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.
Carol Ann Allred is an Associate Professor (Lecturer) at the University of Utah's School of Music, specializing in Voice. She holds a DMA and MA from Eastman School of Music, and a BM in Vocal Pedagogy from Brigham Young University. Her career spans performance and education, with roles at SUNY Fredonia, Seton Hill College, and Hampden-Sydney Chamber Music Festival. Doctor of Musical Arts (DMA), Vocal Performance - Eastman School of Music (1989) Master of Music (MA), Vocal Performance - Eastman School of Music Bachelor of Music (BM), Vocal Pedagogy - Brigham Young University Allred's research and creative works focus on vocal performance across diverse genres, including choral masterpieces like Verdi Requiem and Brahms Requiem, contemporary works such as Golijov's La Pasion Según San Marcos, and historical repertoires from Mozart and Handel. Her recent projects include international tours and cultural outreach initiatives. Her scholarly performances highlight trends in sacred choral music, operatic excerpts, and community engagement through LDS church services and interfaith concerts. She has contributed to recordings including Christmas CDs and collaborations with Salt Lake Vocal Artists. Scientific Awards : Multiple first prizes in prestigious competitions and a Faculty Recognition Award nomination Teaching : Offers private voice lessons and masterclasses; advises the Michie Undergraduate Vocal Quartet Community Leadership : Conducts multi-congregational choirs and organizes veteran-focused concerts Allred's professional activities include collaborations with orchestras such as the Pittsburgh Symphony and Utah Symphony, with a strong emphasis on vocal pedagogy, interfaith musical outreach, and family ensemble performances. She maintains active roles in judging competitions and mentoring students at both University of Utah and UVU as a substitute instructor.
Pasquale Bottalico serves as Associate Professor in the Department of Speech and Hearing Science at the University of Illinois, with dual appointments as Associate Professor at the Center for Latin American and Caribbean Studies and Affiliate Faculty in the School of Music. His unique interdisciplinary profile bridges engineering, music performance, and speech science, reflecting his dual academic training and professional artistry. His educational foundation includes: Bachelor's in Telecommunications Engineering from Univeristà Mediterranea di Reggio Calabria, Italy Concurrent Opera Singing degree from F. Cilea Music Academy, Reggio Calabria Master's in Telecommunications Engineering from Politecnico di Torino, Italy Ph.D. in Metrology specializing in acoustics measurement uncertainty and classroom acoustics Dr. Bottalico's research centers on vocal load quantification and professional voice techniques , with significant contributions to understanding vocal fatigue in teachers and singers. His work spans Speech Intelligibility in educational environments, Room Acoustics for performance and learning spaces, and Musical Acoustics of historical vocal styles. A distinctive thread throughout his research examines how acoustic conditions modulate voice production and perception, increasingly incorporating virtual reality and bone conduction technologies for innovative assessment and intervention approaches. His Colombian vocal health study demonstrates cross-cultural applications of his work. Analysis of his 2023-2025 publications reveals three dominant research trajectories: (1) The impact of noise and dysphonia on children's speech processing in educational settings, using multimodal assessment including EEG; (2) Virtual reality applications for voice production research and therapeutic intervention; (3) Cross-cultural validation of vocal fatigue metrics and development of biofeedback systems. His work consistently bridges engineering precision with clinical applicability, particularly for professional voice users in challenging acoustic environments. No scientific awards were documented in the available information. While specific advising relationships aren't detailed, his research collaborations span international institutions including Colombian and Italian universities, suggesting graduate mentorship in interdisciplinary projects. No grant information was provided, though his systematic reviews and cross-cultural studies imply externally funded research activities. Though no dedicated laboratory is specified, his virtual reality voice studies and acoustic parameter assessments suggest affiliations with audio engineering facilities and voice clinics, likely through the Speech and Hearing Science department's research infrastructure.
