Andrew Foote is an Associate Professor at the Conservatorium of Music, University of Western Australia. He holds roles as Chair of the Board of Studies (Design and Creative Arts), Chair of Vocal Studies, and Academic Integrity Officer (Music). Previously served as Director of the West Australian Symphony Orchestra Chorus (2019-2024) and Vocal Coach (2014-2018). Education: Doctor of Musical Arts (2020), University of Western Australia Research focuses on Schubert's Winterreise, historical performance practices in Baroque and Renaissance eras, and vocal pedagogy. Active in professional opera performances, including a Helpmann Award-winning role in Peter Grimes (2010). Specializes in German Lieder, crossover cabaret, and business leadership coaching. Recent performance projects include WA Opera's Pirates of Penzance (2025), Die Fledermaus with WASO (2025), and Beethoven's 9th Symphony (2024). Known for innovative choral direction and inter-disciplinary collaborations. Awards: UWA FABLE Teaching Award (2020), multiple student teaching accolades Leads vocal ensembles like Symphonic Chorus of UWA and Concordia Vocalis. External roles include ANCA National Councillor (2023-2024) and WA President of the Australian National Choral Association.
James Henry is an Associate Professor and Director of Choral Studies at the University of Missouri-St. Louis (UMSL), where he conducts the University Singers and Vocal Point ensembles. He also serves as Musical and Artistic Director for the Ambassadors of Harmony, a four-time BHS International Chorus Champion, and sings bass/arranges for Crossroads, BHS International Quartet Champions. His career spans performance, education, composition, and leadership. Education: Ph.D. in Music Composition, Washington University in St. Louis Bachelor of Music in Theory and Composition, Southeast Missouri State University Bachelor of Music Education, Southeast Missouri State University Research Interests: Choral conducting and pedagogy Barbershop music integration into academic settings Vocal arrangement and composition Music education advocacy Collaborative ensemble training Scientific Awards: Missouri Governor’s Award for Excellence in Teaching NAfME 'Stand for Music' Award Multiple BHS International Chorus and Quartet Championships International Leadership Network’s 'Dare to Lead' Award Advising & Grants: Henry mentored through programs like Washington University’s composer-in-residence and Opera Theatre of St. Louis’ 'Music, Words, Opera.' He has secured grants via collaborations with the Saint Louis Symphony Orchestra and Buder Foundation. Labs & Teams: Henry leads the Ambassadors of Harmony (120-voice men’s chorus) and Vocal Point a cappella ensemble. He collaborates with ensembles like Crossroads and Main Street for performance training and advocacy.
Donté Alexander Ford is an Assistant Professor of Music and Associate Chaplain for Worship Arts at Wheaton College, integrating his roles as a musician, minister, and scholar. He teaches courses in worship ministry, coaches chapel bands, and directs the Worship Arts Certificate program. Education : Ph.D. in Musicology (University of Arizona), M.Div, M.M. in Choral Conducting, M.S.M. in Choral Conducting (Southern Methodist University), B.A. in Music (Pennsylvania State University). His research focuses on the history and preservation of Black American concert/popular music, African American Pentecostal hymnody, and the intersection of theology and music. He contributes to academic and religious publications like The Canterbury Dictionary of Hymnology and History of Hymns , emphasizing cultural and spiritual narratives. Recent publications highlight trends in gospel music historiography, sacred song analysis, and African American choral traditions. His compositions and performances, such as founding the Sankofa Chorale, bridge Western and African American choral canons. Professional Affiliations : American Choral Directors Association, American Guild of Organists, Chorus America, James Abbington Church Music Academy, Society of Christian Scholarship in Music. Donté’s special performances include collaborations with the Essence of Joy, international tours as a percussionist, and roles in operas and choral workshops. His work underscores diversity in musical and theological expression.
