Jonathan Nangle is a Lecturer in Music Technology and Electro-Acoustic Composition at the Royal Irish Academy of Music. His work spans acoustic/electro-acoustic composition, live electronics, installations, and improvisation. Educated at Trinity College Dublin under Donnacha Dennehy, Rob Canning, and later privately with Kevin Volans, his music has been performed by ensembles like RTÉ National Symphony Orchestra and Crash Ensemble. Research interests include spatial music, interactive installations, and hybrid acoustic/digital forms. Notable works include Pause (Ergodos, 2017), Iridescent Cobalt Glow (2015), and our headlights blew softly... which earned a 2009 Rostrum commendation. Awards include dual Irish Rostrum representations (2009/2011) and the 2007 AIC/Music 21 Prize. Recordings span solo piano works to ensemble commissions, often integrating innovative electronic elements. His work has been broadcast internationally and choreographed for stage/film. Current roles include academic teaching and ongoing creative exploration at the intersection of technology and traditional composition.
Alejandro L. Madrid is the Walter W. Naumburg Professor of Music at Harvard University. A distinguished cultural theorist of sound and music, he specializes in Latin American and Latinx studies, blending musicology and ethnomusicology through multi-methodological approaches. His work spans popular, folk, and art musics, with nine books and acclaimed articles establishing him as a leading scholar in Ibero-American music studies. Currently researching sound archives and the aural turn in The Archive and the Aural City: Sound, Knowledge, and the Politics of Listening Authoring a book on Silvio Rodríguez’s Nueva Trova album Días y flores Collaborating with Momenta Quartet on a 5-CD project of Julián Carrillo’s microtonal string quartets for Naxos Scientific Awards : Humboldt Research Award Guggenheim Fellowship Dent Medal Premio de Musicología Casa de las Américas (Cuba) Premio de Musicología Samuel Claro Valdés (Chile) Top honors from AMS, LASA, IASPM, SEM, and ASCAP Foundation As editor of Oxford University Press’s Currents in Latin American and Iberian Music series, he shapes scholarly discourse. Recently served as music advisor to filmmaker Peter Greenaway for Eisenstein in Guanajuato (2015), set in early 1930s Mexico.
Paul Richards is a Research Foundation Professor of Music and head of the composition and theory area at the University of Florida since 1999. He previously served as Visiting Professor at Florida State University (2016) and taught at Baylor University and the University of Texas at Austin. His academic roles include teaching courses in composition, music theory, and orchestration, along with supervising graduate students. He earned a DMA in Composition from the University of Texas at Austin and degrees from the University of Arizona. Education: Doctor of Musical Arts (DMA), Composition, University of Texas at Austin, 1998 Master of Music (MM), Theory and Composition, University of Arizona, 1993 Bachelor of Music (BM), Theory and Composition, University of Arizona, 1991 Research Interests: Richards’ work spans orchestral, vocal, chamber, and theatrical compositions, including operas and wind ensemble pieces. His style blends eclectic influences—from Jewish sacred music to modernist techniques—resulting in works praised for their "strong melodic gift" and innovative orchestration. Commissions have come from prestigious organizations like the Florida Orchestra, Boston Brass, and White Snake Projects. Awards and Recognition: Recipient of numerous international composition prizes, including the St. Mary’s College/Kaplan Foundation Commission Competition and Second Prize in the International Horn Society Composition Competition University of Florida Research Foundation Professorship (2017–2020, 2010–2013) Finalist in the National Opera Association’s Dominic Argento Chamber Opera Competition (2023) Advising and Grants: Richards has advised over 40 graduate students and chaired multiple PhD committees. His grants include support from the University of Florida and the Research Foundation. He has also served as a mentor in composer-in-residence programs, including the Jacksonville Symphony Orchestra’s Fresh Ink Competition. Labs and Collaborations: He co-founded the Florida Contemporary Music Festival (2013–2018), fostering collaboration between composers and performers. His work integrates interdisciplinary projects, such as music for dance and film, and he actively collaborates with choreographers and theater artists.