Blair Hoxby is Professor of English at Stanford University's School of Humanities and Sciences, where he has taught since 2007. Previously, he served as Associate Professor of History and Literature at Harvard University (2005-2007) and Associate Professor of English at Yale University (2003-2005), where he began as Assistant Professor in 1998. His academic journey includes a Ph.D. in English from Yale University (1998), an M.Phil. in English Studies from the University of Oxford (1990), and an A.B. in English and American Literature and Language from Harvard University (1988). Hoxby's research focuses on literature and culture from 1500 to 1800, with particular emphasis on tragedy theory, Milton studies, and the intersection of literature and economics. His notable works include What Was Tragedy? Theory and the Early Modern Canon (2015) and Mammon's Music: Literature and Economics in the Age of Milton (2002). He argues that early modern tragedy differed significantly from contemporary understandings of the genre, with passions rather than deeds or character serving as the keys to early modern tragic performance. Hoxby's recent scholarly output reveals a consistent engagement with early modern theatrical practices, particularly tragedy and opera. His work demonstrates sophisticated interdisciplinary approaches, connecting literary analysis with historical context, economic theory, and performance studies. He has made significant contributions to understanding how commercial culture shaped literary production and how theatrical conventions evolved across national boundaries in Europe. Scientific Awards and Honors Internal Fellow, Stanford Humanities Center (2009-2010) Morse Fellowship, Juilliard School (2001-2002) Samuel and Ronnie Heyman Prize, Yale University (2001) John Addison Porter Prize, Yale University (1999) Rhodes Scholarship, University of Oxford (1988-1990) Hoxby has supervised numerous doctoral students and served in various administrative roles at Stanford, including Director of Undergraduate Studies (2011-2014) and Director of Graduate Admissions (2008-2011). His teaching portfolio includes courses on English poetry from the Renaissance to Romanticism, tragedy and tragic theory from Aristotle to the present, theater history, and performance theory. Currently, he teaches courses such as Court Theater from Shakespeare to Mozart and Introduction to English II: From Milton to the Romantics . Hoxby maintains active scholarly engagement through committee memberships, including the Executive Committee of the Milton Society of America (2009-2013) and service as a referee for major academic presses including Oxford University Press and the University of Pennsylvania Press.
Jacek Greszta is a Professor and current Dean of the Faculty of Vocal Performance and Acting at the Academy of Music in Bydgoszcz, serving the 2020-2024 term. He has taught at the institution since 2006 and was awarded the title of Professor of Art in April 2021 after obtaining his postdoctoral degree in musical arts (vocal studies) in 2016. His academic background includes: Studies at the Academy of Music in Warsaw (Faculty of Vocal Studies and Acting, 1986) under A. Dankowska Transfer to the Academy of Music in Poznań (1989) under M. Moździerz, graduating in 1993 Professor Greszta's research centers on operatic vocal performance and Polish musical heritage. As an internationally recognized bass, he has performed 30+ roles across Mozart, Verdi, Puccini, and Moniuszko repertoire in 15+ countries, with scholarly focus on vocal technique preservation and national opera traditions. His academic work bridges performance practice with pedagogy, emphasizing Moniuszko's contributions to Slavic opera. Key recognitions include: Golden Orpheus award for the DVD recording of Paderewski's Manru (2013) Two honors from the Marshal of Kuyavian-Pomeranian Voivodeship for artistic excellence Administratively, he served as Head of the Vocal Studies Department before his deanship, overseeing curriculum development and faculty coordination. His collaborations span major Polish philharmonics and opera houses, including long-term engagements with Silesian Opera (Bytom) and Opera Nova (Bydgoszcz), where he premiered anniversary productions.
Eero Hyvönen is a Professor of Computer Science at Aalto University and Director of the Helsinki Centre for Digital Humanities (HELDIG) at the University of Helsinki. He leads the Semantic Computing Research Group (SeCo), specializing in Semantic Web technologies and applications. Hyvönen holds an Adjunct Professor title at the University of Helsinki's Department of Computer Science. His work focuses on developing national-level semantic web infrastructure, with applications in digital humanities, cultural heritage, and AI. He has published over 500 research articles and books, receiving numerous awards including the Decoration of Knight, First Class, of the Order of the White Rose of Finland (2018). Hyvönen chairs editorial boards of journals like Semantic Web and serves on committees for major conferences. His research spans semantic web technologies, linked open data, and AI applications in cultural heritage domains. Key projects include Sampo portals (e.g., LetterSampo, OperaSampo) for cultural data analysis, ParliamentSampo for parliamentary data, and FindSampo for archaeological finds. His work emphasizes interdisciplinary collaboration, integrating law, history, and computing through initiatives like FIN-CLARIAH. Hyvönen advises doctoral and master's students, notably Annastiina Ahola and Jouni Tuominen, who have won awards under his supervision. He directs research infrastructures, chairs international boards, and actively contributes to open data policies and standards development.
