Christopher Dietz is an Associate Professor of Composition, Coordinator of Composition, and Director of the New Music Ensemble at Bowling Green State University's College of Musical Arts. He holds a Ph.D. in composition and theory from the University of Michigan, as well as degrees from the Manhattan School of Music and the University of Wisconsin. His compositions draw inspiration from diverse sources, including poetry, toddler behavior, cosmic themes, and political-religious themes. His works have been performed globally by ensembles like Alarm Will Sound, Decoda, and the Toledo Symphony. Notable residencies include Copland House and the Banff Centre. Awards include ASCAP’s Morton Gould Young Composer Awards and the Utah Arts Festival Orchestral Commission Prize. Key compositions include *Origin Story* (2019), *Force Majeure* (2017), and *Kinderspiel* (2011), which explores childlike play through flute and piano interaction. His music reflects a commitment to interdisciplinary inspiration and dynamic structural innovation.
Katherine Pracht Phares is an Assistant Professor of Voice at the College of Musical Arts, Bowling Green State University, where she is also a doctoral student in the DMA in Contemporary Music program. She specializes in contemporary opera and has over 20 years of professional experience in opera, recitals, and oratorio performances. Her roles include Madeleine in Three Decembers , Cornelia in Giulio Cesare , and Helen in the world premiere of February . She has collaborated with major institutions such as West Edge Opera, Virginia Opera, and Opera on the Avalon. Education: Current DMA candidate at Bowling Green State University Her research and performance interests focus on contemporary operatic works and their interdisciplinary connections. Notable performances include roles in Elizabeth Cree , The Turn of the Screw , and Ariadne auf Naxos . She has premiered roles in operas by Jake Heggie, Laura Kaminsky, and Joseph Summer. Recent engagements include Beethoven’s Ninth Symphony with the Quad-City Symphony and Verdi’s Requiem at Carnegie Hall. Her work often explores new operatic commissions and collaborations with living composers. Grants and collaborations include the Intimacy of Creativity Festival in Hong Kong and residencies with the Bard Festival. She has received critical acclaim for her dramatic presence and vocal versatility in roles requiring both lyricism and intensity.
Beki Baker is the Director of the School of Theatre and Cinematic Arts at Lipscomb University, where she has served as Chair of Theatre since 2014. She holds an M.F.A. in Directing and a B.F.A. in Performance from Baylor University. Her professional directing credits span renowned institutions like the Nashville Repertory Theatre, Studio Tenn Theatre Company, and Nashville Shakespeare Festival. Notable works include 9 to 5 the Musical , Steel Magnolias , and Julius Caesar (starring Eddie George). Education: M.F.A. (Directing) and B.F.A. (Performance) from Baylor University Her research interests focus on innovative theatre production, pedagogy in performance arts, and fostering student creativity through immersive theatre experiences. Recent directing projects reflect a commitment to diverse narratives, from classics like The Crucible to new works in Lipscomb’s Ingram New Works Festival. Awardees include the First Night Star Award (2013), two Kennedy Center Excellence in Directing Awards (2016, 2017), and multiple First Night Awards for Outstanding Direction. Her contributions to academic theatre have also earned her tenure at Lipscomb and the Dean’s Award of Excellence (2021).
Thomas Vacanti is a Professor of Ballet and Director of the Dance Program at the University of Massachusetts Amherst (on sabbatical 2025-26). He holds a BS in Dance from Skidmore College (2002) and an MFA in Dance from Smith College (2004). His career spans professional ballet performances with companies like Colorado Ballet and Ballet de Panama, alongside international choreographic work. Research interests focus on ballet technique, contemporary choreography, and dance education. His works blend classical forms with avant-garde concepts, often exploring themes like cultural exchange, physicality, and interdisciplinary artistry. Notable awards include UMass Amherst's Distinguished Teaching Award (2012). Choreographic highlights include Symphony in 3 Movements (2024), Cadaver Exquisito-Interludium (2017), and BIRD (2016). He leads the Pioneer Valley Ballet and has performed globally at festivals such as Jacob's Pillow and the Venice International Performance Art Week.
