Jacqueline Bobak is a singer, composer, educator, and administrator at the California Institute of the Arts (CalArts), where she has taught since 1991. As Co-Director of the VoiceArts Program and Assistant Dean for Research and Communication, she specializes in contemporary vocal music, experimental performance, and interdisciplinary art forms. PhD in Musicology (University of Illinois, 1992) with dissertation on Dada, Futurism, and non-linear operas of Philip Glass/John Cage Research & Creative Work: Her work merges vocal experimentation with theater, visual arts, and socio-political critique. Notable projects include: Dada Divas – a multidisciplinary opera exploring female Dada artists' contributions to modernism Vir2Ual Cage – multimedia reinterpretation of John Cage's Song Books using technology Leading research on phonetics, diction, and avant-garde vocal techniques Performance & Collaboration: A globally recognized performer, she has premiered works by composers like Wadada Leo Smith and Frederic Rzewski, collaborating with ensembles such as the Penderecki Quartet and Electric Phoenix. Her performances span major venues including REDCAT, MOCA, and European new music festivals. Administrative Leadership: Bobak pioneered CalArts' Performer-Composer DMA program, led accreditation initiatives, and developed international exchange programs. She has held roles as Interim Assistant Provost and Associate Dean.
Dwight Frizzell is a Professor and Head of the Sound Program at the Kansas City Art Institute. An interdisciplinary artist with expertise in video, performance, installation, music, audio art, and writing, his work bridges fine and performing arts. His projects include explorations of historical figures like Harry S. Truman and Charles Darwin, notably featured in the Peabody-awarded 'Lost and Found Sound' series on National Public Radio. Education : B.F.A. from Kansas City Art Institute, Terminal degree in Sound Design from University of Missouri-Kansas City Research Interests focus on audio-visual integration, historical narratives in art, and interdisciplinary methodologies. His work often combines archival research with creative practice. Scientific Awards : Peabody Award (for 'Lost and Found Sound' series) Frizzell has collaborated internationally, producing works like an opera based on Charles Darwin's life, and his art has been exhibited in major international galleries.
Libbie Kent is an Associate Professor in the Department of Music at Arizona Christian University, where she has been teaching since 2003. She previously held teaching and leadership roles at Chandler-Gilbert Community College and Grand Canyon University. At ACU, she served as Music Department Chair from 2004 to 2012 and has been actively involved in university committees such as the Curriculum and Assessment Committees. Educational Background: B.M. in Music Theory and Composition, Arizona State University M.M. in Music Theory and Composition, Arizona State University B.A. in Violin Performance, Indiana University, Bloomington Her primary research and artistic interests include music composition , music theory pedagogy , conducting , and violin performance . She has composed and arranged works for orchestras, chamber ensembles, churches, and television, blending sacred, educational, and theatrical contexts. Her compositions often engage with American and liturgical traditions. Libbie's recent artistic outputs reflect a strong commitment to interdisciplinary and community-based music, with works premiered at festivals and performed in collaborations with churches and colleges. Her compositions span orchestral, chamber, and sacred genres, often featuring reimaginings of American classics and liturgical texts. Scientific and Artistic Awards: Patricia Roberts Harris National Composition Fellow Patricia Roberts Harris Prize and Performance (2005) Composition Prize and Professional Recording by North American Artists Foundation (2002) Arizona Viola Society Commissions (2012) Ballet Score Commission from DeVere Dance Company (2006) She has advised various student ensembles and led numerous productions, though formal student advisees are not listed. Her grant and commission history includes support from church ministries, dance companies, and arts foundations. Libbie has led music ministry efforts at multiple churches and produced theatrical works integrating academic and community musicians. Libbie Kent has been a producer and conductor for church music ministries and theater productions, including collaborations with Paradise Valley Community Church, Holy Spirit Episcopal Church, and Southwestern Repertory Theatre. Her work emphasizes bridging academic music with community and spiritual engagement.
