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.
Professor Beth Williamson is a leading scholar of medieval culture, holding dual roles as Professor of Medieval Culture and Chair in the History of Art at the University of Bristol's Department of History of Art (Historical Studies), and as Academic Director (Research Impact & Translation Partnerships) within the Faculty of Social Sciences and Law. She earned her B.A. from Oxford University (Oxon), an M.A., and a Ph.D. from the University of London (Lond.). Her research focuses on visual, material, and aural dimensions of medieval religious practice, exploring how sensory experiences shaped devotional life. Key themes include sacred imagery (e.g., the Virgin Lactans and Madonna of Humility), liturgical spaces, and the intersection of art with music, time, and political power. Recent projects include studies of Westminster Abbey’s royal patronage and collaborations in interdisciplinary historical research. Her publications span over three decades, addressing topics from Italian Renaissance altarpieces to Irish medieval sculpture, with a strong emphasis on material culture and devotional practices. Despite her prolific output, no formal awards are listed, though her academic leadership roles reflect her scholarly impact. As a mentor, her supervisory activities are noted in her profile but lack specific student names. Her work bridges academic and public spheres, particularly through her role in translating research into societal impact initiatives. She is affiliated with the University of Bristol’s Senate House and contributes to institutional leadership.
Paul Taele is an Instructional Assistant Professor and Deputy Lab Director in the Sketch Recognition Lab at Texas A&M University's Department of Computer Science & Engineering. He holds a Ph.D. (2019), M.S. (2010), and dual B.S. degrees in Computer Science and Mathematics from the University of Texas at Austin (2006). His research focuses on sketch recognition, haptics, and intelligent interfaces for education and accessibility, with notable work in mid-air gesture recognition, educational sketching tools, and assistive technologies for disabilities. He has contributed to projects like Kanji Workbook , Hashigo , and HaptiMoto , and has published over 50 peer-reviewed articles across venues like CHI, IUI, and AAAI. Taele has received awards including the NSF Student Travel Grant (2014) and Ford Foundation Honorable Mention (2015). He teaches courses in capstone design, programming, and sketch recognition, and mentors students across all academic levels through strict eligibility criteria for research collaborations. Education : Ph.D. Computer Science, Texas A&M University (2019) M.S. Computer Science, Texas A&M University (2010) B.S. Computer Science & Mathematics, University of Texas at Austin (2006) Concentration in Mandarin Chinese, National Chengchi University (2007) Research Interests : Taele's work bridges HCI and AI to create accessible educational interfaces. His projects emphasize: Sketch Recognition : Developing algorithms for mid-air gestures, children's developmental assessments, and language learning Accessibility : Haptic systems for visually impaired learners and algebra education Educational Tech : Intelligent tutoring systems for music, math, and East Asian languages Awards & Grants : EAAI-20 Travel Grant (2020) Ford Foundation Dissertation Honorable Mention (2015) NSF East Asia-Pacific Summer Institutes (2013, 2012) Royce E. Wisenbaker Fellowship (2009) Lab & Teams : Director of the Sketch Recognition Lab (SRL) and collaborator with global institutions like Singapore Management University and National Taiwan University. Active in organizing workshops like SketchRec at IUI conferences.
Jonathan Nangle is a Lecturer in Music Technology and Electro-Acoustic Composition at the Royal Irish Academy of Music. His work spans acoustic/electro-acoustic composition, live electronics, installations, and improvisation. Educated at Trinity College Dublin under Donnacha Dennehy, Rob Canning, and later privately with Kevin Volans, his music has been performed by ensembles like RTÉ National Symphony Orchestra and Crash Ensemble. Research interests include spatial music, interactive installations, and hybrid acoustic/digital forms. Notable works include Pause (Ergodos, 2017), Iridescent Cobalt Glow (2015), and our headlights blew softly... which earned a 2009 Rostrum commendation. Awards include dual Irish Rostrum representations (2009/2011) and the 2007 AIC/Music 21 Prize. Recordings span solo piano works to ensemble commissions, often integrating innovative electronic elements. His work has been broadcast internationally and choreographed for stage/film. Current roles include academic teaching and ongoing creative exploration at the intersection of technology and traditional composition.
