Neil Mackenzie is a Senior Lecturer at the Manchester School of Theatre , Manchester Metropolitan University , with a career spanning performance creation, curation, and academic research. He founded the performance collective Plane Performance in 1992 and serves as Artistic Director of the Flare International Festival of New Theatre , which he has directed since 2011. Education: MA in Contemporary Theatre Practice from Lancaster University BA (Hons) in English and Drama from Leicester University Research Interests: Deconstructive strategies in contemporary theatre Performance curation and avant-garde theatre trends Relationship between canonical texts and live performance Audience reception and shared physical experience Re-contextualization of dance/music in theatre Curatorial platforms for performance research Article Trends: His work focuses on experimental theatre, including text deconstruction, festival curation, and audience interaction. Publications often explore postdramatic performance, technological integration, and the theoretical underpinn'their impact on theatrical experiences. Professional Networks: Board member of Reckless Sleepers performance company Member of Live Art North West (LANWest) Associate Member of Live Art UK Key collaborator with Axis Arts Centre and HOME Manchester Teaching: He leads undergraduate and postgraduate programs in Drama and Contemporary Performance , emphasizing artistic practice, academic inquiry, and professional development. Supervised Jason Crouch's PhD on digital communication and performance.
Dr. Jean-Jacques Velly is a Lecturer at Sorbonne University’s Musicology Department, with expertise in orchestration, neoclassicism, and 19th-20th century musicology. He earned his Doctorate (1992) and HDR (2001) from Sorbonne University, focusing on Richard Strauss’s orchestration and neoclassical aesthetics. His career spans teaching (1980-present), administrative roles (1998-2007 as DESS Head), and international collaborations including a Visiting Professorship in Tunisia (2003). Doctorate: 1992, Sorbonne University HDR: 2001, Sorbonne University Aggregation: 1985 His research centers on orchestration techniques across composers like Debussy, Berlioz, and Janáček, with a focus on semantic richness, national identity, and esoteric compositional systems. Publications include 35+ articles in journals and edited volumes, plus monographs on orchestration and Mahlerian universes. Recent work examines 20th-century musicology intersections with occultism and translation theory, particularly Stravinsky’s Oedipus Rex. He contributes to the European 19th-century Dictionary with entries on composers like Tchaikovsky and Rimsky-Korsakov. Administrative roles include membership in Sorbonne’s Specialist Commission (18th section) and CNU (22nd section, 2011). He co-edited proceedings for international conferences on Janáček (2008) and organized GRIMOIRE research group initiatives.
Catarina Isabel Santos Patrício Leitão is an Assistant Professor at the School of Communication, Arts and Information (ECATI), Lusófona University, and an integrated researcher at CICANT – Centre for Research in Applied Communication, Culture, and New Technologies. Her work bridges visual arts, communication, and philosophical inquiry, with a focus on the intersections of technology, aesthetics, and culture. She holds a Ph.D. in Communication Sciences from FCSH-NOVA (2014), an M.A. in Anthropology of Social Movements (2008, FCSH-NOVA), and a Bachelor’s degree in Painting from the Faculty of Fine Arts, University of Lisbon (2003). Her research interests include Anthropology, Artistic Practices, Aesthetics, Contemporary Culture, Media Archaeology, and Philosophy of Technics. She explores how technological mediations shape artistic expression and cultural understanding, often drawing on thinkers like Gilbert Simondon and Walter Benjamin. Her work is deeply interdisciplinary, combining artistic practice with theoretical rigor. Her recent publications (2023–2025) reflect a sustained engagement with media philosophy, temporal aesthetics, and the material dimensions of art and technology. Topics include anachronism, techno-aesthetics, planetary information, and the poetics of visual and sonic media. These works appear in journals such as the Journal of Science and Technology of the Arts and Comunicação e Sociedade , as well as in book chapters and conference contributions. She has no listed scientific awards in the provided material. Catarina Patrício is actively involved in research projects, including AH_While We Wait: Animation for Health and Wellbeing in Hospital Waiting Spaces (2024), funded by CICANT. She regularly contributes to public discourse through interviews with artists published in Arte Capital , demonstrating her role as a cultural mediator and academic engaged with contemporary art practices. She is part of CICANT’s research network and collaborates with scholars across disciplines. Her supervision includes 8 mentored works, though specific students are not named. No information on grants beyond FCT funding for prior research is detailed.
