Stanley Liebowitz is the Ashbel Smith Professor of Managerial Economics at the Naveen Jindal School of Management, University of Texas at Dallas. He specializes in digital piracy, copyright law, and technology markets. He holds a PhD in Economics from UCLA (1978) and a BA from Johns Hopkins (1971). His research focuses on piracy’s impact on industries, internet-television competition, and mortgage crises. Notable works include analyzing file-sharing’s effect on music sales and debunking myths about subprime loans causing the 2008 crisis. He has advised policymakers globally and testified before Congress on copyright and financial regulations. Awards: Ashbel Smith Chair, Bradley Fellowship, John Olin Faculty Fellow Roles: Editor for Journal of Media Economics , Society for Research on Copyright Issues President (2006–2008) Keynote Talks: Association for Cultural Economics (2012), George Mason University (2011) Liebowitz’s work spans academia and policy, with affiliations at think tanks like the Cato Institute and Competitive Enterprise Institute. His recent focus includes internet market dynamics and intellectual property frameworks.
Sherrie Tucker is a Professor of American Studies at the University of Kansas, specializing in jazz studies, gender theory, and cultural history. She holds a Ph.D. in History of Consciousness from the University of California, Santa Cruz. Her work interrogates intersections of race, gender, and improvisation in music and culture, with notable publications including Dance Floor Democracy (2014) and Swing Shift (2000). She co-edits the American Studies journal and collaborates on initiatives like the AUMI research consortium, focusing on inclusive music technology. Her research bridges academia and practice through projects like the Melba Liston Research Collective and the International Institute of Critical Improvisation Studies. Education: Ph.D., History of Consciousness, UC Santa Cruz (1999). Research focuses on jazz history, improvisation studies, and marginalized voices in cultural production. Recent work explores disability-inclusive musical instruments (AUMI) and recentering Black women’s contributions to jazz narratives. Key themes include gendered labor in WWII social spaces, queer critiques of jazz historiography, and collaborative praxis in community-based research. Her articles synthesize interdisciplinary approaches, analyzing topics like jazz’s queer histories, racial representation in film, and participatory music technology. Tucker’s work prioritizes marginalized perspectives, advocating for inclusive methodologies and amplifying underdocumented narratives in music and cultural studies. Labs/Teams: AUMI-KU InterArts, Melba Liston Research Collective, AUMI Research Consortium. Grants include SSHRC-funded projects on improvisation and social practice. She mentors through editorial roles at Wesleyan University Press’s Music/Culture Series and the American Studies journal.
Braxton Shelley is a Professor of Music, Sacred Music, and Divinity at Yale University, serving as faculty director of the Interdisciplinary Program in Music and the Black Church at the Yale Institute of Sacred Music. A scholar, ordained Missionary Baptist minister, and church musician, he holds a Ph.D. from the University of Chicago and a Master of Divinity from the University of Chicago Divinity School. Previously, he taught at Harvard University from 2017 until his appointment at Yale. His expertise spans African American sacred music, gospel traditions, and the intersection of music with religious practice. Notable works include Healing for the Soul: Richard Smallwood, the Vamp, and the Gospel Imagination (Oxford UP, 2021), hailed as a landmark in Black cultural scholarship, and An Eternal Pitch: Bishop G.E. Patterson and the Afterlives of Ecstasy (UC Press). His research has earned prestigious awards including the Paul A. Pisk Prize and the Dean’s Distinguished Dissertation Award. Shelley’s articles blend interdisciplinary approaches, exploring topics like Black Pentecostalism, media’s role in religious ministry, and the cultural significance of gospel music. His work bridges musicology, theology, and social history, emphasizing lived religious experiences and musical innovation. Awards: Paul A. Pisk Prize (2016), Einstein Award (2019), Kunst Prize (2019) Books: Two monographs with major university presses, cited as transformative in their fields Media Engagement: Guest lecturer and clinician in musicological circles
James VanDemark is a Professor of Double Bass at the Eastman School of Music within the University of Rochester. A celebrated virtuoso, he has performed as a soloist with major orchestras such as the New York Philharmonic and San Francisco Symphony, earning acclaim for his musical intelligence and technical mastery. VanDemark's career spans solo performances, chamber music collaborations, and commissions of works by Pulitzer Prize-winning composers, while also serving as an educator whose students hold positions in prestigious orchestras globally. Education : BFA, Magna cum Laude, SUNY Buffalo (1976) Research & Artistic Interests : VanDemark's artistic practice centers on double bass performance, chamber music, and innovative interdisciplinary works like Circle of Faith with Native American artists. He actively premieres commissioned compositions and explores narrative roles in orchestral settings through works like A Young Rodent’s Guide to the Orchestra . Professional Affiliations : He serves as Co-Chair of the String Department and Chair of the Musical Arts Major at Eastman, an interdisciplinary honors program. His performance career includes guest appearances at festivals such as Mostly Mozart and Newport.