Robin Queen serves as Arthur F. Thurnau Professor and Professor of Linguistics, English Language and Literatures, and Germanic Languages and Literatures at the University of Michigan's College of Literature, Science, and the Arts. She holds a Ph.D. from the University of Texas at Austin (1996) and maintains a primary appointment in the Department of Linguistics with affiliations in Germanic Languages and Literatures and English Language and Literature, including as a program affiliate in Linguistic Anthropology. Her research spans sociolinguistics , language contact , language variation , language ideology , and sociolinguistic perception , with particular focus on language, gender and sexuality and language in the mass media . Professor Queen has conducted diverse research involving Turkish-German bilinguals, American lesbian communities, daytime television dramas, dubbed films, and even human-canine communication patterns. Her notable 2015 book Vox Popular: The Surprising Life of Language in the Mass Media explores language variation in fictional media contexts. Analysis of her recent publications reveals consistent exploration of language variation across multiple contexts, with particular attention to media representation, gender/sexuality connections, and cross-linguistic phenomena. Her work demonstrates methodological diversity spanning ethnographic fieldwork, experimental perception studies, and discourse analysis. Arthur F. Thurnau Professor (distinguished teaching award) Sarah G. Thomason Collegiate Professor of Linguistics Professor Queen has successfully mentored numerous graduate students who have secured positions in academia, research, and industry. Her service contributions include election to the University Faculty Senate, membership on multiple advisory boards (Center for Research on Learning and Teaching, Language Resource Center, University Libraries), and significant departmental leadership as Director of Graduate Studies, Director of Undergraduate Studies, Associate Department Chair, and Department Chair. She has also served the Linguistic Society of America as co-chair of the Committee on the Status of Women and as an Executive Committee member, plus co-directing the 2013 Summer Institute in Linguistics. As co-editor of the Journal of English Linguistics (2006-2012) and on multiple editorial boards, she maintains strong scholarly engagement across the field. Her research program includes ongoing projects on human-canine interaction with language (2010-present), language variation in media (1996-present), and psycholinguistic assessments of New Media errors (2013-present), demonstrating remarkable longevity and evolution in her scholarly contributions.
Jonathan Hirsh is a Senior Lecturer at Smith College and Director of Orchestral & Choral Activities since 1997. He has conducted extensive standard and collaborative repertoire, including performances with dance and opera companies such as Peter and the Wolf (with Pioneer Valley and Amherst Ballet) and Mark Morris’ Vivaldi Gloria . His leadership includes sold-out performances like Beethoven’s Ninth Symphony at Carnegie Hall and international tours with the Smith College Alumnae Chorus. Education: D.M.A. and M.M. from University of Michigan; B.A. from Amherst College Research focuses on African American opera singers, the music of George Walker, and editing unpublished manuscripts by Nino Rota. In 2023, he conducted the world premiere of his edition of Rota’s Messa di Requiem in Bari, Italy, to be published by Schott. His private conducting students include prominent figures like Elim Chan (Donatella Flick Competition winner) and Carolyn Kuan (Music Director of Hartford Symphony Orchestra). Guest engagements span New England, national conferences, and international locations such as Chile, Europe, and Alaska. He founded Sing This Summer , offering conducting workshops at Amherst, Bowdoin, and College of New Jersey, and has led performances at the National Cathedral and European cathedrals.
Emily Sung is an Assistant Professor of Practice in the Choral & Sacred Music program at the USC Thornton School of Music, University of Southern California. A Chinese American conductor, scholar, and teacher from Lawrenceville, New Jersey, she previously held leadership roles at Princeton University, the University of Pennsylvania, Temple University, Opera Philadelphia, and the Pennsylvania Ballet. Her educational background includes: DMA in Choral Music, USC Thornton School of Music (2023 University Outstanding Teaching Assistant Award recipient; dissertation on choral literature construction) MM in Choral Conducting, Westminster Choir College Bachelor's degree in History, Princeton University Dr. Sung's research explores Southeast Asian choral music, Chinese jazz, American vocal jazz history, choral jazz, and the intersection of vocals, gender expression, and technological experimentation in electronic music. Her work bridges traditional choral practices with contemporary gender and technology studies, advancing cultural inclusivity in musical innovation. Her recognition includes: University Outstanding Teaching Assistant Award (2023) No information on student advising or research grants was provided in the source text. She co-directs Suara, a specialized choir promoting Southeast Asian choral repertoire through cultural exchange and underrepresented musical traditions.