Dr. Candace Bailey is a Professor of Music at North Carolina Central University (NCCU), a historically black university in Durham, North Carolina. Originally from North Carolina, she currently resides on her ancestral farm in the Coastal Plains region. She has held progressively senior positions at NCCU since 1998, advancing from Assistant Professor to her current position as full Professor since 2011. She has also held visiting appointments at Duke University, including as a Humanities Unbounded Fellow during the 2020-2021 academic year. Her educational background includes a PhD in Musicology from Duke University (1992), an AM in Musicology from Duke University (1986), and a BM in Piano Performance (magna cum laude) from UNC-Greensboro (1985). Her academic journey began with a focus on 17th-century British keyboard music, particularly her dissertation on "English Keyboard Music, c. 1625-1680," before expanding to include women and music in the 19th-century United States, with special emphasis on the American South. Dr. Bailey's research interests center on women's musical practices in the 19th-century American South, examining how music functioned within social structures, particularly regarding race, class, and gender. She has pioneered the study of "binder's volumes" - bound collections of music that provide crucial evidence of historical musical practices, especially for women whose contributions might otherwise be lost to history. Her work bridges musicology, women's studies, and southern history, revealing how musical practices reflected and shaped cultural identities. She approaches her research through both macro-level analysis of cultural patterns and microhistorical examination of individual women's musical lives. Her scholarly output demonstrates consistent focus on recovering women's musical histories, particularly in the American South. Her publications reveal a trajectory from early work on 17th-century British keyboard music to her current expertise in 19th-century American women's musical practices. She has developed sophisticated methodologies for analyzing binder's volumes as cultural artifacts that reveal social codes, racial dynamics, and gender performances. Her recent work increasingly addresses race and Black musical practices in the South, showing evolution in her scholarship toward more inclusive historical narratives. She frequently employs interdisciplinary approaches, connecting musicology with cultural studies, gender theory, and material culture analysis. Humanities Unbounded Fellow, Duke University (2020-21) Library of Congress / American Musicological Society Lecture (2021) Fulbright Specialist in American Studies (2019-24) National Humanities Center Fellow (2019-20) Kate Van Winkle Keller Fellowship for Research in Early American Music and Dance (2019-20) Publication subvention for Unbinding Gentility supported by multiple prestigious funds Distinguished Alumna, UNC-Greensboro (2016) National Endowment for the Humanities Award for Faculty at HBCU's (2015) Multiple NCCU College of Arts and Sciences Teaching/Research Awards As an active scholar, Dr. Bailey has served on numerous professional committees including the National Council of the American Musicological Society (2017-2020) and as President of the North American British Music Studies Association (2013-2015). She has received substantial grant support for her research, including from the National Endowment for the Humanities, the American Council of Learned Societies, and the Fulbright Program. Her work has been supported by major institutions including Duke University's Humanities Unbounded program and the National Humanities Center. Beyond her research, she contributes to the academic community through editorial work, peer review, and professional service. Dr. Bailey maintains a digital presence focused on her research interests, particularly her work on binder's volumes. She has developed online resources documenting these musical collections, making her research accessible to other scholars. Her approach combines traditional musicological methods with digital humanities techniques, reflecting contemporary scholarly trends while maintaining rigorous historical analysis. She frequently collaborates with scholars across institutions and disciplines, particularly on projects related to women's musical histories in the Americas.
Tobias Plebuch serves as Associate Professor in the Department of Musicology at Uppsala University, with prior research appointments at Humboldt University Berlin, Stanford University, and institutions in Freiburg. His academic trajectory includes significant editorial contributions to Carl Dahlhaus' collected writings and Hermann Danuser's Festschrift. His educational background comprises a diploma in music education, PhD in musicology, and habilitation (postdoc equivalent) in musicology. Professional development includes research fellowships at Stanford Humanities Center and German academic institutions. Dr. Plebuch's research centers on three interconnected domains: 18th-century music (specializing in C.P.E. Bach's keyboard works), music in audiovisual media (particularly film scoring practices from silent cinema to contemporary cinema), and K-pop (analyzing vocal techniques and cultural production). His scholarship bridges historical musicology with media studies and global popular culture. Publication trends reveal sustained engagement with music-media intersections across historical periods, from Bach's reception in Bergman's films to modular forms in silent cinema and contemporary K-pop vocalization. His work consistently examines how musical meaning is constructed within non-musical contexts through technical, cultural, and performative lenses. His research is supported by prestigious fellowships: Deutsche Forschungsgemeinschaft scholarship Stanford Humanities Center fellowship European Network for Musicological Research fellowship Längmanska Kulturfonden scholarship Riksbankens Jubileumsfonden scholarship Dr. Plebuch has secured ten major research grants and organized eleven international conferences, including the June 2025 K-pop conference at Uppsala. While formal student advising isn't documented, his editorial projects and conference leadership indicate substantial mentorship activities. His recent media appearance on Arirang TV (August 2025) demonstrates public engagement with Korean musical culture. He maintains active collaboration through the Packard Humanities Institute for Bach scholarship and participates in European musicological networks, with current projects examining contemporary audiovisual phenomena through historical musicological frameworks.