Dr. Amanda Turnbull is a Lecturer in Law at the Te Piringa Faculty of Law , University of Waikato, and a Research Associate at the Te Puna Haumaru New Zealand Institute for Security and Crime Science . She holds a PhD from Osgoode Hall Law School (York University), focusing on the intersection of law, algorithms, and societal power. Her interdisciplinary research spans cyber law, contract law, transnational law, law of the sea, legal theory, and feminist legal scholarship. PhD: Law (Osgoode Hall Law School) MA: English (Carleton University) BA: English Literature (University of Ottawa) ARCT: Flute Performance (Royal Conservatory) Dip AA: Music (Mohawk College) Her work critically examines technology’s role in legal systems, including algorithmic contracts, AI governance, and technology-facilitated gender-based violence. Notable contributions include studies on the Pacific Salmon Treaty, cybersecurity frameworks, and the philosophical implications of AI in law. She has held roles such as Schulich Fellow (Dalhousie University, 2022–2023) and Sessional Professor at the University of Toronto. Current teaching includes courses on cyber law, transnational law, and legal aspects of cybersecurity. She supervises doctoral candidates exploring biotechnologies in space law and sentencing disparities in Canada.
Alex Lubet is a Professor in the Department of Music at the University of Minnesota, Twin Cities, within the College of Liberal Arts. His work bridges music, disability studies, and adaptive technology, with a strong focus on inclusivity and accessibility in musical performance and education. Professor, Department of Music, University of Minnesota Researcher, Minnesota Lab for Low-Vision Research Visiting lecturer/researcher at Sichuan Conservatory of Music, Korea University, Kosin University, and James Madison University His research interests center on the intersection of music and disability, particularly blindness and citizenship, adaptive musical instruments like AUMI, experimental music, and cultural theory. He explores how sensory differences shape musical identity and performance, contributing to broader conversations in disability studies and the arts. His work emphasizes tactile acuity, hypergestures, and the redefinition of musical access. The recent publications show a consistent focus on disability-inclusive music practices, adaptive technologies, and cultural theories of experimental music. Themes across his work include blindness in music, distributed identity, microtiming, and the socio-political dimensions of artistic citizenship. His scholarship is deeply interdisciplinary, drawing from musicology, neuroscience, cultural studies, and computational music science. Scientific Awards and Recognitions: No specific awards listed in the provided text. Lubet has been actively involved in research projects and collaborations, including the development of datasets on tactile acuity in pianists and contributions to international research networks. He has advised or collaborated with researchers on funded projects related to low-vision and music. His visiting roles suggest mentorship and knowledge exchange across global institutions. While formal advisees are not listed, his collaborative output implies supervision and academic guidance. He is associated with the Minnesota Lab for Low-Vision Research, where interdisciplinary work on sensory adaptation in musicians takes place. His network includes scholars in computational music, disability studies, and ethnomusicology, fostering innovative approaches to music and accessibility.