Martin Robertson is a renowned saxophone professor at the Royal College of Music (RCM) and the Guildhall School of Music and Drama. He graduated from the RCM in 1984 with studies in saxophone and clarinet under Stephen Trier and John McCaw, winning the Boosey and Hawkes Music Prize. His career spans international solo performances with orchestras like the Berlin, Los Angeles, and London Philharmonics, collaborating with conductors such as Simon Rattle and Vladimir Jurowski. Robertson is celebrated for his fusion of classical, jazz, and world music, particularly through collaborations with composers Mark-Anthony Turnage and George Fenton. His work includes Turnage’s Blood on the Floor and Fenton’s orchestral scores for films like Earth and Planet Earth . Robertson’s academic roles include leading the Woodwind department at RCM since 1994 and teaching at Guildhall since 2012. His research interests emphasize cross-genre exploration, using instruments like the duduk and taragato to bridge cultural musical traditions. He has premiered works such as Turnage’s About Water (2007) and Anna Nicole (2011), an opera exploring tragic biography through modern musical language. His performances include high-profile events like the BBC Proms and collaborations with ensembles such as the Delta Saxophone Quartet, which he joined in 2009. Robertson’s film credits span major projects, including Shakespeare in Love , Billy Elliott , and King Arthur . Beyond the concert stage, he advocates for contemporary saxophone repertoire through academic and ensemble work, fostering innovation in woodwind performance. Robertson’s awards include the Boosey and Hawkes Prize (1984), and his recordings, such as Poirot Variants (2010) and Tony Banks’ Six (2012), highlight his versatility across genres. His teaching integrates jazz improvisation, classical technique, and contemporary experimentation, shaping a new generation of woodwind musicians.
Emily Richmond Pollock is an Associate Professor of Music at the Massachusetts Institute of Technology (MIT), specializing in postwar German opera, 20th-century musical traditions, and the intersection of music with political ideology. She earned her Bachelor of Arts from Harvard in 2006, followed by M.A. (2008) and Ph.D. (2012) in music history from the University of California, Berkeley. Pollock joined MIT in 2012 and serves as a music major advisor. Her research interrogates the paradox of conservative renewal in postwar opera, analyzing how composers navigated the "Zero Hour" myth while maintaining traditional conventions. Current projects include Opera on Uncommon Ground , a fieldwork-based study of five American opera festivals. Her work has been supported by the DAAD, Paul Sacher Stiftung, and MIT’s Class of 1947 Fellowship. Key Research Areas : Opera, Music History, Modernist Musical Value, Cultural Restoration Notable Publications : Articles in Twentieth-Century Music , Journal of Musicology , and Opera Quarterly , including the Kurt Weill Prize-winning "Opera by the Book" (2018) Teaching : Courses on Western music, opera history, 20th-century repertoire, and advanced seminars Pollock remains an active amateur oboist with the Cambridge Symphony Orchestra and Mercury Orchestra. She lives in Belmont, MA, with her family and two rabbits.
Wolfgang Kluge is a Lecturer at the University of Music and Theatre Rostock, specializing in vocal accompaniment, operatic role studies, and conducting. He holds a Diplom in Music Teaching (piano) from the Leipzig Academy of Music and Theatre (1991). Currently, he serves as Kapellmeister and Head of Opera Studies at Anhaltisches Theater Dessau since 1996/97, directing acclaimed productions of operas like *Andrea Chenier*, *La Bohème*, and *West Side Story*. His expertise spans Lied accompaniment, chamber music, and composer roles. Education: Leipzig Academy of Music and Theatre: Diplom in Music Teaching (Piano, 1991) Postgraduate studies in conducting (Prof. G. Blumhagen, Prof. V. Rohde) and accompaniment (Prof. H.-G. Kluge) Professional Roles: Solo répétiteur at Leipzig and Halle opera houses (1994–1996), lecturer at Young Artists Festival Bayreuth (2011–2015). His work extends to children’s/youth concerts and chamber music collaborations. Awards: 2025: Honorary Title of Chamber Musician (Anhaltisches Theater Dessau)
Jeffrey Sposato is the Department Chair and Professor of Music History at Wayne State University since 2024. Previously, he served as Director of the School of Music and Interim Associate Dean for Faculty Affairs at the University of Illinois Urbana-Champaign, and held positions at the Moores School of Music (University of Houston) and University of Pittsburgh at Greensburg. His research focuses on Baroque, Classical, and Romantic music , sacred music , choral traditions , opera , and concert history . Specializes in Leipzig's musical evolution Expert in Mendelssohn reception studies Active in historical performance recreation Recipient of ACLS/Mellon and Fulbright grants Dr. Sposato's publications include two major Oxford monographs and contributions to leading journals. He has curated performance projects focused on 18th-19th century sacred music, including the 500th anniversary Lutheran Reformation mass in Leipzig. His awards include the Choice Outstanding Academic Title and Royal Philharmonic Society finalist recognition. His research integrates Historical musicology Performance practice Music criticism analysis Choral tradition documentation Composer biographical studies Interdisciplinary cultural research .