Christopher Castro serves as an Assistant Professor of Composition at Chapman University's College of Performing Arts. A composer and double bassist from Brooklyn, New York, he combines academic rigor with avant-garde experimentation. Ph.D. in Composition and Theory from University of California, Davis Bachelor of Music from Juilliard School (Double Bass & Composition) His research bridges Western Art Music traditions with contemporary innovations , creating works that merge: Johannes Ockeghem's polyphonic complexity John Coltrane's spiritual intensity Modernist structural experimentation Historical reconstruction techniques Jazz-classical hybrid forms Interdisciplinary performance formats Recent compositions demonstrate trends in flexible instrumentation , text-music relationships , and genre synthesis . His output spans chamber works, orchestral pieces, and vocal compositions with equal mastery. Scientific recognition includes: 2023 Fromm Music Foundation Commission (Harvard University) Chamber Music America's 2021 Classical Commissioning Award As a new music advocate , Castro collaborates with ensembles like: Left Coast Chamber Ensemble (artistic advisory board) New Mexico Contemporary Ensemble Los Angeles Philharmonic's Upbeat Live series Lyris Quartet and Sharon Harms
Ian Quinn is the Allen Forte Professor of Music Theory and Director of Graduate Studies (DGS) at Yale University, within the Department of Music in the College of Arts and Science. He holds a B.A. from Columbia University (1993), M.A. and Ph.D. from the Eastman School of Music (1998, 2004). Prior to Yale, he taught at the University of Chicago and University of Oregon, and was a CASBS Residential Fellow at Stanford (2008-09). His research focuses on tonal harmony, corpus studies, music cognition, and the intersections of mathematics and computation in music theory. He edited the Journal of Music Theory (2004–2011) and co-organized the 2009 Society for Mathematics and Computation in Music conference. He leads the Yale-New Haven Regular Singing (YNHRS) shape-note singing group and serves on editorial boards for Journal of Mathematics and Music and the Northeast Music Cognition Group (NEMCOG). Quinn’s work has earned awards from the Society for Music Theory, including the Emerging Scholar Award (2004) and Outstanding Publication Award (2006/2007). His research spans analytical frameworks for harmonic function, corpus-based studies of tonal systems, and empirical investigations of music perception. He has advised over 15 doctoral students, many now in academic and industry roles. Key collaborations include co-authoring the Oxford Handbook of Corpus Studies in Music (2023) and developing the Yale-Classical Archives Corpus. His work bridges theoretical, computational, and historical approaches to music analysis, with contributions to Science , Music Theory Spectrum , and Perspectives of New Music .
Assoc. Prof. Dr. Sibel Polat is an Associate Professor at Kafkas University State Conservatory, Department of Turkish Folk Music, specializing in vocal pedagogy and ethnomusicology. With a PhD in Music Sciences from İnönü University and Master's degree in Musicology from Atatürk University, she has established herself as a leading scholar in Turkish traditional music education and preservation. Her research focuses on vocal training methodologies, particularly through her innovative 'Polat Vocal Exercises' series across various voice types (Soprano, Alto, Tenor, Bass), examining microtonal singing techniques within the Hicaz makam framework. She investigates cultural transmission in Turkish folk music, regional musical traditions of Eastern Anatolia, and the role of women in preserving intangible cultural heritage. Her work bridges academic research with practical performance applications. Prof. Polat's publication record demonstrates consistent scholarly output with 27 publications including journal articles, books, and conference proceedings. Her recent work includes ethnographic studies of local musicians in Kars region, analysis of Ahiska Turkish musical traditions in Erzurum, and critical examinations of vocal pedagogy practices in Turkish conservatories. Her research shows particular emphasis on practical applications for music education and cultural preservation. 2019 İKSAD Science Awards recipient Healthy Life Festival award (2013) As founder of the Kars-ı Dilbeste Community, she actively promotes regional folk music through performances and community engagement. Her work extends to cultural preservation projects, including documentation of endangered musical traditions in Sarıkamış district. She serves in leadership roles with Kars Ozanlar ve Şairler Derneği (Honorary President) and Turkish Red Crescent Kars Branch, demonstrating commitment to both academic and community service.