Simon Emmerson is a Professor in Music, Technology & Innovation at De Montfort University’s Leicester Media School , with a career spanning nearly five decades. He founded the Electroacoustic Music Association of Great Britain (EMAS) and served on Sonic Arts Network/Sound and Music boards. His DAAD Edgard Varese Visiting Professorship at TU Berlin and Silver Jubilee Visiting Professorship at Western Australian Academy of Performing Arts highlight his global influence. Current research student supervisor at DMU Co-PI on AHRC-funded project New Multimedia Tools for Electroacoustic Music Analysis Editorial Board member for Organised Sound , Radical Musicology , and Journal of Sonic Studies His research focuses on electroacoustic music’s live performance practices, spatial composition, gender dynamics in electronic music institutions, and machine-human listening symbiosis. He pioneered ‘concert installation’ formats like Aeolian , where looping structures create non-linear temporal experiences. Key publications include foundational texts The Language of Electroacoustic Music (1986), Living Electronic Music (2007), and The Routledge Research Companion to Electronic Music (2018). His AHRC-supported project (2010-2013) produced innovative analysis tools for hybrid genres. Scientific contributions: 2019 Oxford Handbook chapter on imagination in performance 2018 ICLI collaboration on crossadaptive processing 2016 EMAS institutional history analysis 2015 Organised Sound article on machine listening 2007 Living Electronic Music monograph As composer, he has created over 50 electroacoustic works performed at festivals in Paris, Berlin, Lisbon, and Birmingham. His advising includes supervising PhD/Masters students at DMU, though specific names aren’t listed. He maintains active performance presence with concerts in 2020 celebrating his 70th birthday.
Stockton Helbing is an Adjunct Assistant Professor at the University of Texas at Arlington and an Adjunct Professor at the University of North Texas , where he teaches jazz drum set. Based in Dallas, TX, he combines academic instruction with an active career as a performing and recording artist, having released eight albums since 2005. His work spans drumming, composition, music education, and directing the Helbing Jazz Initiative (HJI), which provides masterclasses to K-12 students. His educational background includes a BA in Music from the University of North Texas (2003). He has authored two pedagogical texts: Big Band Drum Set Sight Reading Etudes Volume 1 and Studies in Syncopation , both integrated into UNT's percussion curriculum. Research interests focus on jazz performance , drumming pedagogy , and historical jazz interpretation . His creative output includes 8 albums showcasing jazz composition, drumming innovation, and collaborative ensemble work. Notably, he produced Maynard Ferguson’s final studio recording The One and Only (2007). Awards: Dallas Jazz Appreciation Month Jazz Legend award for Jazz Innovator of the year (2019) Teaching includes courses in jazz appreciation, private drum lessons, and ensemble preparation at UNT, with recent syllabi covering Jazz Senior Recital/Project (MUSI 4392), Preparatory Private Lessons (MUSI 2223), and Pri Lessons in Jazz Drumset (MUSI 1238-3259). He maintains academic links through guest artist engagements at institutions like San Jose State University and George Mason University.