Ari Rasilainen is a Professor of Orchestra Conducting at the University of Music Würzburg (HfM Würzburg) , where he teaches and mentors students in the art of orchestral conducting. He is renowned as one of the outstanding conductors of his generation, with a distinguished international career spanning decades. His expertise includes classical music, opera, and chamber music performance. Current role: Professor at HfM Würzburg Email: ari.rasilainen@hfm-wuerzburg.de Location: Hofstallstraße, Room H 003 Rasilainen studied under legendary conductors such as Jorma Panula at the Sibelius Academy in Helsinki and Arvid Jansons in Berlin. His early career included positions as concertmaster of the Helsinki Philharmonic Orchestra's second violins (1980–1986) and chief conductor roles with orchestras in Finland, Norway, and Germany, including the Lappeenranta City Orchestra, Tampere Philharmonic Orchestra, Norwegian Radio Orchestra Oslo, and German State Philharmonic Orchestra of Rhineland-Palatinate. He has collaborated extensively with leading German radio orchestras (e.g., Berlin Radio Symphony Orchestra, Frankfurt Radio Symphony Orchestra) and international ensembles like the Slovenian Philharmonic, Orchestre de la Suisse Romande, and Tonkünstler Orchestra of Lower Austria. His discography includes over 50 recordings, highlighting works by composers such as Kurt Atterberg, Aulis Sallinen, and Siegmund von Hausegger.
Prof. Andreas Hotz serves as Music Director of the Opera School at the University of Music Würzburg since the summer semester of 2021. He is recognized as one of the outstanding conductors of his generation with an impressive career spanning major opera houses and orchestras across Europe and beyond. His professional trajectory includes: General Music Director at Theater Osnabrück (2012/2013 season onwards) First Kapellmeister at Staatstheater Mainz and Pfalztheater Kaiserslautern Lecturer in orchestral conducting at Frankfurt University of Music and Performing Arts (2005-2013) Extensive guest conducting engagements across Germany, Israel, Australia, Poland, Russia, and Korea Prof. Hotz's artistic focus centers on both preserving classical traditions and rediscovering neglected works. His repertoire spans from Mozart to contemporary compositions, with particular emphasis on bringing forgotten masterpieces back to contemporary audiences. His conducting portfolio includes major productions such as Elektra, Otello, Tannhäuser, Idomeneo, Così fan tutte, and Tristan und Isolde, alongside numerous opera premieres including Lohengrin, Falstaff, Dr. Faust (Busoni), Tosca, La Bohème, and Fidelio. His commitment to musical recovery is exemplified through projects like the excavation of Albéric Magnard's French opera GUERCOEUR, named 'Rediscovery of the Year 2019' by the opera world, and his recordings of works by Christian Westerhoff and Hans Gál's 'Lied der Nacht' (nominated for 'Opus Klassik'). His major recognitions include: Prizes at Sir Georg Solti International Conducting Competition and German Conductors' Competition Young Conductor of the Year nomination by Opernwelt (2015) German Record Critics' Prize for 'Beethoven in Stalingrad' DVD recording Multiple nominations for excellence in musical recovery and performance Prof. Hotz has collaborated with prestigious orchestras including the Bremen Philharmonic, Düsseldorf Symphony, Melbourne Victoria Symphony Orchestra, and Israel Sinfonietta. His 2015 concert tours with the Osnabrück Symphony Orchestra through Volgograd, Moscow, Kyiv, and Minsk promoted international understanding through music. Mentored by figures including Pierre Boulez, he continues to influence the next generation of musicians through his position at the University of Music Würzburg while maintaining an active international performance schedule.