Meghan Quinlan serves as an Affiliated Researcher in the Department of Musicology at Uppsala University, Sweden. Her interdisciplinary scholarship bridges medieval musicology, literary studies, and cultural history with a focus on French and Occitan song traditions from the Middle Ages. Her academic foundation includes: B.Arts.Sc. in Liberal Arts and Natural Sciences from McMaster University M.St. in Medieval Studies from the University of Oxford DPhil in Musicology from the University of Oxford Quinlan's research specializes in the intersection of text and music in medieval song, particularly examining female-voiced contrafacta, gender representation, and historical narrative construction. As both a scholar and trained choral conductor/singer, she integrates performance practice into her methodology, sharing interpretations through her videocast 'Chanter m'estuet'. Her work reveals how medieval songs functioned as cultural artifacts that negotiated identity, power, and community. Analysis of her 2019-2022 publications shows consistent engagement with Gautier de Coinci's miracle songs, troubadour/trouvère repertoire, and the adaptation of melodies across linguistic contexts. Key thematic threads include the semiotic potential of musical repetition, the transformation of historical figures into lyric subjects, and the reconstruction of lost performance practices. Her scholarship demonstrates rigorous interdisciplinary methodology connecting musicology with literary criticism, gender studies, and cultural anthropology. Information regarding graduate student supervision and external research funding was not documented in available sources.
Fabio Rambelli is Distinguished Professor in Religious Studies & East Asian Cultures at the University of California, Santa Barbara, where he also serves as the International Shinto Foundation Chair in Shinto Studies and Chair of the Religious Studies Department. His academic work bridges Japanese religious traditions with broader cultural and historical inquiries. Professor Rambelli's research focuses on: Japanese religions and cultural history, particularly Esoteric Buddhism (mikkyō) The historical development of Shinto discourse in Japan Interactions between Buddhism and local cults across Asian traditions The religious dimensions of Japanese court music (gagaku) and dance (bugaku) Cultural identity formation, with comparative interest in Japan and Italy Material religion, semiotics, iconoclasm, and syncretism in religious history His scholarly approach examines Shinto as the product of complex historical processes involving the localization of Buddhism in Japan and Japan's engagement with various Asian intellectual traditions, rather than as a primordial, isolated tradition. Currently, he is conducting research on gagaku, with specific attention to the shō instrument, and has established a study group dedicated to practicing and exploring this tradition. Professor Rambelli maintains an active publication record, with recent works examining Buddhist economics, ritual consecration practices in premodern Japan, the philosophy of music in Buddhist tradition, and the material dimensions of religious practice. His scholarship demonstrates consistent engagement with both broad theoretical questions in religious studies and specific historical phenomena in Japanese religious culture.
Meredith Schweig is an Associate Professor of Ethnomusicology and Director of Undergraduate Studies at Emory University's Department of Music. Her work focuses on 20th/21st century East Asian popular musics, particularly Taiwanese rap's intersection with gender, narrative, and post-authoritarian cultural politics. She holds Harvard University degrees (BA 2003, MA 2009, PhD 2013). Research highlights include her award-winning book Renegade Rhymes: Rap Music, Narrative, and Knowledge in Taiwan (2022), and her emerging Teresa Teng pop iconography project. She has held prestigious fellowships including Fulbright Senior Scholar (Taiwan 2020-21) and Mellon Postdoctoral Fellow at MIT (2013-15). Her articles analyze topics like masculinity politics in Taiwanese rap, Hoklo hip-hop as local tradition, and diasporic musical negotiations. Schweig has received multiple prizes including the Marcia Herndon Prize and Jaap Kunst Prize from the Society for Ethnomusicology. Teaching includes ethnomusicology fundamentals, ethnographic methods, and global hip-hop studies. She serves as affiliated faculty in East Asian Studies and led the Association for Chinese Music Research (2017-2020). Current projects explore vocal agency in Teresa Teng's transmedia legacy and sensory approaches to music studies.