Kirsten Yri is an Associate Professor of Musicology at Wilfrid Laurier University, serving as Chair of Music Promotions and Appointments, and Coordinator for Music History, Theory, and Critical Analysis. She also oversees the Master of Music: Collaboration, Curation, and Creative Performance program. Her research focuses on medievalism in contemporary music and popular culture, the early music revival of the 20th century, and representations of gender in opera and music within colonial/postcolonial contexts. Yri’s research interests include analyzing how medieval themes are reinterpreted in modern contexts (e.g., film, heavy metal, and stage productions), examining the ideological underpinnings of early music revival movements, and exploring the intersection of music with gender, nationalism, and global cultural politics. Her work often critiques Western-centric narratives and highlights marginalized voices in music history. Her publications span articles in journals and edited volumes, with a focus on composers like Carl Orff and Hildegard of Bingen, as well as groups like Corvus Corax and Anonymous 4. She has contributed to interdisciplinary projects such as The Oxford Handbook of Music and Medievalism (2020). While no scientific awards are cited, her work is widely recognized in musicology and cultural studies. Yri’s teaching and research emphasize collaborative, interdisciplinary approaches to music history, blending academic rigor with creative curation. She speaks English, Swedish, and German, enhancing her ability to engage with international scholarly resources and communities.
Andreas Stoehr is a renowned Austrian conductor and professor at the Music and Arts Private University of the City of Vienna, leading the conducting department and symphony orchestra since 2013. His career spans prestigious engagements including the Paris Opéra Comique, Deutsche Oper am Rhein, and St. Gallen Theatre, focusing on operatic repertoire from Monteverdi to modernism. He is celebrated for reviving neglected works like Meyerbeer’s Emma di Resburgo and Gluck’s Ezio , emphasizing historical performance practices. His research explores stylistic transitions in music history, blending baroque precision with modern innovation. Education: Trained at Vienna's former Conservatory (now University of Music and Performing Arts), studying piano under Alfred Kremela, conducting with Gennadij Rozhdestvenskij, and musicology at the University of Vienna. Key mentors included David Lutz (accompaniment) and Reinhard Schwarz (conducting). Research Interests: Explores interdisciplinary connections between diverse musical eras, such as Bach’s influence on Schoenberg, and advocates for vocal-orchestral balance in historical repertoires. Projects include CD recordings of Amanda Maier-Röntgen and Andrea Tarrodi’s works, nominated for Swedish Grammis. Awards: Grammy nomination (2016) for Amanda Maier-Röntgen’s Violin Concerto recording. Recognized for innovative stagings of operas like Berg’s Wozzeck and Debussy’s Pelléas et Mélisande . Teaching & Leadership: As professor and symphony orchestra director, Stoehr mentors young conductors. Notable collaborations include the Langenlois Castle Festival (2012–2019) and interdisciplinary projects like Heart and Mouth, and Deed and Life blending Bach with sociological texts. His teaching emphasizes 21st-century conductorship as collaborative architecture, prioritizing emotional engagement over technical authoritarianism. Labs/Ensembles: Leads the MUK Symphony Orchestra, collaborating with ensembles like the Aarhus Symphony Orchestra and Orchestre Philharmonique de Liège. His work bridges academic research with performance practice through projects like the Styriarte Festival’s Schubert revival.
Cynthia Donnell serves as an Associate Professor of Voice and Lyric Diction in the Department of Music at Virginia Commonwealth University. Her educational background includes: Master of Music (M.M.) from the University of North Carolina at Greensboro Bachelor of Music Education from the University of North Carolina at Greensboro As a mezzo-soprano, Professor Donnell maintains an active performance career spanning recital, opera, choral, oratorio, and orchestral repertoire. Her expertise centers on vocal technique, linguistic precision in singing, and classical interpretation across diverse musical traditions. She has performed with major ensembles including the North Carolina Symphony, Richmond Symphony, Virginia Opera, and St. Paul Chamber Orchestra. Her professional recognition includes winning the Seventh International Sterling Staff Competition, which facilitated over 25 solo recitals nationwide. She actively contributes to music education through leadership in the National Association of Teachers of Singing (NATS), having served as officer and board member for the Virginia Chapter.