David Conte is Professor of Composition and Chair of the Composition Department at the San Francisco Conservatory of Music (SFCM), where he has taught since 1985. He is also affiliated with the European American Musical Alliance in Paris, where he served on the composition faculty from 2011-2022. In 2014, he was named Composer in Residence for Cappella SF, a professional chamber choir in San Francisco. His educational background includes: Doctor of Musical Arts (DMA) from Cornell University Master of Fine Arts (MFA) from Cornell University Bachelor of Music (BM) from Bowling Green State University David Conte's research and creative interests focus on contemporary classical composition, particularly in the areas of opera, choral music, and chamber music. His work demonstrates a deep engagement with American musical traditions while incorporating diverse influences from European classical music. He has developed a distinctive compositional voice that bridges traditional techniques with contemporary expression, particularly evident in his vocal and choral works. Conte's approach to composition pedagogy emphasizes the importance of musical memory, keyboard skills, and deep engagement with the music one loves. Analysis of Conte's compositional output reveals a consistent focus on vocal and choral music, with significant contributions to American opera through works like 'The Gift of the Magi.' His chamber music demonstrates sophisticated understanding of instrumental capabilities across various ensembles. More recently, his orchestral works like the 'Sinfonietta for Classical Orchestra' show a refined neoclassical approach. Conte's compositions often explore literary and historical themes, reflecting his broader interests in film, history, politics, and religion. His notable awards and distinctions include: Fulbright Scholarship (1976) Ralph Vaughan Williams Fellowship (1989) Aspen Music Festival Conducting Fellowship (1984) National Association of Teachers of Singing Composition Award (2016) American Guild of Organists Distinguished Composer (2024) Raymond Brock commission from the American Choral Directors Association First Prize in the NATS Composition Competition for 'American Death Ballads' (2016) As an educator, Conte has mentored over 100 composition students since 1985 at SFCM. His teaching philosophy, heavily influenced by his studies with Nadia Boulanger, emphasizes the importance of musical memory, keyboard proficiency for composers, and gradual skill development. He has secured numerous commissions from prestigious organizations including the San Francisco, Oakland, Stockton, and Dayton Symphonies, Chanticleer, and the American Guild of Organists. Conte's work has been supported by institutions like the Fulbright Program and the National Endowment for the Arts. Conte maintains active collaborations with various musical organizations, including Cappella SF where he serves as Composer in Residence. His work with librettists like Nicholas Giardini and collaborators like Todd Boekelheide demonstrates his commitment to interdisciplinary artistic projects. He continues to be an influential figure in American contemporary music through his compositions, teaching, and advocacy for new music.
Professor Urszula Kryger, Ph.D., serves as Dean of the Faculty of Vocal and Acting Studies at the G. and K. Bacewicz Academy of Music in Łódź since the 2012/2013 academic year, following her tenure as Head of the Vocal Studies Department (2008-2012). A distinguished mezzo-soprano, she has maintained an international performance career while advancing vocal pedagogy through master classes and competition juries. Her educational background includes dual degrees from the Academy of Music in Łódź: Instrumental Studies in Piano (1988) and Vocal Studies in Acting (1992), supplemented by advanced vocal training under Andrzej Orłowicz in Copenhagen. This foundation informs her holistic approach to vocal artistry. Kryger's research focuses on Classical Vocal Performance with specialization in Art Song Interpretation and Polish Musicology . Her scholarly work centers on authentic performance practices of Chopin, Szymanowski, and Moniuszko, emphasizing textual nuance and historical context in art song. She investigates chamber music collaborations as interdisciplinary laboratories for vocal expression, with particular attention to the interplay between text, timbre, and emotional authenticity. Her publication trajectory reveals deep engagement with Polish musical heritage , progressing from foundational recordings of Russian repertoire to definitive interpretations of Szymanowski and Żeleński. The consistent Fryderyk Award recognition demonstrates scholarly impact in preserving and reinterpreting national musical identity through rigorous vocal scholarship. 2001 Fryderyk Award for 'Russian Duets' (DUX) 2002 Fryderyk Award for 'Moniuszko's Songs' and 'Karłowicz/Szymanowski's Songs' 2004 Fryderyk Award for 'K. Szymanowski's Songs' (Channel Classics) 2006 Karol Szymanowski Foundation Award 2012 Fryderyk Award for 'Żeleński - Pieśni' As an educator, Kryger mentors through master classes across Europe and serves on international competition juries. Her academic leadership includes departmental administration and shaping curriculum for vocal performance programs. Collaborative projects with ensembles like the Tokyo String Quartet and Petersen Quartet demonstrate her commitment to interdisciplinary artistic research. Kryger maintains active performance partnerships with distinguished musicians including Hartmut Höll, Charles Spencer, and Pascal Rogé, while conducting research through recording projects that serve as both artistic output and pedagogical resources for vocal students.
Mirjana Plath is a Research Fellow at the Department of Musicology, University of Oslo. Her work focuses on the transfer of operettas to Stockholm during the 1930s-1940s, particularly analyzing the role of actor and cabaret artist Max Hansen. She holds a Master’s in Musicology from the University of Vienna and has conducted research at institutions including the University of Alberta and Freie Universität Berlin. Education: Bachelor of Arts in Art History, Media Studies, and Musicology (Universities of Marburg and Oslo) Master’s in Musicology (University of Vienna) Her research interests include operetta studies, cultural politics, and the intersection of music with historical and political contexts. She has collaborated with major European music festivals and institutions such as the Vienna Volksoper and Schott Music.
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