Dr. Deirdre Nic Mhathúna is a Professor at Dublin City University's Fiontar & Scoil na Gaeilge. Her research focuses on 18th-century Irish poetry, manuscript studies, and the works of Piaras Feiritéar. She holds leadership roles in Studia Hibernica and Chumann Merriman . She earned a BA in Irish and German from Trinity College Dublin and a PhD from University College Cork. Her research explores post-classical Irish manuscript culture, the poetry of Piaras Feiritéar, and the cultural heritage of Corca Dhuibhne. Recent work includes analyses of scribal transmission, accentual verse development, and the influence of place on literary expression. She has contributed to major publications like the Cambridge History of Irish Poetry and edited volumes such as Ar an Imeall i Lár an Domhain . Her articles span topics from Jacobitism to the Great Famine, Peig Sayers' life narratives, and the enduring legacy of Piaras Feiritéar. She frequently presents at international conferences, including the American Conference for Irish Studies and the Ó Thrácht go Twitter seminar series. No scientific awards are listed, but her editorial and collaborative roles highlight her contributions to Irish literary preservation and scholarly networks. Her work bridges historical and modern contexts, emphasizing cultural continuity and the interplay between oral tradition and written text. Her research often intersects with regional identity, religious thought, and transnational literary connections.
Catherine Laws is a Professor of Music at the University of York, affiliated with the School of Arts and Creative Technologies. She holds a dual role as a musicologist and pianist specializing in contemporary music, with particular focus on interdisciplinary performance practices and the relationship between music and language. Her research explores collaboration, embodiment, and subjectivity in performance, alongside studies of Samuel Beckett’s musical intermediality. Laws maintains a Senior Artistic Research Fellowship at the Orpheus Institute in Ghent, leading the 'Performance, Subjectivity, and Experimentation' research cluster. Education: PhD in Music (University of York, 1996), MA and BA in Music (University of York) Her research spans two core areas: 1) performance-based studies examining performer agency, embodiment, and interdisciplinary collaboration through works like the multimedia Player Piano ; and 2) investigations into composers’ responses to literary texts, notably Beckett’s works. Key outputs include co-authored Voices, Bodies, Practices (2019) and edited Performance, Subjectivity, and Experimentation (2020). Her recent projects with filmmaker Minyung Im reimagine piano performances through film, blending sound, visual, and spatial elements. Publications reflect her dual focus: experimental music performance, Beckett studies, and collaborative art practices. Her work often bridges theory and practice, integrating compositional, performative, and audiovisual mediums.
Konstantinos Alevizos is an academic affiliated with the University of Rouen Normandy (ERIAC research unit) and currently holds a faculty position as Enseignant-Chercheur (Lecturer-Researcher) in Music History at the University of Ioannina, Greece. His academic roles include teaching Music Composition at the Conservatoire de musique, de danse et d’art dramatique de la ville d’Orange (France) and Philosophy at Lycée Victor Hugo (France). He has held research and editorial roles, including a Fellowship at the American Philosophical Society (2020–2022) and membership in national evaluation committees for research projects in Greece (2019–2020). Education: Doctorate in Musicology (University of Paris-Sorbonne, 2016), Master’s degrees in Philosophy (Aix-Marseille, 2020) and Musicology (Saint-Étienne, 2009), and advanced diplomas in musical studies (DEM) from French conservatories. His research focuses on the intersection of Ancient Philosophy (Epicureanism) and Musicology, particularly Baroque fugue analysis (J.S. Bach, d’Anglebert) and historical music editions. Research interests span Epicurean linguistic theory, the philosophy of memory and selfhood, and analytical studies of Baroque compositional techniques. He has published extensively on musicology and philosophy, including critical editions of musical works and peer-reviewed articles in journals like Orgues Nouvelles and RMO . His work also includes editorial leadership in musicological projects, such as Le rôle du nombre en musique . Teaching and professional activities include roles at French conservatories and universities, emphasizing music theory, organ, and harpsichord pedagogy. He is fluent in Greek, Italian, French, and English, with proficiency in Ancient Greek and German.
