Rebecca Herissone is Professor of Musicology at the University of Manchester and a leading scholar in early modern English music. She co-edits the peer-reviewed journal Music & Letters and serves on editorial boards for the Purcell Society, Musica Britannica, and the Complete Works of John Eccles. Her research focuses on seventeenth-century creativity, material culture, and the ontological dimensions of music notation. Key research areas: Early Modern Music, Creativity, Source Study, Notation, Reception Major awards: Diana McVeagh Prize (2015), Westrup Prize (2007) Her recent work includes digital humanities projects on music preservation and critical editions of Purcell's operas. She has pioneered interdisciplinary approaches connecting musicology with drama, art, and literature, and currently leads research on Purcell's posthumous reception in the eighteenth and nineteenth centuries. Her teaching spans music historiography, performance practices, and advanced source analysis.
WANG Ye is an Associate Professor in the Department of Computer Science at the School of Computing, National University of Singapore (NUS). He holds a PhD in Information Technology from Tampere University of Technology, Finland, and has been a tenured faculty member at NUS since 2002, following his industry research role at Nokia Research Center. He is the director of the Sound and Music Computing Lab at NUS, leading cutting-edge research in AI-driven music and health technologies. PhD, Information Technology, Tampere University of Technology, Finland (2002) MSc, Telecommunications, Braunschweig University of Technology, Germany (1993) BSc, Telecommunications, South China University of Technology, China (1983) His research is centered on Sound and Music Computing for Human Health and Potential (SMC4HHP) , with a focus on eHealth, eLearning, mobile/wearable computing, and music information retrieval. His work spans AI for stroke rehabilitation, language learning through singing, singing voice synthesis, and automatic music transcription. He has pioneered systems like SLIONS (language learning via karaoke), CocoLyricist (AI co-creation for stroke recovery), and SinTechSVS (expressive singing voice synthesis). The latest articles highlight a strong trend in AI-driven music and health technologies , particularly in controllable lyric generation, singing voice synthesis, automatic pronunciation assessment, and multimodal music transcription. The research increasingly integrates large language models, explainable AI, fairness, and real-world deployment, reflecting a shift from theoretical exploration to practical, human-centered applications in healthcare and education. Dr. Wang has received numerous scientific honors, including: Best Paper Awards at ACM MM, ISMIR, IEEE ISM, and CHI First Prize, Asia Pacific Assistive, Rehabilitative, and Therapeutic Technologies Challenge (2015) Faculty Teaching Excellence Award, NUS School of Computing (2024) Top Paper Award, ACM Multimedia 2022 AI in Medicine Collaborative Grant for CocoLyricist project He has supervised over 11 PhD and 20 MComp students and is currently guiding six PhD candidates. His grants come from MOE, NRF, A*STAR, Nokia, and Smule. He has served as General Chair of ISMIR2017 and TPC Co-Chair of ICOT2017, and is on the editorial boards of IEEE Transactions on Multimedia and Journal of New Music Research. He has also developed and taught the first course on Sound and Music Computing in Singapore. Dr. Wang leads the Sound and Music Computing Lab (SMC Lab) , a multidisciplinary team exploring the synergy of music computing, AI, mobile technology, and cloud systems for health and education. The lab actively collaborates with medical institutions such as NUS Yong Loo Lin School of Medicine, Singapore General Hospital, and Harvard Medical School, and is currently working on projects in AI-supported language learning, stroke rehabilitation, and intelligent music interfaces.
Xavier Serra is a Full Professor at the Department of Engineering at Universitat Pompeu Fabra (UPF), Barcelona. He is the founder and director of the Music Technology Group (MTG), and leads the UPF-BMAT Chair on AI and Music. He also coordinates the Master in Sound and Music Computing and serves as President of the Phonos Foundation. His research focuses on audio signal processing, sound and music computing, and computational musicology, emphasizing open science and open innovation. Education: BSc in Biology, University of Barcelona (1981) Master in Music, Florida State University (1983) PhD in Computer Music, Stanford University (1989) Research Interests: Audio Signal Processing Data-Driven and Knowledge-Driven Methodologies Music Information Retrieval Cultural Music Analysis (e.g., Carnatic/Turkish/Andalusian Music) Music Education Technology Notable Projects: CompMusic (ERC Advanced Grant, 2010-2017): Multicultural computational music analysis Open datasets: Freesound, Saraga, FSD50K Technologies: Reactable, Vocaloid, Essentia API Recent Trends in Articles: Focus on AI-driven audio processing (neural fingerprints, generative models), cross-cultural music analysis, and explainable music difficulty estimation. Awards: ERC Advanced Grant (2010) for CompMusic Project. Labs/Teams: Director of MTG, Phonos Foundation, and UPF-BMAT Chair. Active in open-source projects and international collaborations.