Daniel Kidane is a British composer and Visiting Tutor in Composition at the Royal Northern College of Music and University of Cambridge. His works blend multicultural influences with contemporary classical techniques, exploring themes of identity, conflict, and social justice. Key roles include commissions from major orchestras like the BBC Symphony and London Symphony Orchestra, alongside awards such as the Paul Hamlyn Award (2016) and an honorary doctorate from Coventry University (2022). Education: Began violin at age 8, composition studies at Royal College of Music Junior Department Private study in St. Petersburg with Sergey Slonimsky BMus and postgraduate studies at Royal Northern College of Music under Gary Carpenter and David Horne Research Interests: Kidane’s music merges traditional orchestration with modernist innovation. Key themes include multiculturalism (evident in works like Aloud reflecting his Russian-Ukrainian heritage), pandemic reflections ( Be Still ), and socio-political commentary ( Dream Song setting MLK’s texts). His compositional style draws from Russian chant, Messiaen, and Janáček, creating vivid soundscapes that balance tension and resolution. Awards: Royal Philharmonic Society Prize (2013) Paul Hamlyn Award for Artists (2016) Jerwood Composer+ (2018) Coventry University Honorary Doctorate (2022) Current Projects: 2024 violin concerto Aloud with Julia Fischer and London Philharmonic Orchestra. Upcoming works include a cello piece Sarabande and continued exploration of pandemic-era compositions. Labs/Teams: Collaborates with ensembles like Chineke! Orchestra (pioneering BAME representation) and mentors through Music Masters charity.
Dr. John Hails is a Senior Lecturer and Reader in Music at Edinburgh Napier University , where he teaches aesthetics, music psychology, composition, and ethnomusicology. He holds a PhD in Music from Durham University (2008) and has trained under notable composers like Brian Ferneyhough and Richard Barrett. His research focuses on experimental composition, marginal musical practices, and interdisciplinary aesthetics. Educations: Bachelor’s and Master’s training at Durham University and University of Huddersfield PhD by Portfolio of Compositions (Durham University, 2008) Research Interests: John’s work explores unorthodox intonations, fixed media installations, and the intersection of composition with philosophy and ethnomusicology. He actively presents at international conferences on topics like post-structuralist critiques in music education and communal performance practices. Notable Works: His compositions have been performed by ensembles like the London Sinfonietta and broadcast on BBC Radio 3. Key pieces include enlightenment (microtonal trumpet and media) and Nine for ones in nine , reflecting his experimental approach. Awards & Grants: While no explicit awards are listed, his research is funded by Edinburgh Napier University. He is a core member of the Applied Music Research Centre . Supervision & Grants: He has supervised over 15 postgraduate projects, including PhDs on topics like Musical Cultures of Melanesia and Dialogical Music Systems . His supervisory roles span composition, ethnomusicology, and interdisciplinary studies. Labs/Teams: Active in the Applied Music Research Centre , focusing on creative practice and experimental music dissemination.
Aaron Cassidy is an American composer and conductor based in Berlin and Hannover. He serves as Professor of Composition and Director of Incontri – Institut für neue Musik at the Hochschule für Musik, Theater und Medien Hannover. His work emphasizes innovative graphical notations prioritizing physical sound production and non-geometrical rhythm theory. Cassidy’s compositions have been performed globally across 29 countries, with 12 commercial recordings on major labels like Kairos and NEOS. As a conductor, he specializes in contemporary and historical repertoire, leading over 100 world premieres with ensembles such as Ensemble Musikfabrik and ELISION. Notable engagements include the Munich Biennale and Melbourne Recital Centre. His recent research includes a 2025 reflection on non-geometrical rhythm and collaborative Erasmus+ residencies in Klagenfurt. Current projects include works for bassoon, violin-piano duet, and ANAM residency with ELISION in Melbourne (2025). Cassidy’s academic focus bridges compositional theory and performance practice. His research explores notation’s role in shaping musical interpretation, with particular attention to rhythm’s non-metric frameworks. Recent works like Reassessing Non-Geometrical Rhythm (2025) synthesize a decade of theoretical development. His teaching integrates experimental techniques and historical context, fostering innovation in Hannover’s new music institute.