Trulee Hall is an Adjunct Associate Professor in the Department of Fine Arts at Otis College of Art and Design. Her practice spans video, painting, sculpture, sound, dance, and immersive installations, blending techniques from film sets, artist studios, and theme park tech. BFA, Atlanta College of Art (1999) MFA, California Institute of the Arts (2006) Her work explores surreal geographies, integrating domestic motifs, the decorative, and the erotic into layered installations. She has exhibited globally, including at MOCA Los Angeles, Rubell Museum Miami, Zabludowicz Collection London, and Hammer Museum. Recent solo exhibitions include Tongues Duel the Corn Whores, An Opera (2020, Zabludowicz Collection) and She Shells (2024, François Ghebaly Gallery). Collaborations and commissions include projects with Daata (2020), Deitch Projects, and Frieze Art Fair. She is represented by Maccarone Gallery, Los Angeles.
Dr. Anne Leilehua Lanzilotti is a Kanaka Maoli (Native Hawaiian) composer, performer, and educator. She holds a Lecturer position in Music, Composition & Viola, with affiliations at the University of Hawaii, New York University, and University of Northern Colorado (where she directed the experimental UNCOmmon Ensemble). Her work bridges composition, multimedia installation, and cultural preservation, often exploring themes of Polynesian identity, land/water sovereignty, and experimental sound sculpture. Current projects include the viola concerto Wayfinder and the touring multimedia installation the sky in our hands . Her research spans Andrew Norman’s architectural influences, Alexander Calder’s acoustic ceilings, and Toshiko Takaezu’s ceramic art. She has published in Music & Literature , Neue Zeitschrift für Musik , and edited volumes like Toshiko Takaezu: Worlds Within . Awards include a 2022 Pulitzer Prize nomination, Creative Capital Award, and McKnight Residency. Education: Oberlin Conservatory, Yale School of Music, Manhattan School of Music Fellowships: Lucerne Festival Academy, New World Symphony, Rundfunk-Sinfonieorchester Berlin Curatorial roles: EMPAC Music Curator, Founder of Every Morning We Rise Recent grants include MAP Fund support for the Switch~ Ensemble and NSF backing for a GRAMMY-winning ensemble project. Her solo album in manus tuas (2019) received critical acclaim from The New Yorker and Boston Globe .
Sherri Phelps, D.M.A., is an adjunct professor of Voice at Asbury University, where she teaches and directs the Opera Workshop. She also holds a faculty position at Eastern Kentucky University. Education: Doctorate of Musical Arts (DMA), University of Kentucky (Advisor: Professor Gail Robinson) Master of Music, The Juilliard School (Advisor: Professor Beverly Johnson) Bachelor of Music, Western Kentucky University (Advisor: Professor Elizabeth Volkman) Performance Specialization: Ms. Phelps focuses on mezzo-soprano roles in operatic repertoire including Puccini's Il trittico , Mozart's Cosi Fan Tutte and Le nozze di Figaro , and contemporary works like Craig Bohmler's Keys . She specializes in the songs of John Jacob Niles, performing multimedia recitals such as Written in the Stars . Notable Performances: Includes Beethoven's 9th Symphony with the Lexington Philharmonic, Handel's Messiah , and roles with the Kentucky Symphony Orchestra. She has worked with conductors Jonathan Wilcox and Sir Neville Marriner, and recorded Aaron Copland's Tenderland . Teaching & Outreach: Maintains active pedagogical commitments through university instruction and community performances. Her teaching philosophy integrates vocal technique with dramatic expression.