Douglas Kearney is an Associate Professor in the English Department at the University of Minnesota's College of Liberal Arts, where he teaches creative writing with specializations in poetry, nonfiction, and libretto. He holds an M.F.A. from California Institute of the Arts and a B.A. from Howard University. Kearney directs the Creative Writing Program and contributes to graduate education through diversity-focused workshops. His research explores black aesthetics, experimental writing, and performance through interdisciplinary frameworks connecting poetry, hip hop studies, and cultural criticism. Recent scholarly work examines racial formation in performance contexts and innovative textual practices in African American literature. Major honors include the McKnight Presidential Fellowship (2021-2024), Campbell Opera Librettist Prize (2021), Theodore Roethke Memorial Poetry Award, and Whiting Award. He has received residencies from Cave Canem Foundation and Rauschenberg Foundation. Creative works include the poetry collections Sho (2021) and Buck Studies (2016), and the libretto for the opera Sweet Land (2020). His collaborative album Fodder blends poetry with electronic music.
Brian Kane is an Associate Professor in the Music Department at Yale University, specializing in interdisciplinary research at the intersection of music theory, composition, and philosophy. He holds a B.A. in Philosophy (1996) and a Ph.D. in Music (2006) from the University of California, Berkeley. His work focuses on sound and signification, particularly acousmatic sound, phenomenology of listening, and the philosophical dimensions of music. Research Themes: Music and sound art, histories of listening, technology’s role in sound production, and conceptualizations of sound in philosophy Key Projects: Author of the forthcoming book Sound Unseen , co-founder of the Sound Studies Working Group at the Whitney Humanities Center His research explores how sound operates beyond visual contexts, analyzing its role in cultural practices from Pythagorean acoustics to modern electronic composition. Kane chairs the Society for Music Theory’s Music and Philosophy Interest Group and co-edits the humanities journal nonsite.org . Publications span theoretical essays on composers like Xenakis and Schaeffer, as well as critical engagements with thinkers like Badiou and Nancy. His work bridges musicology, philosophy, and new media studies to interrogate sound’s epistemological and ontological dimensions.
Christian Seebald is an Academic Councillor in Medieval German Studies at the University of Siegen, Faculty I (German Studies), where he has been employed since April 2020. He has previously held acting professorial positions at the Universities of Tübingen, Münster, and Kiel, and was a research associate at the University of Cologne. He is an associate member of the Collaborative Research Center 1472 'Transformations of the Popular' and has collaborated with SFB 1391 'Other Aesthetics'. His research focuses on medieval German literature, particularly mystical texts, reform movements within the Dominican Order, narrative strategies in verse novels, and the reception of the Middle Ages in musical theater. He has made significant contributions to the study of Johannes Meyer OP and the transmission of medieval texts. His work bridges literary analysis, cultural history, and musicology. The recent publications reflect a consistent engagement with medieval narrative forms, textual transmission, and the interplay between religious thought and literary expression. His research spans monastic reform, female spirituality, epic literature like the Nibelungenlied and Parzival , and the evolution of sacred drama into early opera. The keywords across his articles highlight deep expertise in German Philology, Manuscript Studies, and Medieval Aesthetics. His scientific awards include the Offermann-Hergarten Foundation award in 2009 for his doctoral thesis. He has co-edited volumes and organized academic events, such as the TransLit Poetry Lectureship with Christof Hamann and workshops with SFB 1391. He has not been listed as supervising formal students, but his collaborative projects indicate mentorship and academic leadership. He is involved in major editorial projects, notably the German Verse Novels of the 13th to 15th Centuries (DVN), and participates in interdisciplinary research networks. His work on opera and the Middle Ages demonstrates a unique intersection of literary and musical scholarship.