Dr. Karen Cochrane is an Assistant Professor at the University of Waterloo, specializing in Human-Computer Interaction (HCI) with a focus on wearable and tangible computing for mental health and accessibility. Her research integrates soma design, autoethnography, and design fiction to address the needs of underrepresented communities, particularly those with disabilities. Key projects include developing assistive technologies for queer/crip identities, accessible gaming wearables, and tactile interfaces for sensory exploration. She explores embodied experiences through multidisciplinary approaches, blending traditional craft practices with modern computational tools. Her work prioritizes participatory design methodologies, collaborating with occupational therapists, disabled communities, and neurodivergent individuals to co-create inclusive technologies. Recent innovations include VARitouch (a haptic feedback device), Breathing Scarf (for emotional regulation), and adaptive switches for children with motor disabilities. Her research extends into sensory narratives, exploring how fabric and data can articulate bodily experiences through projects like Sensory Data Dialogues and Queer/Crip Body Mapping. While no formal grants or awards are listed, her publications reflect a strong focus on ethical technology, accessibility, and embodied interaction. Current projects emphasize the intersection of wearable tech with identity expression, mindfulness practices, and neuromotor rehabilitation. She actively designs prototypes that bridge clinical needs with creative technology solutions, though specific lab affiliations or team collaborations are not detailed in available texts.
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.
Salome Voegelin is a Professor of Sound Art at the London College of Communication, University of the Arts London. She is a leading figure in sound studies, focusing on listening as a socio-political practice and the transversal potential of sound across disciplines. Her research explores the intersections of sound with politics, feminism, and pedagogy, and she leads projects like Listening across Disciplines II (LxDII), funded by the AHRC, which investigates listening as a research methodology. Education: PhD in Sound Art, Goldsmiths, University of London (2000–2004) BA (Hons) Fine Art Film and Video, Central Saint Martins (1994–1997) PGCertHE, Middlesex University Research Interests: Sound Studies, Sonic Pedagogy, Feminism, Interdisciplinary Knowledge Production, Sonic Methodologies Her work bridges artistic practice and theory, including collaborations with David Mollin and co-convening Points of Listening . Key books include Listening to Noise and Silence (2010), The Political Possibility of Sound (2018), and Sonic Possible Worlds (2021). She is a member of the Creative Research into Sound Arts Practice (CRiSAP) and leads the Sounding Knowledge Network. Recent articles and presentations highlight themes like transversal sound studies, the ethics of listening, and curatorial practices. Her projects emphasize participatory engagement and the socio-political dimensions of sound.
Christopher Castro serves as an Assistant Professor of Composition at Chapman University's College of Performing Arts. A composer and double bassist from Brooklyn, New York, he combines academic rigor with avant-garde experimentation. Ph.D. in Composition and Theory from University of California, Davis Bachelor of Music from Juilliard School (Double Bass & Composition) His research bridges Western Art Music traditions with contemporary innovations , creating works that merge: Johannes Ockeghem's polyphonic complexity John Coltrane's spiritual intensity Modernist structural experimentation Historical reconstruction techniques Jazz-classical hybrid forms Interdisciplinary performance formats Recent compositions demonstrate trends in flexible instrumentation , text-music relationships , and genre synthesis . His output spans chamber works, orchestral pieces, and vocal compositions with equal mastery. Scientific recognition includes: 2023 Fromm Music Foundation Commission (Harvard University) Chamber Music America's 2021 Classical Commissioning Award As a new music advocate , Castro collaborates with ensembles like: Left Coast Chamber Ensemble (artistic advisory board) New Mexico Contemporary Ensemble Los Angeles Philharmonic's Upbeat Live series Lyris Quartet and Sharon Harms
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.
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.
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.
Konstantin Voigt, Professor of Musicology II , serves at the University of Würzburg within the Faculty of Philosophy and Institute of Music Research. His research spans medieval Latin song traditions, music theory, notation systems, and digital humanities applications. He also explores 20th-century composers like Arnold Schoenberg and the reception of medieval music in popular culture. Current: Chair of Musicology II, University of Würzburg (2024–) Previous: Tenure-track Professor, University of Freiburg (2020–2024) Education: PhD (Würzburg), MA (Erlangen-Nürnberg), Musicology & Art History Voigt's research bridges premodern music history with digital methodologies, focusing on: Medieval Latin song structures (9th–13th centuries) Development of musical notation and visualization Digital editions as tools for manuscript analysis Intermedial relationships in postmodern composition Stefan George’s poetry in Schoenberg’s works His recent publications analyze scribal practices in Paris 1139 manuscripts and digital approaches to monophonic music. He co-leads the Weave Lead project on French music reception in Central Europe before 1350 and contributes to the Corpus monodicum digital edition. Collaborations include PD Dr. Hana Vlhova-Wörner (Prague) and institutions like the Schola Cantorum Basiliensis.