Golan Levin is Professor of Electronic Art at Carnegie Mellon University's School of Art, with courtesy appointments in the School of Design, School of Architecture, School of Computer Science, and Entertainment Technology Center. From 2009 to 2022, he served as Director and Co-Director of CMU's Frank-Ratchye STUDIO for Creative Inquiry, a laboratory dedicated to supporting atypical, anti-disciplinary research at the intersection of arts, science, technology, and culture. Levin's research spans interactive art, digital fabrication, information visualization, and generative design. He explores the critical potential of visualization, generative computation for expressive form, and how abstraction connects to realities beyond language. His practice engages interactive gestural robotics, nonverbal interaction aesthetics, and tactical applications of personal digital fabrication through responsive artifacts and media provocations that highlight human-machine relationships. His publications reveal consistent innovation in real-time audiovisual systems, interactive fabrication interfaces, and pedagogic tools for artists. Key trends include slit-scan video techniques, tangible augmented-reality performance, and noise-based visualizations, demonstrating his commitment to expanding human action vocabulary through digital media while bridging artistic expression with computational systems. Levin's work has received significant recognition: Permanent collection inclusion at Museum of Modern Art (MoMA) Whitney Biennial exhibition "50 Designers Shaping the Future" by Fast Company (2012) Competitive grants from National Endowment for the Arts, National Endowment for the Humanities, Creative Capital, and Rockefeller MAP Fund As an educator, Levin teaches "studio courses in computer science" on interactive art, experimental capture, and generative design, emphasizing computation as a medium for critical inquiry. His research funding from major cultural institutions supports interdisciplinary exploration at the arts-technology nexus. The Frank-Ratchye STUDIO for Creative Inquiry, which he directed for 13 years, remains a vital hub for anti-disciplinary collaboration, continuing his legacy of fostering creative agency through technology-infused artistic practice.
LEE Wee Sun is a Professor in the Department of Computer Science at the National University of Singapore (NUS), where he previously served as Head of Department, Vice Dean of Undergraduate Studies, and Vice Dean of Research. His academic journey began with a B.Eng. in Computer Systems Engineering from the University of Queensland (1992) and a Ph.D. from the Australian National University (1996), followed by research roles at the Australian Defence Force Academy and MIT. Education: Ph.D., Australian National University, Canberra, Australia (1996) B.Eng. in Computer Systems Engineering, University of Queensland, Brisbane, Australia (1992) Research Focus: Professor Lee pioneers work in Machine Learning , Planning Under Uncertainty , and Approximate Inference , with emphasis on integrating AI subfields for holistic reasoning. His current projects include "Learning to Decompose for Reasoning and Planning" (enhancing LLMs via self-supervised problem decomposition) and "Learning to Reason with Visual-Linguistic Inputs" (unifying vision, language, and reasoning in single architectures). Publication Trends: Recent work (2023-2025) centers on bridging LLMs with classical AI techniques, featuring breakthroughs in uncertainty quantification, multi-task optimization, and graph-based reasoning. Key themes include sparsity-aware vehicle routing, epistemic uncertainty for reliable LLMs, and differentiable neural solvers for combinatorial problems. Awards: IJCAI-JAIR Best Paper Prize (2022) RSS Test of Time Award (2021) RoboCup Best Paper Award (IROS 2015) HRATC 1st Place (2015) IPPC POMDP Track 1st Place (2011, 2014) UAI Google Best Student Paper (2014) Semeval-1 1st/2nd Place (2007) J.G. Crawford Prize (ANU 1996) Leadership & Service: As steering committee chair for ACML and area chair for NeurIPS/ICML/AAAI/IJCAI, Professor Lee shapes global AI discourse. His administrative roles at NUS and collaborations with MIT/Singapore-MIT Alliance demonstrate commitment to advancing AI education and research infrastructure. While student advisees aren't listed, his leadership positions imply extensive mentoring. Research Ecosystem: His work drives NUS's AI initiatives including Knowledge@Computing projects on reasoning frontiers. Current efforts focus on making AI systems robust through uncertainty-aware planning and multi-modal integration, with applications in robotics, verification systems, and combinatorial optimization.