Carolyn Amann is a Lecturer in the Department of Cultural Studies at the University of Arts Linz, Austria. She is a member of the Research Collective since March 2025, focusing on artistic-scientific exploration of affect-sensitive media and emotion recognition systems within techno-ecology. Her work bridges lyrical texts, jazz, and new music in theatrical contexts. Education: Theater, Film, and Media Studies, University of Vienna Research Interests: Techno-ecology and affect-sensitive media Emotion recognition systems in performance art Interdisciplinary approaches to theater, opera, and jazz Contemporary cultural and media criticism Recent Article Trends (2015–2025): Her creative and scholarly output spans contemporary theater, opera librettos, literary journals, and multimedia collaborations. Key themes include the intersection of technology and human emotion, feminist critiques, and experimental stage adaptations. Affiliations: University of Arts Linz Research Collective (since 2025) Collaborations with institutions like Schauspielhaus Graz, Wiener Festwochen, and Bregenz Festival Publications & Performances: Premieres at Landestheater Linz, Theater Münster, and Luzerner Theater. Her literary works appear in Austrian journals like Heimatstern and Miromente . Labs & Teams: Active member of the Research Collective at the University of Arts Linz, integrating artistic and academic inquiry.
Mark DeChiazza served as the Edward T. Cone Visiting Fellow in the Humanities Council and Department of Music during Fall 2022. His academic appointment involved teaching MPP 219: Opera Performance while maintaining an active artistic practice that bridges musical performance with interdisciplinary design. DeChiazza's research explores the integration of theater, film, and spatial design within musical contexts, focusing on how collaborative frameworks transform audience engagement. His work investigates site-specific installations and multimedia productions that deconstruct traditional performance boundaries, often involving composers in co-creative processes to generate innovative presentation formats for musical works. His creative output has been presented at major international venues including Brooklyn Academy of Music, Lincoln Center, John F. Kennedy Center of the Arts, Guthrie Theater, Singapore International Festival of Arts, and Chicago’s Museum of Contemporary Art, demonstrating significant cross-disciplinary impact in performance studies.
Jason Hoogerhyde is an Associate Professor of Music Theory and Composition at Southwestern University's Sarofim School of Fine Arts, where he has taught since 2004. He previously served as Chair of the Music Department from 2010-2015 and taught for five years at Lawrence University's Conservatory of Music. Dr. Hoogerhyde earned his D.M.A. in Composition from the University of Cincinnati College-Conservatory of Music, an M.M. in Composition from Boston University, and a B.M. in Theory and Composition from Lawrence University. His principal composition teachers included Allen Gimbel, Joyce Mekeel, Lukas Foss, Allen Sapp, Samuel Adler, Darrell Handel, and Ricardo Zohn-Muldoon. Hoogerhyde's compositional work explores the more elusive elements of human experience: the dark corners of memory, life's defining ephemeral moments, and glimpses of our integral connection with the world. His music spans orchestral works, opera, chamber ensembles, and vocal compositions that have been performed internationally across the United States, Europe, and Asia. His compositions often investigate the intersection between visual art and music, most notably in his opera The Color of Dissonance which examines the relationship between Wassily Kandinsky, Gabriele Münter, and Arnold Schönberg. His recent compositions demonstrate a continued exploration of contemporary classical forms with works like Revolve/Retract (2019) for percussion with choreography, and multiple performances of The Don Juan Project . His output shows consistent development across chamber music, vocal works, and larger orchestral compositions, with particular strength in creating evocative textures and emotional depth. Excellence in Teaching Award from University of Cincinnati Nominations from Austin Critics' Table Awards for 'The Color of Dissonance' (outstanding original composition) Nominations from Austin Critics' Table Awards for 'Lament' (outstanding symphonic performance) Hoogerhyde has mentored numerous students including Brayden Carr '23, whose composition was performed at the Valencia International Performing Arts Festival in Spain. He has served as classical music critic for the Cincinnati Enquirer and has been artist-in-residence at prestigious institutions including the Ucross Foundation and Dorland Mountain Arts Colony. His work continues to be performed internationally, reflecting his significant contribution to contemporary American composition.