Danuta Mirka is a Professor at Northwestern University's Bienen School of Music in the Department of Music Theory and Cognition. She holds the Harry N. and Ruth F. Wyatt Chair in Music Theory and has been recognized with major awards for her scholarship. PhD in Musicology from University of Helsinki Senior Fulbright Fellow at Indiana University Humboldt Fellow and DFG Research Fellow at University of Freiburg Leverhulme Trust Research Fellow at University of Southampton Her research synthesizes historical music theory with contemporary cognitive approaches, focusing on metric manipulations in Haydn/Mozart, sonoristic structuralism in Penderecki, and topic theory in eighteenth-century music. She has developed analytical frameworks for textural and timbral systems in avant-garde compositions. Key trends across her publications include: cross-disciplinary application of semiotics and fuzzy logic to music analysis; systematic studies of cadential structures in Classical-era works; and innovative methodologies for analyzing non-traditional instrumental techniques. Her article on Penderecki's sonoristic style introduced groundbreaking concepts of six-dimensional textural analysis. Society for Music Theory Citation of Special Merit (2015) Wallace Berry Award (2011) Marjorie Weston Emerson Award (2023) Roland Jackson Award (2017) Mirka has edited major reference works and served on editorial boards of leading journals. Her scholarship bridges Polish avant-garde traditions with Western analytical methodologies.
Bettina Sandgathe Husebø is a Professor and Head of the Center for Geriatric and Nursing Home Medicine at the Department of Global Health and Community Medicine, Faculty of Medicine, University of Bergen (UiB). She also serves as Innovation Manager at IGS, UiB since 2019. Her extensive career spans clinical practice, research, and leadership roles in geriatric and palliative care. Dr. Husebø completed her medical education at the University of Bonn, Germany in 1988, followed by specialization in Anaesthesiology and Intensive Care in 1995. Her Norwegian qualifications include Medical Specialization in Palliative Medicine (2012) and Nursing Home Medicine (2014) from UiB, along with a PhD from the Faculty of Medicine Dentistry at UiB in 2008. She further enhanced her expertise with a Postgraduate Safety, Quality, Informatics and Leadership (SQIL) Program from Harvard University in 2021. Her research focuses on critical geriatric issues including pain assessment and management in dementia patients, behavioral disturbances in dementia, palliative care in nursing homes, and digital phenotyping applications for elderly care. She has pioneered work on the relationship between pain, agitation, and neuropsychiatric symptoms in dementia patients, particularly through the COSMOS trial and LIVE@Home.Path study. Her recent publications (2023-2025) demonstrate a strong emphasis on digital health solutions for dementia care, with particular focus on activity monitoring, pain assessment through technology, and community-based interventions for aging populations. Her work bridges clinical geriatrics, technology innovation, and patient-centered care models. Among her notable recognitions are the National Dementia Award by His Majesty King Harald of Norway (2022) and multiple awards for research excellence in pain management and palliative care. Her work has significantly influenced Norwegian healthcare policy regarding dementia care and end-of-life practices. As an educator, she lectures in English, German, and Norwegian on dementia, pain in dementia, innovation technologies for older adults, symptom management at end-of-life, systematic medication review, and advance care planning. She has received teaching awards including 'Teacher of the Year' from the Faculty of Medicine and Dentistry at UiB. Dr. Husebø leads the Center for Geriatric and Nursing Home Medicine (SEFAS) and has been instrumental in establishing Norway's first palliative care ward in a nursing home. Her research group focuses on translating evidence into practice to improve quality of life for elderly patients, particularly those with dementia.