Dr. Manuel Martí-Vilar is a Professor of Basic Psychology at the Faculty of Psychology and Speech Therapy, Universitat de València. With 28 years of teaching experience, he specializes in emotional intelligence, prosocial behavior, and addictive disorders. His research spans systematic reviews and meta-analyses on topics like smartphone addiction, caregiving burden, and neurocognitive interventions. Current research focuses on prosocial behavior mechanisms (GIN Neurodret and GISProsoc groups) Editorial roles: Former Editor of Anuari de Psicologia de la SVP and Guest Editor of RIDU Recipient of Extraordinary Awards for Llicenciatura and Doctorat Active participant in international research stays and academic committees His recent publications analyze psychosocial factors in gaming addiction, resilience in digital dependence, and neurocognitive patterns in prosocial behavior. Over 185 publications reflect his expertise in behavioral psychology and intervention design. Scientific contributions include: 2021 Ministry of Science and Innovation project on knowledge generation Meta-analysis frameworks for psychometric instruments (Zarit Burden Interview, Wong-Law Emotional Intelligence Scale) Comparative studies on problematic internet use across Italy, Spain, Ecuador, and Peru
Louise Lansdown is the Assistant Head of Strings (Viola) at the Royal Northern College of Music (RNCM), Professor of Viola and Chamber Music at the Yehudi Menuhin School (YMS), and Visiting Tutor in Viola at the Royal Birmingham Conservatoire (RBC). Her research focuses on Paul Hindemith, with a PhD on his early life and works, and she is writing a book on Hindemith and the viola for Schott. She is the founder of the Cecil Aronowitz International Viola Competition, the British Viola Society, and the BIG Viola Project, which promotes viola education in schools across the UK and beyond. Lansdown is also a key figure in the ARCO project, a distance-learning initiative connecting RBC with South Africa’s Morris Isaacson Centre for Music and India’s KM Music Conservatory. Her work emphasizes cultural exchange, music education, and the promotion of viola repertoire globally. Education: PhD in Musicology (University of Manchester), MMus (RNCM), BMus (Hons), Dip ABRSM. Her research spans Hindemith’s compositions, viola performance practices, and the role of music in socio-cultural contexts. She has delivered lectures worldwide, performed in Hindemith-themed concerts, and led academic modules on his works. Scientific Awards: Nominated for Guardian Internationalization Award (2018) and BASA22 Award (2019) for her ARCO project. She is a trustee of the National Youth String Orchestra and Lionel Tertis International Viola Competition. Notable Projects: The Aronowitz Viola Course (Cornwall), documentary series ‘Cinderella No More: The English Viola Legacy,’ and collaborations with the Ubuntu Ensemble and Mzansi National Philharmonic Orchestra. Lansdown’s work bridges classical music heritage with contemporary innovation, advocating for viola’s role in modern music.
Helen Seddon-Gray is a Lecturer in Music at the Royal Northern College of Music (RNCM), specializing in composition and cross-cultural music studies. She holds a PhD from the University of Manchester and has extensive teaching experience across undergraduate and postgraduate programs. Her research explores harmonic language, polarities in music, and the intersection of belief systems with artistic creation. She has collaborated extensively with RNCM alumni and staff on projects like the virtual performance of Lalit and Shahana . Teaching roles: Music theory, music history, performance studies, composition/improvisation Coordinates Personal Tutoring Provision Supervises Masters Projects and PhD reviews Her compositions are published by editiondb.com and include works for piano, horn, and percussion. Current projects include a book of contemporary horn studies focusing on extended techniques.
Professor Helen Julia Minors is the Head of the School of Arts at York St John University (since 2022) and a Visiting Professor of Artistic Research at Lulea Technical University (Sweden, 2020–present). Her expertise spans musicology, performance studies, and educational research, with a focus on gender leadership, inclusive pedagogy, and interdisciplinary collaboration. She has held leadership roles at Kingston University, including School Head of Performing Arts and Head of Music, and has championed EDI initiatives, LGBTQ+ advocacy, and anti-discrimination policies. Her research explores music and translation, cultural communication, and the intersections of music with dance, drama, and design. Education: PhD in Music (implied by academic rank). Grants & Funding: Over £200,000 in grants for projects like 'Women’s Musical Leadership Online Network' (AHRC), 'Taking Race Live' (OfS), and collaborations with arts organizations. Research Interests: Gender equity in music leadership, intercultural performance practices, and the translation of music across disciplines. She has published extensively on topics ranging from Paul Dukas to contemporary dance-music intersections. Awards: Rose Award (2016), CATE Finalist (2017), and Student Award for Employability (2021). She co-founded the EDI Music Studies Network (2019) and chairs major music education bodies. Teaching: Supervises PhD candidates and teaches modules on music education, critical theory, and interdisciplinary performance. Labs/Teams: Leads the School of Arts and collaborates with institutions like Aldworth Philharmonic and Club Inégales.