Judith A. Peraino is a Professor in the Music Department at Cornell University's College of Arts and Sciences, with significant affiliations to the Feminist, Gender and Sexuality Studies Program, American Studies Program, Lesbian, Gay, Bisexual and Transgender Studies Program, and Medieval Studies Program. Her educational background includes a Ph.D. and M.A. from The University of California, Berkeley, and a B.A. from The University of Chicago. Peraino's research spans both medieval song and contemporary rock music, focusing on the intersection of subject formation, social identity, and musical expression across historical periods. Her primary research areas include: LGBT and Queer Theory in musical contexts Medieval song traditions and troubadour culture Rock, punk, and synthpop music genres Gender and sexuality in musical expression Sound and media studies across historical periods Peraino's scholarly work reveals two major interconnected trajectories: medieval musical traditions (particularly Guillaume de Machaut and troubadour songs) and contemporary popular music studies (focusing on punk, rock, and queer musical identities). Her research demonstrates how music has been historically used to challenge norms of gender and sexuality, from ancient times to the present. She has received prestigious recognition including a National Endowment for the Humanities Fellowship (2020), the H. Colin Slim Award, the Philip Brett Award, and Cornell's Stephen and Margery Russell Distinguished Teaching Award. Peraino gained significant public attention for discovering previously unknown Lou Reed recordings created for Andy Warhol in 1975, which was featured in The New York Times, The Washington Post, and Rolling Stone. She has co-curated major exhibitions including 'Anarchy in the Archive: Cornell's Punk Collections' and 'Electrifying Music: The Life and Legacy of Robert Moog,' and conducted interviews with prominent musical figures like Masha Alyokhina (Pussy Riot), John Doe and Exene Cervenka (X), and Gary Numan. As an educator, she teaches undergraduate courses including The History of Rock Music, Punk Culture, The Beatles, and Music and Queer Identity, as well as graduate seminars on The Velvet Underground Archive, Medieval Song traditions, and Gender and Glam Rock. She also performs as a conga drummer with Cornell ensembles and local Latin jazz groups.
Jonathan Kulp is Professor of Music History and Theory at the University of Louisiana at Lafayette's School of Music and Performing Arts, where he has served on faculty since 2001. He held significant administrative positions including Director of the School of Music and Performing Arts from 2016-2020 and Interim Associate Dean of the College of the Arts from 2021-2022. Dr. Kulp earned his Ph.D. in Historical Musicology from the University of Texas at Austin in 2001, following a Master's in Music Theory from the same institution and a Bachelor's in Guitar Performance from the University of Tennessee at Chattanooga. His research focuses primarily on Argentine composer Carlos Guastavino, with multiple publications in the Latin-American Music Review and contributions to major reference works including The New Grove Dictionary of Music and Musicians and Die Musik in Geschichte und Gegenwart. As a composer, his works for guitar, voice, and various ensembles have been published by Les Productions D'Oz and G. Schirmer, with recordings appearing on several albums. Dr. Kulp has pioneered digital educational resources, creating accessible digital editions of historical music theory texts and developing open-source educational materials. His publications reveal consistent scholarly interest in Latin American music, counterpoint pedagogy, and digital accessibility in music education. Winner of G. Schirmer's 1995 Young Americans Art Song Competition Described by Classical Guitar Magazine as having 'a mesmerizing montage of rhythmic patterns' Contributor to major music reference works including New Grove Dictionary Creator of innovative open-source digital music theory textbooks As an educator, Dr. Kulp has developed novel approaches to music appreciation and theory instruction, with particular focus on universal design principles and accessibility standards. His creative work extends beyond traditional academic boundaries, including building his own recumbent bicycle and having been a former competitive skateboarder.