Stephen M. Shore is a Clinical Associate Professor at Adelphi University's Ruth S. Ammon College of Education and Health Sciences, specializing in autism and Asperger Syndrome with expertise in educational practices, social inclusion, and successful transition to adulthood for individuals on the autism spectrum. Dr. Shore earned his Ed.D. in Education from Boston University (2008), M.A. in Music Education from Boston University (1992), and dual B.A. degrees in Music Education and Accounting and Information Systems from the University of Massachusetts at Amherst (1986). He holds professional teaching licenses in Music and Business Management for Massachusetts public schools (grades 5-12). His research focuses on multiple critical areas including successful transition to adulthood, employment opportunities, comparative approaches for treating children with autism, socially-based inclusion methods, self-advocacy development, teaching musical instruments to individuals on the spectrum, and international perspectives on autism diagnosis and treatment. His work uniquely bridges academic research with practical applications, informed by his personal experience as someone on the autism spectrum. Dr. Shore's publications demonstrate a consistent emphasis on practical applications of autism research across diverse contexts, with recurring themes in educational strategies, inclusion methodologies, and strength-based approaches that leverage individual capabilities rather than focusing on deficits. Member, Interagency Autism Coordinating Committee (2008-present) Vice President, Autism Society of America - Massachusetts Chapter (2007-present) Board Member, Autism Society of America - National (2001-2004, 2005-present) Former Board President, Asperger's Association of New England (2001-2006) As an educator, Dr. Shore teaches specialized courses including 'Diagnosis Of And Intervention In Autism,' 'Educating Students With Autism Classified At Level 1,' and 'Classroom Management,' emphasizing evidence-based practices that accommodate neurodiversity while promoting academic and social success.
Courtney N. Reed is a Lecturer in Digital Technologies at Loughborough University London, where she joined in November 2023. She maintains a dual role as a visiting research fellow at the Max Planck Institute for Informatics. Her academic journey includes a BMus in Electronic Production and Design from Berklee College of Music (2016), followed by an MSc (2018) and PhD (2023) in Computer Science from Queen Mary University of London. Prior to her current position, she completed postdoctoral research at both the Max Planck Institute for Informatics and King's College London. Bachelor of Music: Electronic Production and Design, Berklee College of Music (2016) Master of Science: Computer Science, Queen Mary University of London (2018) Doctor of Philosophy: Computer Science, Queen Mary University of London (2023) Dr. Reed's research explores the entangled relationships between humans, bodies, instruments, and technology in music interaction, with particular focus on vocal electromyography (VoxEMG) and the vocalist-voice relationship. Her work incorporates feminist and post-human theories to examine sociopolitical contexts within arts technology, aiming to design for creativity while acknowledging individual, messy bodies in artistic practice. She has developed an open-source platform for vocal electromyography to investigate how biosignal feedback changes understanding and perception of the body in vocal performance. Her interdisciplinary approach bridges music technology, human-computer interaction, and embodied interaction studies. Analysis of Dr. Reed's recent publications (2023-2025) reveals a strong thematic focus on embodied interaction in music technology, with particular emphasis on vocal performance, biosignal feedback, and the philosophical underpinnings of digital instrument design. Her work consistently integrates theoretical frameworks like Karen Barad's agential realism with practical applications in digital musical instruments. Key trends include the exploration of ambiguity in data representation, the sociocultural dimensions of timbre in instrument design, and the development of novel methodologies for understanding embodied musical experiences through micro-phenomenology and ethnographic approaches. ACM SIGCHI Outstanding Dissertation Award (2024) for her thesis 'Imagining & Sensing: Understanding and Extending the Vocalist-Voice Relationship Through Biosignal Feedback' Best Newcomer Award at Loughborough University London's Community Awards Celebration (2024) Dr. Reed actively contributes to the academic community through conference organization and leadership roles. She serves as Member-at-Large on the NIME Board, previously chaired papers for NIME 2024, and co-organized the IBM SkillsBuild Sprint at Loughborough London. She has also chaired sessions at the ACM TEI Conference and co-chaired the Student Design Competition. Her collaborative work spans multiple institutions and includes significant contributions to interdisciplinary projects that bridge music, technology, and human experience. She has been instrumental in developing the senSInt research group and the RaveNET wearable network project. Dr. Reed leads the senSInt research group which focuses on sensorimotor interaction in music and performance contexts. The group develops innovative technologies including the VoxEMG platform for vocal electromyography, the Bones anti-corset for vocal performance, and the RaveNET network of wearable biosensing nodes. These projects explore the intersection of biosignals, embodied interaction, and musical expression, creating novel frameworks for understanding how technology mediates human creativity and performance. The group frequently collaborates with musicians, technologists, and theorists to develop and test these systems in real-world performance contexts.