Diego Vásquez is an Assistant Professor of Music Performance at Ithaca College's School of Music, Theatre, and Dance. A native of Washington DC, he is an interdisciplinary musician whose work bridges clarinet performance, dance, and electronic music. His professional activities include serving as Principal Clarinet of the Berkshire Opera Festival and Norwalk Symphony, with regular performances across New England regional orchestras. Vásquez's research and artistic interests center on clarinet performance, chamber music, contemporary classical music, and interdisciplinary arts. His work explores the integration of traditional clarinet techniques with electronic elements, as demonstrated in his debut EP "DR DIEGO" (2022), which fuses deep house, disco, chiptunes, and baroque organ music. His scholarly work includes a Doctoral dissertation examining "The Clarinet Writing in Wagner's Parsifal as Synthesis of the Wagner/Nietzsche Relationship" from The Hartt School. His recent artistic output shows a strong focus on Stockhausen's works, with notable performances including UVERSA at Kiev's Zelyonka Space Up (2019), KLANG in Montreal (2019), and serving as dancer/mime soloist in INORI at the Lucerne Festival and Berlin Philharmonie (2017-2018). His creative approach emphasizes "a deep connection with the body" across all musical endeavors. Connecticut Artist Fellow (2020) Vásquez maintains active performance relationships with prominent musicians including Matthias Pintscher, Alan Gilbert, and Anne-Sophie Mutter. He previously worked as Communications Manager for Real Art Ways in Connecticut and curated concert series at Hartford's West End Farmers' Market, demonstrating his commitment to community engagement alongside his academic work. His artistic trajectory reveals a consistent exploration of boundary-pushing performance practices that integrate traditional classical training with contemporary electronic elements and physical movement, establishing him as a distinctive voice in contemporary music performance.
Monika Wanyura-Kurosad serves as Professor in the Department of Scenography at the Faculty of Painting, Jan Matejko Academy of Fine Arts in Krakow. A distinguished scenographer, costume designer, and film interior decorator, she maintains an active international exhibition profile with works featured in over 120 exhibitions across Europe, Asia, and the Americas. Her academic foundation includes: Graduate of Graphic Arts Faculty at Academy of Fine Arts in Katowice with distinction (Intaglio Printing Studio under Prof. Stanisław Kluska and Painting Studio under Prof. Jacek Rykała) Postgraduate Studies in Scenography at Academy of Fine Arts in Krakow (Theatrical Scenography for Opera Studio under Prof. Andrzej Kreutz-Majewski) Professor Wanyura-Kurosad's research integrates traditional graphic techniques with contemporary digital media, focusing on spatial narratives and cultural memory. Her artistic practice spans theatrical productions, film scenography, and immersive installations, with works held in permanent collections including National Museum in Krakow, Manggha Museum of Japanese Art and Technology, and Jagiellonian Library. International recognition includes exhibitions across 11 countries and acquisitions by institutions like Art Museum Cluj-Napoca and Association of Fine Artists of Serbia. Recent artistic output demonstrates evolving trends from traditional printmaking toward digital spatial installations, with recurring explorations of time, cultural identity, and literary adaptation. Her 2023-2024 works particularly emphasize interdisciplinary connections between film, theater, and graphic arts within contemporary European contexts. Major distinctions include: Special Osten Award at Osten Biennial of Drawing Skopje (2020) Golden Osten Award at Osten Biennial of Drawing Skopje (2022) Lorenzo il Magnifico Award at Florence Biennale (2023) Grand Prix – Graphic of the Year (2021) Honorable Mention in ZPAP's 'Graphic of the Month' (2020) Professional practice encompasses significant contributions to Polish cultural productions including television plays ('Chłopcy', 'Lekcja polskiego'), historical series ('Stulecie Winnych', 'Lokatorka II'), and theatrical adaptations ('Król Lear', 'Harpagon'). Her scenographic work demonstrates rigorous historical research combined with innovative visual storytelling techniques across film, television, and stage mediums. Active in international biennale circuits including Tbilisi Stage Design Biennale and Florence Biennale, she maintains collaborative relationships with cultural institutions across Central and Eastern Europe while contributing to the global discourse on contemporary scenography and graphic arts.