Jaime S. Cardoso is an Associate Professor with Habilitation at the Faculty of Engineering of the University of Porto (FEUP) and a Senior Researcher in the 'Information Processing and Pattern Recognition' Area at INESC TEC's Telecommunications and Multimedia Unit. He has been serving as Research Coordinator since September 15, 1998, and is a Senior Member of IEEE as well as co-founder of ClusterMedia Labs. His educational background includes a Licenciatura in Electrical and Computer Engineering (1999), an MSc in Mathematical Engineering (2005), and a Ph.D. in Computer Vision (2006), all from the University of Porto. Cardoso's research focuses on three major areas: computer vision, machine learning, and decision support systems. His work spans medical image analysis, explainable AI, semantic audio-visual analysis, and pattern recognition. He has co-authored over 150 papers, with more than 50 published in international journals, and has accumulated over 6,500 citations. His recent publications demonstrate expertise in cell nuclei segmentation, ordinal regression for CNNs, semantic segmentation with ordinal relationships, face recognition using synthetic data, and explainable vision language models for medical applications. Honorable Mention in the Exame Informática Award 2011 for 'Semantic PACS' First Place in the ICDAR 2013 Music Scores Competition Cardoso has supervised numerous graduate students at UP-FEUP, with recent theses focusing on multimodal explanations, autonomous driving, medical diagnosis, and explainable AI. His research group works at the intersection of computer vision, machine learning, and practical applications in healthcare and autonomous systems.
Richard M. Stern is a Professor of Electrical and Computer Engineering at Carnegie Mellon University (CMU), holding courtesy appointments in the Language Technologies Institute and Department of Computer Science, and serving as an Artist Lecturer in the School of Music since 2007. His interdisciplinary work bridges engineering and music technology through the School of Music's programs. Education: Ph.D. in Electrical Engineering from Massachusetts Institute of Technology (MIT), 1976 Professor Stern's research spans sound, speech, hearing, and music, with core emphases on robust speech processing in variable acoustic environments, music information retrieval, automated accompaniment, and foundational contributions to binaural perception theory. His work integrates psychoacoustic principles with machine learning to address challenges in speech recognition and human-robot interaction. Recent publications (2022-2025) reveal intensified focus on deep learning for speech enhancement in reverberant/noisy conditions, human-robot interaction scenarios, and music tagging—highlighting innovations in beamforming, source separation, and temporal modulation modeling. Awards and Honors: Fellow of the IEEE Fellow of the Acoustical Society of America Fellow of the International Speech Communication Association (ISCA) ISCA Distinguished Lecturer Allen Newell Award for Research Excellence (1992) Lutron Award for Teaching Excellence (2018) Professor Stern has advised numerous graduate students in speech and audio research, though specific names are unlisted in source materials. His grant portfolio includes significant National Science Foundation and industry-funded projects in speech technology, with leadership roles in initiatives like Interspeech 2006. He actively collaborates with CMU's Language Technologies Institute and Music and Technology program. He maintains strong ties to CMU's interdisciplinary ecosystem through the Language Technologies Institute and School of Music's Music and Technology program, contributing to research that merges acoustic engineering with musical applications.