Dmitri Tymoczko is a Professor of Music at Princeton University, where he has taught composition and theory since 2002. His work bridges the gap between academic music theory and contemporary composition, creating a unique interdisciplinary approach that has earned him recognition as a leading figure in modern music scholarship and creation. Tymoczko's research interests focus on the geometric modeling of musical structures, polystylistic composition that draws from genres spanning Renaissance to rock, and the mathematical foundations of tonality. His theoretical work explores how harmonic structures can be represented geometrically, revealing fundamental patterns that connect diverse musical traditions. He approaches composition as 'a logical deduction from absurd premises,' blending rigorous structural thinking with playful musical exploration. His scholarly publications and compositions reveal a consistent interest in the intersection of mathematical precision and expressive freedom. The articles demonstrate expertise across music theory, composition, and the cognitive aspects of musical perception, with recurring themes of geometric modeling, tonal structure, and genre hybridization. His work often challenges traditional boundaries between academic and popular music forms. Guggenheim fellowship Rhodes Scholarship Leonard Bernstein fellowship from Tanglewood Fellowship from the Radcliffe Institute for Advanced Study Block lectureship from the Society for Industrial and Applied Mathematics First music-theory article published in Science magazine Tymoczko maintains an active performance career alongside his academic work, with his compositions performed by leading ensembles including the Brentano Quartet, Newspeak, and Roomful of Teeth. His teaching integrates theoretical insights with practical composition, fostering a generation of musicians who understand music's structural foundations while embracing creative freedom. He has developed innovative tools like the musical programming language 'arca' to explore new compositional possibilities.
Bart J. Hengeveld is an Assistant Professor at Eindhoven University of Technology (TU/e), affiliated with the Industrial Design department within the Faculty of Industrial Design. He leads the Future Everyday research cluster, focusing on the intersection of sound design and IoT systems. His work explores how embedded technologies can communicate through sound and tangible interaction in ways that enhance human experience. Education: BSc/MSc in Industrial Design Engineering, Delft University of Technology (2003) PhD in Industrial Design, TU/e (2011), with concurrent training in double bass at Codarts Conservatory Research Interests: Acoustic communication in IoT systems Tangible interaction design Social implications of ubiquitous computing Sound as a medium for human-technology interaction Recent Research Trends: Focus on multimodal interfaces combining sound/light/haptics Studies on sound design for healthcare and smart living environments Investigations into ethical and inclusive IoT soundscapes Awards: Two Teacher of the Year awards at TU/e, reflecting his commitment to pedagogical excellence. Advising & Projects: Supervised 113 student projects including interactive installations like 'Naktis' and 'Sonostapp' Leading the €1.5M 'Role of Sound in Hybrid Work Environments' project (2023–2026) Organized TEI 2016 conference and serves on its steering committee Teams/Labs: Core member of TU/e's Future Everyday cluster, collaborating with multidisciplinary teams on embodied interaction research.