Dinara Yangeldina is a Guest Researcher at the Centre for Women's and Gender Research (SKOK) at the University of Bergen, Norway. She completed her PhD at SKOK in June 2023 with a dissertation on racial translation in Russophone intersectional feminism and hip-hop culture. Her interdisciplinary research bridges gender studies, post-Soviet cultural studies, translation theory, and digital ethnography. Research Interests: Gender and sexuality in post-Soviet contexts Feminist and queer theory Race, ethnicity, and anti-racism Translation and cultural transfer Russian popular music and hip-hop Digital activism and media Her recent publications analyze the politics of authenticity, diversity rhetoric, and feminist chronotopes in digital and musical cultures. The body of her work reveals a consistent focus on how Western feminist and racial concepts are adapted, contested, and localized in Russophone spaces, especially under geopolitical tensions and state conservatism. Selected Presentations and Outreach: Panel talk at ECREA 2022 on translating intersectional feminism Paper at University of Tampere on Tatar modernities and post-coloniality Workshop paper on translational temporalities at UiB Book review and public engagement on Russian art and politics Teaching Experience: University lecturer at SKOK, teaching courses such as Gender in Modernity and Gender and Sexuality in a Global Context from 2017 to 2023. Research Affiliations: Member, Foundational Questions in Gender and Sexuality Research Group Member, Research Group for East Slavic Languages, Societies and Cultures Participant in international project on transnational gender research training
Tim Wall is Professor of Radio and Popular Music Studies at the Birmingham Centre for Media and Cultural Research , Birmingham City University. His career spans academic research, editorial leadership, and collaborative industry work with the BBC and independent music enterprises. Research areas: Popular music history, media theory, radio broadcasting, and cultural representation Key projects: Global Reggae Research Project, social media citizen journalism studies in Middle Eastern and North African contexts His publications and projects reveal a focus on media historiography , musical subcultures , and transnational broadcasting . Recent work examines Caribbean diasporic podcasts, early BBC jazz programming, and the political economy of digital media. Scientific Recognition : AHRC Knowledge Transfer Fellowship Editorial leadership: The Radio Journal Foundational work on Northern Soul and Reggae studies
Johannes Luebbers is a Lecturer in Performance (Jazz & Improvisation) at Monash University, Faculty of Arts, Department of Music. He is an accomplished composer, arranger, and performer, best known as the director of the award-winning Johannes Luebbers Dectet (JLD), a group recognized with multiple Australian Jazz 'Bell' Awards and APRA/AMC Art Music Awards. His role at Monash includes coordinating and teaching core units in Composition and Music Technology, Jazz History, and Music Theory and Ear Training across undergraduate levels. His educational background includes a BMus (Honours) from Edith Cowan University, where his research explored the application of Olivier Messiaen’s musical language to contemporary jazz orchestra composition. Johannes's research is deeply rooted in creative practice, focusing on collaborative composition , genre signification in jazz , and innovative models of music-making . His scholarly output bridges artistic creation and academic inquiry, often examining how improvisation and composition interact in ensemble settings. He has published in leading music education journals and produced significant creative works, including compositions and recorded performances that serve as research artifacts. The most recent publications reveal a consistent thematic trajectory: the evolution of jazz composition through collaboration and pedagogical innovation. His works span from ethnographic studies of creative flow to critical analyses of gender narratives in jazz education, showing a broad engagement with both artistic and social dimensions of music. The integration of practice-led research with scholarly writing underscores his interdisciplinary approach. His scientific recognition includes: Australian Jazz 'Bell' Award (twice) APRA/AMC Art Music Award West Australian Music Industry Award (twice) APRA Professional Development Award 2009 Youth Arts West Australian Citizen of the Year Johannes actively supervises research in jazz and composition, welcoming projects that engage with industry and creative practice. He has led externally funded research projects, including the recording and videographic analysis of the JLD’s 10x10x10 project, which supports ongoing ethnographic and compositional research. His community engagement is extensive, having served on the Australia Council for the Arts Music Board, Perth Jazz Society (as President), and various arts funding and award panels. He is also involved in larger collaborative research initiatives, such as the Algorand Centre of Excellence on Sustainability Informatics for the Pacific, where he contributed as a Chief Investigator, indicating cross-disciplinary reach. His leadership in the Listen/Hear Collective and as a mentor for the WA Youth Jazz Orchestra further highlights his commitment to nurturing emerging artists and expanding the jazz ecosystem in Australia.
Kevin Clifton, PhD, is an Associate Professor of Music Theory at Sam Houston State University's School of Music , with extensive experience at institutions including Indiana State University, Ithaca College, University of Virginia, and Lawrence University. He served as a Faculty Fellow at Colby College. Research Focus: Explores musical meaning in works by Bartok, Poulenc, and Broadway productions like Wicked , specializing in film music analysis (particularly Alfred Hitchcock's works) and compositional techniques. Publications: Authored studies on musical empathy in Psycho , tension/release mechanisms in Strandberg's String Trio , and music's narrative role in Hitchcock's Vertigo and Rope . Conferences: Presented at American Musicological Society, Music and the Moving Image (NYU), European Music Analysis Conference, and other major forums. Service: Secretary of the Texas Society of Music Theory, with a PhD from the University of Texas at Austin under Roger Graybill, Jim Buhler, and Stefen Kostka.