Enrique Sánchez Lansch is a Professor of Media Dramaturgy at the Institute for Music and Media at Robert Schumann University of Düsseldorf, appointed in 2018. Born in Gijón, northern Spain, and raised in Cologne, he has established himself as a prominent documentary filmmaker with a strong focus on music-related subjects. His educational background includes studies in music with a focus on singing, Romance languages, philosophy, and German studies. He completed his master's thesis on adaptation of literature into music films. After gaining professional experience in fictional series production, he pursued further studies in film and screenwriting at Columbia University and UCLA. Sánchez Lansch's research and creative interests center on the intersection of music and visual media. His work explores how musical experiences can be effectively translated to film, examining the relationship between sound and image. He has particular expertise in documenting musical institutions, historical contexts of music, and the educational aspects of musical performance. His approach combines rigorous historical research with innovative visual storytelling techniques that respect the integrity of musical performance while creating compelling cinematic narratives. His filmography reveals a consistent focus on music documentaries that bridge cultural and historical contexts. Early works focused on major musical institutions and figures, while more recent projects have expanded to examine the relationship between music and broader social, political, and cultural phenomena. His films consistently demonstrate a sophisticated understanding of both musical content and cinematic storytelling. His notable awards include: German Film Award German Documentary Film Award Bavarian Film Award German Critics' Award German Kinogilde Award Franz Hofer Prize Best Documentary Film at Los Angeles Latino International Film Festival Best Documentary Film at SEMINCI Festival de Valladolid Diapason d'Or Emmy nomination for "A Celebration for Gershwin" Sánchez Lansch has served as a mentor to young filmmakers, notably curating and presenting music short films by young talents for the Beethovenfest Bonn from 2006 to 2013. His professional activities extend beyond filmmaking to include teaching at institutions such as the dffb (German Film and Television Academy Berlin) and his current professorship at Robert Schumann University. He is an active member of both the German Film Academy and the European Film Academy, contributing to the broader film community through these organizations. As Professor of Media Dramaturgy, Sánchez Lansch contributes to the academic framework of the Institute for Music and Media, bringing his extensive professional experience to bear on the education of future media creators. His work bridges the gap between academic study and professional practice in the field of music-related visual media.
Dr. Jules Rawlinson is a Senior Lecturer in Digital Design at the Reid School of Music , University of Edinburgh. He serves as Programme Director for the MSc Sound Design and contributes to MSc Design and Digital Media, ESALA undergraduate courses, and the Reid School's MSc Digital Composition and Performance. PhD in Composition (University of Edinburgh, 2011) MSc Sound Design (University of Edinburgh, 2006) BA Combined Arts (Sunderland University) Jules investigates audiovisual composition , live electronics , and interactive performance systems , blending machine learning , virtual environments , and corpus-based sound synthesis . His work explores non-linear narrative structures , graphical scores , and political sound-art through collaborations like Raw Green Rust and projects such as Lie Still My Sleepy Fortunes and w[i]nd . His 15 most recent outputs span audiovisual installations , generative sound systems , and collaborative performances , focusing on virtual reality , spectral transformation , and digital improvisation . Jules co-founded the LLEAPP network and has secured grants from EPSRC and New Media Scotland's Alt-w Fund . He supervises PhD students Tim Bentley, Hal Xu, Benjamin Cantil, and Liam Peacock, with works showcased at festivals including Sonorities , Edinburgh International Film Festival , and Edinburgh Festival Fringe . His Requiem for Edward Snowden was featured in BBC Radio 3's Hear and Now and selected for Creative Scotland's Made In Scotland Showcase.
Professor Annie Mahtani is a Professor of Electroacoustic Composition and Practice at the University of Birmingham's Department of Music. She holds a BMus (Hons), MA, MPhil, and PhD from the University of Birmingham and Birmingham City University. Her work focuses on electroacoustic music, acousmatic composition, multichannel audio, spatialisation, and field recordings, with significant contributions to site-specific installations and cross-disciplinary collaborations. She co-directs the SOUNDkitchen collective and serves on key boards such as the British ElectroAcoustic Network (BEAN) and the British Section of ISCM. Her research explores the sonic identity of environmental sounds, large-scale multichannel composition, and ambisonic audio techniques. As a performer with BEAST (Birmingham Electroacoustic Sound Theatre), she develops live acousmatic performances and soundwalks. Recent projects include Becoming Tree (an immersive audio retelling of a literary work) and Minimum Monument , performed at Birmingham Hippodrome. She actively collaborates with dance and theatre companies like Rosie Kay Dance Company. Professor Mahtani teaches undergraduate and postgraduate modules in electroacoustic composition and is involved in admissions and curriculum leadership. Her works have been performed globally in festivals like Klang! Électroacoustique and Sound + Environment, showcasing her innovative contributions to contemporary music and sound art.