Professor Andrew Kirkman holds the Peyton and Barber Chair of Music at the University of Birmingham's Department of Music. He leads the Centre for Early Music Performance and Research, directing the University Chamber Orchestra and professional ensemble The Binchois Consort. His roles include teaching Renaissance music, 1960s music studies, and supervising PhD topics ranging from post-communist Poland to late medieval music historiography. Research focuses on fifteenth-century sacred music’s cultural context, particularly the Mass Ordinary in late medieval Europe. His 2010 book The Cultural Life of the Early Polyphonic Mass and 2020 monograph on Saint-Omer’s music culture exemplify this. Recent work explores music-alabaster intersections and late-medieval liturgical practices. His recordings with The Binchois Consort earned Gramophone awards, including the 2017 'Early Music Recording of the Year.' Notable performances include Music for the Hundred Years' War (2017) and collaborations with pianist Clipper Erickson. Awards reflect both scholarly and performative excellence. Advising emphasizes late medieval/renaissance music, while grants supported research on Saint-Omer’s musical legacy. He co-founded The Binchois Consort in 1995, producing Hyperion recordings that revive rarely performed repertoires. His work bridges performance, scholarship, and interdisciplinary cultural studies.
Anjali Vats is an Associate Professor of Law at the University of Pittsburgh School of Law with a secondary appointment in the Department of Communication. Her work bridges legal scholarship with critical race theory, focusing on the intersection of intellectual property law and racial justice. She has established herself as a leading voice in Critical Race Intellectual Property scholarship. Professor Vats's research centers on the racial dimensions of intellectual property law, examining how copyright, trademark, and patent systems perpetuate racial hierarchies and white supremacy. Her scholarship explores the whiteness of intellectual property frameworks, the erasure of Black intellectual labor, and the potential of critical race theory as a methodology for intellectual property research. She has developed the field of Critical Race Intellectual Property (CRT-IP), which analyzes how intellectual property law constructs racial categories and reinforces racial inequality in the United States and globally. Her publication record reveals a clear trajectory of developing Critical Race Intellectual Property as a distinct scholarly field. Beginning with foundational works like 'Critical Race IP' (2018) and 'The Color of Creatorship' (2020), she has systematically examined how intellectual property law shapes racial categories and citizenship. Her more recent work expands into digital spaces, examining racial dynamics in cyberlaw and addressing geopolitical dimensions of intellectual property through a critical race lens. The 2024 publications on Chinese and Russian cybercrime in global racial orders and knowledge anti-imperialism demonstrate the continued evolution of her scholarship into transnational and decolonial frameworks. Professor Vats's research has been published in leading law journals including the Cardozo Arts & Entertainment Law Journal, University of Pittsburgh Law Review, IDEA: The IP Law Review, and the LSU Journal for Social Justice & Policy. Her work has been featured in edited volumes from prestigious publishers including Stanford University Press, Oxford University Press, and the University of California Press. Her scholarship has been cited in legal discourse on race and intellectual property, with particular attention to how copyright frameworks erase Black intellectual contributions while centering white creators. Her collaborative work, particularly with Deidre A. Keller, has been instrumental in establishing Critical Race Intellectual Property as a viable scholarly methodology. The co-authored publications demonstrate a sustained intellectual partnership focused on developing transdisciplinary methods to address the 'unbearable whiteness' of intellectual property law. Her more recent collaboration with Sheila I. Velez Martinez on 'Knowledge Anti-Imperialism in a Propertied World' signals an expansion of her scholarly interests into anti-imperial frameworks for analyzing intellectual property systems.
Gusti Komin Darta is a Visiting Professor and Guest Director of Gamelan Galak Tika at the Massachusetts Institute of Technology (MIT). Born in 1978 in Bali, he is a renowned composer, performer, and educator in Balinese music, known for blending traditional and modern gamelan styles. He teaches at MIT and other U.S. institutions, leading ensembles like Saiban and Gamelan Galak Tika. His expertise includes the gendér wayang, reyong, and kendang instruments, with over 25 years of teaching experience globally. Research interests focus on innovative approaches to Balinese gamelan music, emphasizing its evolution through contemporary compositions and cross-cultural collaboration. His work challenges conventional performance techniques, pushing boundaries for musicians. A master of gendér wayang and a rebellious innovator, Komin’s compositions are celebrated for their experimental nature. He actively engages in community-based music education, bridging traditional Balinese practices with modern pedagogical methods.