Jim Merod is a Professor of American Literature at Soka University of America since 2003. Previously, he held professorships at Brandeis University (1979–1986) and Cornell University (1972–1979), with visiting roles at Brown University and Stanford University. He earned his PhD from Stanford University and BA from Princeton University. His research focuses on Melville, Nietzsche, and Jazz paradigms, co-authoring Benny Golson’s autobiography. Merod’s teaching spans courses like Nineteenth Century American Literature and Jazz Traditions. He has received awards including the Michael Walzer Teaching Award (1985) and Professor of the Year at SUA (2003). His jazz engineering career includes work with legends like Miles Davis and Ella Fitzgerald. His publications blend literary and jazz studies, with recent works in The A-Line Journal and boundary 2 . Research interests include Melville’s textual depths, Nietzschean philosophy’s influence on literature, and Jazz’s cultural narratives. His collaborations with Golson highlight interdisciplinary work. Courses taught reflect his expertise in American literature and jazz’s societal roles. Publications span decades, from Political Responsibility of the Critic (1987) to Whisper Not (2016). His articles explore themes like freedom, democracy, and postmodern economics. Awards recognize his teaching and scholarly contributions. Merod’s career bridges academia and artistic fields, embodying interdisciplinary scholarship.
Detlef Franz is a faculty member at the Hochschule für Musik und Theater Rostock, specializing in Theater Pedagogy. He teaches Dramatic Play (Darstellendes Spiel) at middle and upper educational levels across Berlin schools since 2000. His annual productions blend classical adaptations, thematic collages, and original works, emphasizing creative and pedagogical experimentation in theater education. Education: Studied Music and Physical Education (Lehramt) at UdK Berlin and Freie Universität Berlin. Further training in Drama School (DS) under Sabine Kündiger in Berlin. Research interests focus on innovative teaching methodologies in theater, curriculum development for performing arts in schools, and the application of classical works in modern educational settings. No publications or awards explicitly listed in the text. Career highlights include sustained collaboration with multiple Berlin schools and consistent engagement in theatrical productions that bridge traditional and contemporary approaches to theater education.
Lei Liang is the Chancellor's Distinguished Professor of Music at the University of California, San Diego, within the Herbert Wertheim School of Music and Performing Arts. He is a leading figure in contemporary classical music, known for his profound integration of Eastern and Western traditions and his commitment to addressing social and environmental themes through composition. Lei Liang studied at the New England Conservatory (B.M., M.M.) and Harvard University (Ph.D.), where he worked with Sir Harrison Birtwistle, Robert Cogan, Chaya Czernowin, and Mario Davidovsky. He is a Young Global Leader of the World Economic Forum and a fellow of the Harvard Society of Fellows and the Paul & Daisy Soros Fellowships. His research and artistic practice span composition, sound art, cultural heritage preservation, and music technology . He explores the intersection of science and art through projects like sonifying coral reefs and using multimedia to reimagine cultural traditions. His work often engages with environmental awareness, human rights, and cross-cultural dialogue. His recent and upcoming compositions—including A Thousand Mountains, A Million Streams , Cuatro Corridos , and Inaudible Ocean —demonstrate a consistent trend toward interdisciplinary collaboration, narrative depth, and sonic innovation. These works blend orchestral, chamber, and solo forms with improvisation, electronics, and visual elements. Lei Liang has received numerous accolades, including: Grawemeyer Award for Music Composition (2021) Guggenheim Fellowship Rome Prize (2011) Pulitzer Prize Finalist (2015) American Academy of Arts and Letters Music Award (2021) Creative Capital Award He has been commissioned by the New York Philharmonic, Fromm Foundation, NEA, and many leading ensembles. He has edited ten scholarly books and published over fifty articles. Since 2023, he leads Lei Lab at UCSD’s Qualcomm Institute, where he collaborates with engineers, geologists, oceanographers, and software developers. The lab supports research into 'creative listening' and the educational potential of sound.
Benjamin Dwyer is Professor of Music at Middlesex University’s School of Media and Performing Arts. His work bridges composition, performance, and scholarly research, with a focus on contemporary music, Irish composers, and literary-musical intersections, especially with Beckett and Joyce. PhD in Composition – Queen's University Belfast MMus in Performance – Royal Academy of Music, London BMus (Hons) – Trinity College Dublin His research interests include contemporary music composition , Irish music and identity , guitar performance , and the aesthetics of silence and myth . He explores how modernist literature informs musical structure and expression, particularly in works inspired by Beckett and Joyce. His compositions often involve interdisciplinary collaboration, integrating dance, theater, and visual culture. Dwyer’s recent publications and compositions reflect a deep engagement with themes of memory, fragmentation, and transcendence. His works such as what is the word and Eleven reflections on Beckett explore textual and sonic silence, while pieces like KnowingUnknowing integrate performance art and philosophy. His critical writings examine figures like Ligeti, Britten, and Frank Corcoran, emphasizing structural innovation and cultural resonance. Notable awards include: Villa-Lobos Centenary Medal McNamara Gold Medal for Excellence Shortlisted for Royal Philharmonic Society Prize Dwyer was director of the MUSIC21 series in Dublin for twenty years, premiering numerous contemporary works. He is an elected member of Aosdána and an Associate of the Royal Academy of Music (ARAM). His creative output includes major compositions like Twelve Études for Guitar and Scenes from Crow , and he has performed globally as a guitarist with leading orchestras. He continues active research and artistic production with no indication of retirement or advisory roles being documented.