Natasha Bogojevic serves as an Adjunct Lecturer in the School of Music at DePaul University, where she has been a core member of the musicianship faculty since 2003. An internationally acclaimed composer and pianist, she was recently awarded a Fulbright Scholar grant for 2024-2025 to teach and research at the University of Arts in Serbia. Her educational foundation stems from studies in the former Yugoslavia, where she began her teaching career as a professor of composition at the University of Arts in Belgrade prior to immigrating to the United States in 1995 during the Yugoslav civil war. Bogojevic's creative research spans symphonic works, chamber ensembles, choral/vocal compositions, multimedia installations, ballet, and theatrical/film scoring. Her distinctive style blends passionate expression with imaginative structural innovation, exemplified by her dual role as composer and actress in the Amazon Prime Video film "Gray in White and Black". Her global influence extends through performances across four continents, including recent highlights like the ISCM World New Music Days 2024 in the Faroe Islands and the chamber opera "Ex/Odus of Joy" in Ljubljana. Major accolades include: Fulbright Scholar award (2024-2025) National Public Radio award International Rostrum of Composers Festival Expresiones Contemporaneas Opera Contempo Joseph Jefferson award New Music Chicago award USA MACRO Competition (honorable mention) American Prize Competition (honorable mention) NYC Contemporary Music Symposium (honorable mention) Her pedagogical commitment spans decades across European and American institutions, with compositions commissioned by major festivals worldwide. Biographical features appear in authoritative texts including "European Musical Heritage" by Jim Samson and "Parallel Histories" by Dr. Ivana Medic.
Sampo Pyhälä serves as a Part-time Lecturer in the Department of Film at Aalto University. His professional profile centers on theatrical design, exhibition architecture, and performance space creation with particular focus on Nordic cultural contexts and cross-border artistic collaborations. His educational background includes: Master of Arts in Scenography, Aalto University School of Arts, Design and Architecture (1999) Bachelor of Arts in Scenography, Aalto University School of Arts, Design and Architecture (1997) Pyhälä's research interests bridge multiple creative disciplines with emphasis on spatial storytelling and cultural identity. His work explores how physical environments shape narrative experiences in both traditional and contemporary performance contexts. He investigates the intersection of historical traditions with modern design approaches, particularly in Nordic opera productions and international exhibition spaces. His publication record shows consistent scholarly output since 2010, with notable concentration in 2015 and recent activity in 2021. The works demonstrate a clear trajectory from traditional set design toward more complex spatial installations that incorporate digital elements and cross-cultural perspectives. His research particularly focuses on Finland-Estonia relations, Nordic architectural heritage, and innovative approaches to opera production. Professional recognition includes: Gold Medal from the Prague Quadrennial Pyhälä maintains active professional engagement as Chair of The Finnish OISTAT Centre since 2015 and as a Member of Teatterimuseo (Theatre Museum) since 2017. He has presented his research internationally at major conferences including USITT in Cincinnati, Spacing Perform@nce in Rome, and E-scapes in Sao Paulo, establishing himself as a significant voice in contemporary performance design discourse.