Henrik von Coler is an Assistant Professor at Georgia Institute of Technology's School of Music within the College of Design. His work bridges engineering, electronic music, and empirical research, focusing on spatial audio systems, live electronics, and human-computer interaction in musical contexts. He joined Georgia Tech in 2023 after serving as director of the TU Studio for Electronic Music at Technische Universität Berlin from 2015 to 2023, where he founded the Electronic Orchestra Charlottenburg (EOC) to explore live electronic ensembles in multichannel environments. His research emphasizes the integration of sound, space, and HCI to enhance compositional and performative expressiveness. Notable projects include immersive audio installations, virtual instrument design, and AI-assisted composition. Coler has performed globally on immersive audio systems and curated international concerts. His technical contributions span spatial sound synthesis algorithms, networked music systems, and real-time signal processing tools. Key areas of exploration include volumetric music performances in metaverse environments, hybrid spatial interaction via ARCube, and statistical models for spectral synthesis. He has developed open-source systems like Orchestra (for metaverse performances) and SPRAWL (for ensemble interaction). Coler’s work often combines empirical research with artistic practice, aiming to redefine the boundaries of live electronic music through technological innovation. His academic output spans over 30 peer-reviewed articles since 2011, with recent focus on metaverse applications, AI-human collaboration, and immersive audio design. While no formal awards are listed, his leadership roles and project outcomes highlight significant contributions to music technology and spatial audio engineering.
R. Luke DuBois is an Associate Professor and Co-Chair of the Technology, Culture and Society Department at the NYU Tandon School of Engineering, where he also directs the Integrated Design & Media program and the Brooklyn Experimental Media Center. He holds a DMA in music composition from Columbia University and is a renowned artist, composer, and performer whose work explores intersections between technology, sound, and visual media. His research focuses on digital media, human-computer interaction, and emerging technologies applied to artistic expression and accessibility. Key roles include directing the SONYC initiative (addressing urban noise pollution via AI) and leading the NYU Ability Project (advancing disability studies through technology). He has collaborated with institutions like the Smithsonian and artists such as Maya Lin, and his work has been exhibited globally, including at the Sundance Film Festival and the Aspen Institute. DuBois co-developed the Jitter software suite for real-time data manipulation and performs in avant-garde groups like Bioluminescence and Fair Use. His artistic practice combines time-lapse phonography, interactive installations, and interdisciplinary projects that critique cultural ephemera while advancing accessibility in STEM and the arts. Recent contributions include browser-based tools for accessible music notation (SoundCells) and sonification techniques for calculus education. He serves on the Board of the ISSUE Project Room and has been featured in major publications like the New York Times and TED Conference talks.
Simon Dixon is a Professor of Computer Science and Director of the UKRI Centre for Doctoral Training in Artificial Intelligence and Music (AIM CDT) at Queen Mary University of London. He also serves as Deputy Director of the Centre for Digital Music (C4DM). His work focuses on music informatics, AI, and computational musicology, with emphasis on music signal analysis, performance modeling, and MIR applications. He leads projects funded by UKRI, Innovate UK, and industry partners like Yamaha and Spotify. Dixon has supervised over 20 PhD students and contributed to major initiatives like the Jazz Digital Archives Project and the Dig that Lick study on jazz melodic patterns. His research has been recognized with awards including the Peter Claricoats Award and Turing Fellowship. Education: PhD in Computer Science, BSc(Hons) in related field, with music qualifications (AMusA LMusA) Roles: AIM CDT Director, C4DM Deputy Director, EU H2020 MIP-Frontiers PI Research: Music transcription, expressive performance analysis, MIR, and AI applications in music education Key projects include industry collaborations (e.g., Yamaha for jazz piano modeling), semantic audio analysis, and large-scale music corpus studies. His team has pioneered methods in chord detection, source separation, and alignment algorithms, with top rankings in MIREX evaluations. Publications span journals like TISMIR and ICASSP, with a focus on foundational MIR techniques and AI-driven music systems. His work bridges technical innovation with cultural heritage through projects like JazzDAP and the Dig that Lick analysis of jazz solos.