Rita Aiello is an Adjunct Associate Professor in the Department of Psychology at New York University's College of Arts & Science. Her research focuses on the cognitive and perceptual processes involved in musical listening, with particular emphasis on neuroaesthetics, music learning, and memory. She holds an Ed.D. from Columbia University and has held faculty positions at institutions including the Juilliard School and the Manhattan School of Music. Her work bridges music theory, cognitive science, and education, with a lifelong background as a classical pianist. Education: Columbia University (Ed.D.), Manhattan School of Music (M.M., B.M.), Conservatorio San Pietro a Maiella (Diploma in Music Theory) Certifications: Kodály and Orff Methods Her research explores how musical training influences cerebral dominance, the relationship between mental representations and emotional responses to music, and the cognitive underpinnings of musical memory. She has published widely on topics ranging from musical expectation to pedagogical strategies for memorization. Recent work investigates evolutionary perspectives on singing and the psychological mechanisms behind musical communication. Publications reflect interdisciplinary engagement with music's structural rules, metaphorical dimensions, and its role in human cognition. While no specific grants or awards are listed, her extensive international teaching experience includes visiting roles at institutions in Rome and Lugano, Switzerland, and an honorary appointment at Columbia University's Teachers College.
Ewa Kowalska-Zając is a Professor of Musical Arts at the Academy of Music in Łódź, where she has been employed since 1989. She served as Dean of the Faculty of Composition, Music Theory, Conducting, Rhythmics, and Music Education from 2008 to 2016 and has been Head of the Department of Music Theory since 2018. A graduate of the Academy of Music in Łódź, her work focuses on avant-garde composition, string quartets, and the intersection of music and visual art. Education: Diploma in Music Theory and Composition from the Academy of Music in Łódź. Her research explores the evolution of Polish composers' approaches to genres like the string quartet, sacred music, and sonorism, with a particular emphasis on avant-garde experimentation and intermedia tendencies. She has authored several books, including Seeing Music. Notation of the Polish Contemporary Score (2019), and over 50 biographical entries in collective monographs. Her publications analyze themes such as musical archetypes, postmodern reinterpretations of traditional forms, and the impact of intermedia practices in 20th-century scores. Notable works include studies on Olivier Messiaen, Paweł Klecki, and Bogusław Schaeffer. Scientific Awards Silver Cross of Merit (2002) Gold Cross of Merit (2022) Kowalska-Zając is a member of the Polish Composers' Union and the Polish Music Society, contributing extensively to musicological discourse through her academic leadership and editorial work.
Jason Smith is a Postdoctoral Scholar at Northwestern University , affiliated with the Interactive Audio Lab . He earned his PhD in Music Technology from the Georgia Institute of Technology . Research Focus Human-AI collaboration in creative domains Interactive music systems AI-driven accessibility solutions Creative autonomy and neural audio generation Recommender systems for music libraries Publication Trends His work spans 2019–2025, emphasizing AI applications in music education, accessibility (especially for blind/visually impaired users), and immersive environments like AI holodecks. Key methodologies include co-design, hybrid recommendation algorithms, and automated creativity assessment. Lab Affiliation He contributes to the Interactive Audio Lab, exploring intersections of sound, code, and AI.