Professor Dr. Hab. Alicja Gronau-Osińska is a distinguished composer, music theorist, and educator at the Faculty of Composition and Music Theory, Department of Music Theory at the Fryderyk Chopin University of Music in Warsaw. With a postdoctoral degree in composition, she has been teaching counterpoint since 1985 and has established herself as a leading figure in contemporary Polish music. Her research interests span composition, music theory, counterpoint, musical analysis, and the interdisciplinary connections between music and visual arts. She has published extensively on topics including form integration in symphonic works, the pedagogy of creativity, silence in music, and the relationship between national identity and universal values in musical composition. Her scholarly output demonstrates a deep engagement with both theoretical frameworks and practical compositional techniques. Professor Gronau-Osińska's compositional work reveals consistent thematic concerns across her publications and creative output, particularly in exploring the boundaries between structure and freedom, silence and sound, and the integration of visual and musical elements. Her scholarly interests often mirror her compositional preoccupations, creating a cohesive intellectual and artistic profile that bridges theory and practice. Multiple composition awards from 1987-2023 Recipient of the 'Fryderyk' Phonographic Industry Award (2012) Medal 'Zasłużony Kulturze Gloria Artis' (2011) Multiple Rector's Awards from UMFC Grand Prix from UMFC Rector for artistic and pedagogical achievements (2018) As an educator, Professor Gronau-Osińska has significantly contributed to music pedagogy through her extensive publications and teaching. Her work on Marian Borkowski's pedagogical activity and her analysis of the Experimental Rhythmics Workshop demonstrate her commitment to advancing music education methodologies. She has also served as a juror for numerous national and international composition competitions, including chairing the Tadeusz Baird Composers Competition (2020) and the Warsaw Wind Ensemble Composition Contest (2020). Her creative output includes 14 orchestral works, 29 chamber works, 17 solo works, 8 vocal works, 8 vocal-instrumental works, 12 multimedia works, and 1 opera. Her compositions have been performed internationally, with notable recognition for her chamber opera 'I co wy na to?' which represented Poland at the Eighth International Music Theater Workshop in Munich (2004).
Prof. Dr. Carolin Krahn is Professor of Historical Musicology at the University of Kassel, where she heads the Department of Historical Musicology and serves as Responsible for International Affairs at the Institute of Music. She is also a member of the Italy Network of the University of Kassel and the international research group "Musica e traduzione" at the JANUS Centro Studi e Ricerche su Traduzione e Pratiche Culturali of the University of Palermo. Dr. Krahn earned her Magister Artium from Julius-Maximilians-University of Würzburg, followed by doctoral studies at the University of Vienna where she completed her dissertation "Topography of Imaginations: Johann Friedrich Rochlitz's Musical Italy around 1800." She also pursued academic work at Harvard University and Stanford University, and completed postgraduate studies in music education and management at Detmold University of Music. Her research focuses on historical musicology with particular emphasis on Italian musical imagery, cultural clichés, and national narratives in music historiography around 1800. Dr. Krahn explores how Italian musical stereotypes were constructed, transformed, and disseminated in German-speaking contexts and beyond, examining the complex relationship between German and Italian musical cultures. Her work bridges musicology, cultural studies, and media history to analyze how musical Italy has been represented across different historical periods and media formats. Dr. Krahn's publication record shows a consistent focus on Italian musical representation, with recent work examining post-war media transformations of Italian clichés in advertising, television, and popular culture. Her scholarship demonstrates a progression from 19th century music historiography to contemporary analyses of Italian imagery in global media contexts, revealing how historical stereotypes continue to influence modern cultural representations. 2022-2023: Leadership Academy 6 fellowship (German Scholars Organization) 2018: UNIVIE International Award (University of Vienna) 2017: Dissertation Prize (Institute for Musicology, University of Vienna) 2013: Chair's Award for Excellence in Teaching (Stanford University) Dr. Krahn has served as a reviewer for numerous prestigious journals and funding organizations including the Bollettino del Centro rossiniano di studi, European History Quarterly, and the Alexander von Humboldt Foundation. She is also active in academic mentoring through the "Mentoring Hessen" project for women in academic and leadership positions. Her international research experience includes long-term stays in Germany, France, Austria, the USA, Russia, and Italy, which has contributed to her multicultural perspective on musicological research. She has collaborated with major cultural institutions including the Berliner Philharmoniker, Elbphilharmonie, Salzburger Festspiele, and Wiener Staatsoper on program notes, moderations, and evening lectures.