Ajay Kapur serves as Associate Provost for Creative Technologies and Director of the Music Technology program (MTIID) at California Institute of the Arts. With an interdisciplinary background spanning computer science, electrical engineering, and music, he bridges technological innovation with artistic expression through leadership in academic programs and entrepreneurial ventures. His research centers on symbiotic human-machine interaction for artistic creation, particularly exploring computer improvisation with humans through Indian Classical music frameworks. This manifests in developing programmable mechatronic instruments, sensor-based interfaces, and AI-driven systems for musical expression. His work extends traditional techniques while creating new performance paradigms like the globally touring Machine Orchestra and KarmetiK Orchestra. Kapur's recent publications reveal evolving expertise from music robotics to blockchain applications, with significant focus on NFT systems, tokenization, and immersive environments. His scholarly output demonstrates consistent innovation at the intersection of artistic practice and emerging technologies. As an educator and entrepreneur, he has co-founded companies in edtech and AI while authoring foundational texts like Digitizing North Indian Music and Introduction to Programming for Musicians and Digital Artists . His performances at venues including LACMA, Singapore Arts Festival, and the 2010 Winter Olympics showcase practical applications of his research.
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).
Dr Yumi Hara Cawkwell is a Senior Lecturer at the Department of Music, Writing & Performance in School of Arts and Creative Industries at University of East London. As a composer, improviser, and performer, she works across piano, harp, voice, and clavichord. Specializes in avant-garde/experimental rock and RIO (Rock in Opposition) movements Known for collaborations with notable musicians from Soft Machine, Henry Cow, Gong, and faUSt Active in both contemporary classical and experimental rock scenes Research Interests: Her work focuses on musical improvisation, composition, and performance with particular emphasis on: Complex rhythmic structures and polymeter applications Cultural identity in diaspora musical practices Hybridization of ethnic and western instruments Memory and transcription in avant-garde contexts Recent Outputs: 2023 album Groove Study explores odd meter applications in dance music, while 2017 conference presentation on Lindsay Cooper's compositions highlights her interest in feminist musicology. Awards & Professional Involvement: 2006 British Composer Awards finalist Committee member, Ivors Composer Awards (British Composer Awards) Board member, JASMIM (Japanese Association for the Study of Musical Improvisation) 2015-2017 Panel chair, Improvisation research at international conferences Teaching: Leads modules in music performance, production techniques, and collaborative projects at University of East London.
Paul Théberge is a Professor at Carleton University, cross-appointed to the Institute for Comparative Studies in Literature, Art and Culture and the School for Studies in Art and Culture (Music). He teaches graduate courses in Cultural Mediations (technologies of culture), Film Studies (sound in visual media), and Music (sound studies), reflecting his interdisciplinary academic home within Ottawa's major research institution. His research interrogates the material and cultural dimensions of sound technologies, with core expertise in music-technology-culture intersections, internet-mediated musical practices, and sonic applications in film/television. Théberge's scholarship bridges musicology, media studies, and science and technology studies, examining how recording technologies reshape creative practice and auditory experience across historical periods from analog tape to digital streaming platforms. Analysis of his 15 most recent publications reveals persistent engagement with sound's materiality—from multichannel audio histories to the embodied nature of listening—and consistent exploration of technological transitions, particularly the internet's disruption of traditional music production/distribution models. His work demonstrates deep methodological versatility spanning archival research, ethnographic observation, and creative composition. Scientific recognition includes: International Association for the Study of Popular Music (US branch, 1998) Society for Ethnomusicology (2000) While the source text doesn't specify current advising activities, his extensive editorial work (e.g., co-editing Living Stereo ) and composition output suggest significant mentorship through collaborative projects. His research has been supported through Canada Research Chair funding and industry partnerships like Sony Classical International.
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.
Stuart MacRae is a Senior Research Fellow and Lecturer in Composition at the Royal Conservatoire of Scotland's School of Music. He holds a PhD from the University of Edinburgh and has held prestigious roles such as BBC Scottish Symphony Orchestra Composer-in-Association (1999–2003) and Lammermuir Festival Composer in Association (2017–2019). His research focuses on operatic word-setting, tonal harmony, and artistic responses to the Anthropocene. Education: PhD, University of Edinburgh (2014) MMus, Guildhall School of Music and Drama (1997) BMus, University of Durham (1996) His research interests include operatic composition, reimagining tonal structures, and environmental themes. Notable works include the opera Anthropocene (2019), which toured internationally and won multiple awards, and Ghost Patrol (2013), honored with the South Bank Sky Arts Award. His music has been performed by leading ensembles like the London Sinfonietta and recorded by NMC and Delphian. Recent projects include collaborations with Louise Welsh and commissions for Scottish Opera. He has been awarded the Large Scale New Work Award (2020) and Creative Scotland Bursary (2014).