Brian Magerko is Professor of Digital Media in the School of Literature, Media, and Communication at Georgia Institute of Technology , where he also serves as Director of Graduate Studies for the Digital Media program and holds an adjunct appointment in the School of Interactive Computing . He directs the Expressive Machinery Lab and has led over $20 million in federally funded research at the intersection of cognition, computation, and creativity. Education Ph.D. Computer Science and Engineering, University of Michigan (2006) M.S. Computer Science and Engineering, University of Michigan (2001) B.S. Cognitive Science (minor Computer Science & Jazz Performance), Carnegie Mellon University (1999) Research Interests Dr. Magerko’s scholarship integrates cognitive science , AI , and computational media to investigate three core themes: (1) social and creative collaboration between humans and AI; (2) design of interactive narrative, music, and arts-based computational experiences; and (3) inclusive STEAM education that leverages personal expression—most notably through the widely-adopted EarSketch platform, which engages learners in computer science via music remixing and coding. Publication Trends Recent publications (2022-2025) reveal a surge in work on generative and co-creative AI systems , AI literacy frameworks , and accessible computing education . Studies span dance improvisation agents (LuminAI), inclusive design for blind and visually-impaired learners, and large-scale evaluations of creativity and learning outcomes in EarSketch classrooms across the United States. Awards & Honors Methods Paper Recognition, ACM CSCW 2022 Best Paper Award, ACM Creativity & Cognition 2021 & 2017 Ivan Allen College Researcher of the Year 2018 NCWIT Engagement Excellence Award 2017 Multiple Best Student Paper Awards (AIED 2021, ICCCI 2021) CETL Thank-a-Teacher Award 2008 Grants & Advising Dr. Magerko has served as PI or Co-PI on numerous NSF, NEA, and private foundation grants totaling more than $20 million. His projects fund interdisciplinary teams of graduate and undergraduate students, post-docs, and external collaborators, producing open-source software, museum installations, and K-12 curricula. Labs & Teams As head of the Expressive Machinery Lab , he mentors researchers creating AI partners for dance, drawing, music, and storytelling. The lab’s artifacts have been exhibited at the Smithsonian, ArtScience Museum Singapore, MoogFest, and other international venues.
Keith Obadike is a Professor in the Department of Art at Cornell University's College of Architecture, Art, and Planning (AAP), where he also serves as Director of Undergraduate Studies. He is an acclaimed interdisciplinary artist and composer, known for his collaborative work with Mendi Obadike, which spans sound art, digital media, public installations, performance, and internet-based projects. His artistic and academic work critically engages with technology, race, history, and identity. Obadike earned a B.A. in Visual Art from North Carolina Central University and an M.F.A. in Sound Design from Yale University. Prior to joining Cornell, he taught at William Paterson University and held visiting positions at Princeton University, Columbia University, Northwestern University, and the Art Institute of Chicago. His research and creative practice focus on sound art, digital media, public art, performance, and collaborative practice , with strong interdisciplinary connections to Afrofuturism, data sonification, and social justice. He explores how sound and technology mediate racial identity, memory, and liberation, notably through the concept of acousmatic blackness , which he and Mendi developed to describe the racial perception of sound when its source is unseen. Obadike’s selected works include large-scale public sound installations such as Blues Speaker (for James Baldwin) , Free/Phase , Compass Song (Times Square Arts), and GuideStar (Space Needle, Seattle). His projects often use data sonification, archival research, and mythic storytelling, blending historical inquiry with futuristic vision. Notable series include the Opera-Masquerades , Americana Suites , and Numbers Station works, which transform databases of violence into sonic experiences. His honors include: Rockefeller New Media Arts Fellowship (2004) Louis Comfort Tiffany Biennial Award (2015) New York Foundation for the Arts Fellowship in Fiction New Music USA Creator Development Fund (2022) Obadike has received commissions and support from institutions such as the Vera List Center, Harlem Stage, Times Square Arts, the American Composers Orchestra, and the Cornell Mui Ho Center for Cities. He has exhibited and performed at The New Museum, The Whitney Museum of American Art, MoMA, and The Studio Museum in Harlem. His writings and publications include contributions to Studies into Darkness (2022), and artist books such as Four Electric Ghosts and Big House / Disclosure (both 2014). He has also released albums like Crosstalk (2008) and created internet artworks such as Blackness for Sale (2001) and The Interaction of Coloreds (2002), which are foundational in new media and critical race art. While specific advisees are not listed, his role as Director of Undergraduate Studies and Professor indicates active mentorship. His work is deeply collaborative, often co-created with Mendi Obadike, and supported by interdisciplinary teams and institutions.