Dr. Murphy McCaleb is an Associate Professor of Music and Course Leader for the BA (Hons) Music program at York St John University's School of the Arts. He teaches modules on ensemble performance, music theory, and professional practice, and advises postgraduate research students. His research focuses on ensemble collaboration, power dynamics in music education, and the intersection of genre and performance practices. He holds a PhD from Royal Birmingham Conservatoire and advanced degrees from the University of Michigan and University of Alaska Fairbanks. Notable publications include Embodied Knowledge in Ensemble Performance (2014) and contributions to scholarly volumes on chamber music and pedagogy. Murphy is an active performer, leading jazz, classical, and experimental bands. He has performed at major festivals like Glastonbury and Edinburgh Fringe, and his recordings include Tangents (2014) and Mythical and Angry (2015). Professional activities include work with the New York Brass Band and the Late Music concert series in York. His teaching emphasizes ensemble leadership, creative entrepreneurship, and ethical considerations in music education. He has supervised doctoral research and developed innovative curricula blending performance, theory, and industry readiness.
Irene Malizia is an Italian-born musician and academic based in Vienna, serving as a lecturer and substitute teacher in violin, composition, and music theory across institutions like the Joseph Haydn Conservatory, JMLU, and AMP Vienna. She holds a PhD candidate status at the University of Music and Performing Arts Graz, researching 'Composing music as a learning tool in instrumental music education' under Prof. Silke Kruse-Weber, Prof. Gary McPherson, and Prof. Wolfgang Rüdiger. Educational Background: Postgraduate in electroacoustic composition (MUK), dual Bachelor's/Master's in composition (University of Music and Arts Vienna), Master's in violin performance and pedagogy (Italy), diploma in instrumental pedagogy (Joseph Haydn Conservatory), and Orff-Schulwerk certification. Currently pursuing a PhD focusing on composition-based pedagogy. Research emphasizes innovative teaching methodologies using composition as a core learning tool, with a focus on interdisciplinary approaches blending performance, pedagogy, and technology. Her work has been presented at international conferences (EPARM, MERYC, ESTA) and supported by grants including the 2018 City of Vienna Composition Grant. Artistic Achievements: Active as a soloist and chamber musician, with international commissions and performances (e.g., Ö1 Klassik-Treffpunkt-Live). Founded Variando musica with Angelo Tatone to promote collaborative artistic/educational projects. Notable compositions include Colori e Multiforme and Anima(ae) , published by Doblinger and Edizioni Sconfinarte. Teaching & Leadership: Leads violin/composition workshops globally via Erasmus+ and institutions like INÖK. Co-founded Variando musica to advance creative music education. Supervises PhD research and contributes to MUK's doctoral program in artistic-scholarly research.
Benjamin Schmid is a Professor of Violin at the Mozarteum University in Salzburg, Austria. He holds the title of University Professor (Univ.-Prof.) and specializes in violin performance, chamber music, and jazz improvisation. His affiliations include the Strings Department and roles as Artistic Director of the Salzburg Orchestra Soloists (SAOS) and the Chamber Orchestra Musica Vitae. Notable achievements include winning the International Prize for Art and Culture (2019), Echo Klassik, and Opus Klassik awards. His research focuses on Mozart's violin works, historically informed performance practices, and cross-genre collaborations between classical and jazz traditions. Prof. Schmid's career spans over 3,000 performances with renowned orchestras like the Vienna Philharmonic and Amsterdam Concertgebouw. He is recognized for his technical mastery, improvisational skills, and championing overlooked works such as Korngold's Violin Concerto. As a recording artist, his discography includes over 60 albums, many award-winning, such as the 20-CD box set celebrating his 50th birthday. He serves on juries for competitions like the International Mozart Competition and leads the ClassixKempten music festival. His artistry bridges classical traditions with modern innovations, exemplified by his work with jazz trios and experimental chamber ensembles.
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