasing integration of computational methods with traditional composition techniques. His honors include: Wingate Foundation Scholarship for Northwestern University studies Visiting Fellowship at University of Western Australia Rhys has supervised seven PhD candidates to completion (six in Music Composition, one in Cross-Cultural Composition), served as External Examiner for Queen's University Belfast's MA Composition program, and maintains active research roles through StoryLab. His ongoing projects include software refinement for microtonal performance and new choral works in 19-note tuning. He directs performances through StoryLab and collaborates with ensembles like the K239 Orchestra, focusing on realizing complex microtonal works through specialized instrumentation and computer interfaces.

پروفایل رسمی دانشگاه

Iain McCurdyمشاهده پروفایل

استادیار

Maynooth UniversityIreland

Dr. Iain McCurdy is an Assistant Professor in the Department of Music at Maynooth University. A composer originally from Belfast, his career includes international residencies at EMS (Stockholm), NK (Berlin), and ZKM (Karlsruhe). His work has been commissioned by the Arts Council of Northern Ireland, Sonic Arts Network, and Walter Fink Preis, and performed globally. His research explores: Electroacoustic composition and computer music Sensor technology integration in musical interfaces Hardware hacking for creative applications Visual reinforcement in instrumental composition He actively promotes open-source software in his teaching and creative practice. Dr. McCurdy's publication record includes co-editing 'The Csound Journal', focusing on computer music synthesis and programming. His scholarly output reflects consistent engagement with contemporary music technology and interdisciplinary approaches to composition. While not currently leading a formal lab, his work involves developing innovative human-computer interfaces for musical expression. He teaches across undergraduate and graduate programs in music technology at Maynooth University.

پروفایل رسمی دانشگاه

Bobby Chastainمشاهده پروفایل

استادیار بالینی

Purdue UniversityUnited States

Bobby Chastain serves as Chair and Assistant Professor of Practice in Film and Video Production at Purdue University's Rueff School of Design, Art, and Performance, while also holding interim directorship of the film program and assistant directorship of Hall of Music Productions where he leads academic outreach. His educational background includes: Ph.D. in Technology and Education from Purdue University M.S. in Computer Graphics from Purdue University B.A. in Theatre Technology from Purdue University Chastain's research centers on experiential learning at the technology-arts intersection, with emphasis on visual storytelling methodologies and innovative curriculum development. His academic work spans the full spectrum of film production including cinematography, visual effects, directing, producing, and live event production, with particular focus on integrating emerging editing technologies into pedagogical frameworks. Prior industry experience includes special effects work on major films like Dante’s Peak (1997), GO! (1999), and A Better Way to Die (2000) as a licensed pyrotechnic technician in Los Angeles. He maintains professional certifications as an Avid Media Composer and DaVinci Resolve trainer, leveraging this industry expertise in academic settings. At Purdue since 2000, Chastain has evolved from stage technician to academic leader, editing landmark documentaries including Amelia Earhart: Romance of Flight and the 40th Anniversary of Computer Science at Purdue while developing the film studies program since 2004 through course creation in editing, cinematography, and live production. His dual roles bridge academic instruction with operational leadership in university media production.

پروفایل رسمی دانشگاه

Daniel Herbertمشاهده پروفایل

مدرس

Canterbury Christ Church UniversityUnited Kingdom

Daniel Herbert serves as a Lecturer in Music Production at Canterbury Christ Church University within the School of Arts, Humanities, Media and Creative Digital. Based in Coleridge House (CHf08), Canterbury, he focuses on the technical and creative aspects of contemporary music creation. His research centers on the fusion of computational methods with artistic expression, specifically: Iterative and algorithmic music composition techniques Real-time and non-real-time audio processing systems Digital media integration in performance contexts Poetry generation through computational models Interactive music production frameworks Cross-disciplinary applications of music technology Recent publications reveal a consistent trajectory toward collaborative, technology-driven artistic practices that challenge conventional boundaries between human creativity and machine processes, with particular emphasis on live performance systems and generative text-music interfaces.

پروفایل رسمی دانشگاه

Jachin Edward Poussonمشاهده پروفایل

مدرس

Jāzeps Vītols Latvian Academy of MusicLatvia

Jachin Edward Pousson is a composer, musician, and guest lecturer in the Department of Musicology at the Jāzeps Vītols Latvian Academy of Music (JVLMA), where he also serves as a researcher in Systematic Musicology while pursuing doctoral studies. His work bridges acoustic composition with cutting-edge technology across performance, instrument design, and interactive systems. His educational background includes a Master's degree in Composition earned in 2015 from both the Royal Danish Academy of Music in Copenhagen and JVLMA. Since relocating to Riga in 2012, he has produced 21 academic compositions spanning solo to orchestral formats and delivered over 50 performances across diverse contexts from rock festivals to academic venues. Research focuses on Brain-Computer Music Interfacing and audio-reactive visual systems , particularly through his electroacoustic free improvisation trio Endless Roar which projects multi-layered synchronized visuals during performances at experimental festivals, cathedrals, and museums. His technological explorations extend to live electronics and novel musical instrument design. As manager of the Endless Roar trio, he develops performance frameworks integrating real-time audio analysis with immersive projection systems, appearing regularly in experimental music circuits and institutional academic settings across Europe.

پروفایل رسمی دانشگاه