Jasper Schmitz is a Teaching Professor at the Folkwang Theatre Centre , affiliated with Folkwang University of the Arts in Bochum, Germany. He specializes in Acting and Neutral Mask training within the Performing Arts domain. Research & Teaching Interests: Theatre pedagogy and performance techniques Integration of physical theatre with traditional acting Voice and music theatre applications Collaborative projects in dramatic arts Labs & Teams: Associated with the Folkwang Theatre Centre's educational programs, including international cooperations and master classes.
Dr. Torben Kessler is a Lecturer in the Department of Acting at Folkwang TheatreCentre, Folkwang University of the Arts. He specializes in voice training, music theatre, and physical theatre pedagogy. Role: Lecturer in Acting Institution: Folkwang University of the Arts Contact: torben.kessler@folkwang-uni.de His research interests focus on: Theatre pedagogy Interdisciplinary vocal training Physical theatre techniques Music theatre performance Contemporary acting methodologies Cooperative projects in dramatic arts Dr. Kessler participates in educational initiatives like the 50 Years of Folkwang Physical Theatre anniversary program and teaches across multiple study courses including Acting (B.Mus/M.Mus), Directing, and Physical Theatre programs.
Andrew C. Lovett is a Research Specialist in Composition at Princeton University's Department of Music, where he has taught since 2009. Originally from the UK (born in Glasgow, Scotland in 1962), he became a US citizen in July 2017. Prior to Princeton, he taught at Cambridge University, Anglia Ruskin University, and Trinity College of Music, London, and was a visiting Scholar at Stanford University's Center for Computer Research in Music and Acoustics (2012-2013). B.A. from Cambridge University (1985) Ph.D. in Electroacoustic composition from City University, London (1997) Lovett's work primarily focuses on opera and music-theater, particularly small-scale compositions ranging from solo voice pieces to full chamber operas, often incorporating electronics. His research interests include very-small scale opera , electroacoustic music , music for silent films , and the relationship between sound and language . He has developed strong collaborations with London-based ensemble The Electric Voice Theatre, composing multiple operas for them including Abraham On Trial (2005), Lonely Sits the City (2009), and Don't Breathe A Word (2015). His recent compositions (2016-2021) demonstrate continued exploration across multiple formats, with a notable emphasis on chamber operas, vocal works with electronics, and surround-sound compositions. These works frequently engage with historical narratives, biblical texts, and literary adaptations while maintaining his signature integration of electronic elements. His compositions often explore themes of identity, exile, political conflict, and the human condition through both contemporary and historical lenses. Major Awards and Recognition MacDowell Fellowships (2014, 2016) Gino Contilli International Music Composition Competition (2020) Arts Council (UK) Fellowship (2007) Multiple composition awards including Michael Vyner Award (1994), Wingate Award (1993), and Royal OverSeas League PRS Award (1993) Lovett has received significant grant support for his creative work, including Arts Council of England funding for several major operas. He maintains an active performance schedule both as a composer and as an improvising pianist for silent film screenings. His work with The Electric Voice Theatre represents a sustained collaborative relationship that has produced some of his most significant theatrical compositions. Lovett's creative output spans opera, chamber music, electroacoustic works, film scores, and solo compositions. His work demonstrates consistent exploration of the intersection between acoustic and electronic sound worlds, with particular attention to vocal expression and narrative structure.
Christopher Slaughter is an Associate Professor of Theatre in the Department of Theatre at King University, where he has taught scenic design, lighting design, sound design, stagecraft, theatre management, and theatre history since 2007. He also serves as the artistic director for Bristol’s Twin City Radio Theatre, contributing significantly to regional performance culture. His educational background includes an MFA in Theatre Arts from the University of Memphis and a BA in Theatre Arts from Virginia Intermont College. His research and creative interests focus on innovative techniques in stagecraft, lighting, and sound design, with a strong emphasis on radio theatre and performing objects such as puppets and masks. He integrates emerging technologies into both his design practice and pedagogy, fostering experiential learning in theatrical production. The recent body of creative works reflects a deep engagement with radio theatre, technical production, and multidisciplinary stagecraft. These projects span genres from horror and holiday specials to children's theatre and literary adaptations, demonstrating versatility and a commitment to community-based performance. Scientific awards include: Memphis Arts Council Award for Excellence in Scenic Design (1993) Memphis Arts Council Award for Excellence in Scenic Design (1994) Memphis Arts Council Award for Excellence in Scenic Design (1995) Christopher Slaughter actively mentors students through hands-on production experiences and leads creative teams in university and community theatre settings. His work with the Twin City Radio Theatre exemplifies a sustained commitment to preserving and innovating within the radio theatre genre. While no formal grants are listed, his leadership in technical and artistic direction underscores a robust record of project-based funding and institutional support. He is a key figure in the Twin City Radio Theatre, which performs at venues such as King’s Fine Arts Theatre, Theatre Bristol’s ArtSpace, and various community centers, highlighting his role in bridging academic work with public engagement.
Mihai Craioveanu serves as Professor of Violin in the Department of Music at Hope College, Holland, Michigan. An internationally acclaimed performer, he has headlined at prestigious venues including Carnegie Hall (with two return engagements), Palau de la Música in Barcelona, Atheneum Hall in Bucharest, and the Crystal Cathedral's nationally televised ‘Hour of Power’ program. His artistry has drawn praise from The Strad as ‘stunning... brilliant’ and from the Washington Post for being ‘dramatic, nuanced and playful.’ His educational trajectory includes: University of Music in Bucharest Guildhall School of Music & Drama in London (British Council scholarship recipient) Fellowship at International Summer Music Institute, Franz Liszt Conservatory, Weimar Fellowship at International Youth Music Festival, Brussels Professor Craioveanu’s expertise centers on violin performance with emphasis on contemporary repertoire and classical interpretation. He has premiered commissioned works including ‘Velocirhapsody’ for Violin and Orchestra by Ray Shattenkirk, demonstrating commitment to expanding the modern violin canon. His educational philosophy prioritizes technical mastery and expressive authenticity, evidenced by frequent masterclasses at leading institutions worldwide and active engagement with professional associations like the American String Teacher Association. His distinguished accolades include: International Concert Recital Diploma from Guildhall School of Music & Drama British Council scholarship for advanced studies Prestigious fellowships at Weimar and Brussels summer programs As an educator, Craioveanu mentors through masterclasses at Northwestern University, Interlochen Arts Academy, University of Illinois, and Bucharest National University of Music, while contributing to professional development via conference presentations and competition judging for national music associations. His globally distributed recording ‘Introducing Violinist Mihai Craioveanu’ showcases his interpretive range across violin masterpieces.
Sean Heim is an Associate Professor of Music and Director of Music Composition/Theory at Chapman University’s College of Performing Arts. His work integrates Western compositional traditions with global cultural elements and explores intersections with physics and natural phenomena. Education: BM, Rowan University; MM, Arizona State University; PhD, University of Queensland Research focus: Cross-cultural composition, theoretical abstraction, and physics-inspired musical structures Performance highlights: Premieres across 4 continents, including collaborations with Eclipse Quartet and Los Angeles Percussion Quartet His compositions reveal trends in cross-cultural synthesis , contemporary classical innovation , and scientific metaphor . Works like nightbreath (2024) and No Quarter (2017) demonstrate evolving approaches to textural abstraction and extended instrumental techniques . Scientific & Artistic Awards: Rudolf Nissim Prize (ASCAP) Fromm Music Foundation Commission National Endowment for the Arts Grant Meet the Composer Commission ASCAP Plus Award (2×) As a mentor, Heim has guided ensembles like Unincorporated NFP (2024) and coached at residencies including The Viola Workout (2011-2024). He collaborates with institutions such as Hear Now Festival and Thailand International Composition Festival .
Prof. Jürgen Grimm serves as Professor and Dean of Faculty 3 at Folkwang University of the Arts, based at the Bochum Campus housing the Folkwang Theatre Centre. He concurrently holds the position of Program Director for the Musical programme within the Department of Musical Practice and Music Theory, overseeing academic and artistic development in musical theatre education. His scholarly focus centers on Musical Theatre, Music Theory, and Performance Studies, emphasizing the integration of theoretical frameworks with practical performance techniques. This interdisciplinary approach fosters innovative pedagogy in vocal, dramatic, and choreographic elements specific to musical productions. Administrative leadership includes faculty governance through the Faculty Council and curriculum development for musical theatre programmes. Professional engagement extends to artistic operations coordination across the university's theatre-focused campuses.