Toni Dorfman is an Adjunct Professor at Yale University, where she has taught since 1999. Her instructional expertise includes acting, directing, playwriting, and production seminars focused on playwrights such as Beckett, Stoppard, Pinter, Orton, Wilder, Chekhov, Molière, and Brecht. She co-founded the annual Yale Playwrights Festival in 2003 and has directed nine Baroque opera productions through the Yale Baroque Opera Project, including works by Monteverdi, Sacrati, Rossi, Cavalli, and Purcell. These productions are integrated with her undergraduate course 'Analyzing, Performing, and Directing Early Opera.' Dorfman holds a BA in Philosophy from Carleton College/University of Iowa and an MFA in Theater Directing from Columbia University. She is a member of Actors’ Equity, SAG-AFTRA, SDC, and the Dramatists Guild.
Dr. Reba Wissner is an Associate Professor of Musicology at the Schwob School of Music, Columbus State University, where she also serves as Interim Associate Dean in the Honors College. She specializes in film, television, and video game music, with a strong commitment to pedagogy and accessibility in higher education. Education: PhD, Musicology, Brandeis University, 2012 MFA, Musicology, Brandeis University, 2008 BA, Music and Italian, Hunter College, CUNY, 2005 Graduate Certificate, Higher Education Administration, Northeastern University, 2019 Graduate Certificate, Instructional Design, University of Wisconsin - Stout, 2020 Levels 1, 2, and 3 UDL Credentials, UDL-IRN Quality Matters Certified Peer Reviewer and Master Reviewer Dr. Wissner’s research centers on music in screen media, particularly Cold War-era television, and the intersection of music with cultural narratives. She is a leading voice in public musicology and Universal Design for Learning (UDL), advocating for inclusive and accessible music education. Her work spans historical analysis, pedagogical innovation, and interdisciplinary media studies. Her recent publications reflect a consistent focus on sonic storytelling, with books on The Twilight Zone , The Outer Limits , David Lynch, and Twin Peaks . She explores themes of nuclear anxiety, identity, and adaptation across media. Her editorial projects include the Oxford Handbook of Public Musicology and a guide on UDL in music history classrooms. Scientific Awards and Recognitions: Scholarship of Teaching and Learning Award, Columbus State University, 2022 Governor’s Teaching Fellow, Louise McBee Institute of Higher Education, 2022 Quality Matters Certified Peer Reviewer and Master Reviewer UDL Levels 1–3 Credentials Dr. Wissner has secured editorial contracts with Routledge and Oxford University Press, reflecting her leadership in the field. She mentors emerging scholars through collaborative editing and public scholarship initiatives. Her work in online learning and accessibility has shaped curriculum development and peer review standards. She leads the Public Musicology Certificate program and contributes to interdisciplinary studies and honors education. She is actively involved in research teams focused on media music and pedagogical innovation, integrating digital tools and inclusive design into music history education.
Rev Dr Michael Fuller is a Lecturer in Science and Religion at the University of Edinburgh's School of Divinity. He holds degrees in Chemistry (MA and DPhil from Oxford) and Theology (BA from Cambridge), with additional ordination in the Scottish Episcopal Church. His work bridges science-religion dialogue, theological analysis of literature and music, and ethical considerations of emerging technologies like big data. Qualifications include: MA Chemistry (Oxford, 1989) DPhil Chemistry (Oxford, 1989) BA Theology (Cambridge, 1991) Fellow of the Higher Education Academy (2010) Fellow of the International Society for Science and Religion (2016) Research interests emphasize interdisciplinary dialogue between scientific disciplines and religious thought, particularly exploring human uniqueness, ethics of technology, and theological interpretation in music and literature. Recent work examines big data's ethical implications and Wagnerian redemption narratives. Key affiliations include: Vice-President for Publications, European Society for the Study of Science and Theology International Advisory Board member for Zagreb University's CePOZiR Centre Former Chair of the Science and Religion Forum Publications include over ten edited volumes and numerous articles on science-religion interface topics. His work often addresses public intellectualism, advocating for constructive dialogue between scientific and religious communities.
He Chengzhou is a full Professor of English, Drama, and Comparative Literature, and currently serves as Dean of the School of Arts at Nanjing University. He holds a Doctor of Arts from Oslo University, following B.A. and M.A. degrees from Nanjing Normal University. His academic leadership roles include Chinese Co-Director of the Johns Hopkins University-Nanjing University Center for Chinese and American Studies (2013-2017), President of Jiangsu Comparative Literature Association (2016-present), and former Chairman of the International Ibsen Committee (2010-2012). Research focuses on Henrik Ibsen, Scandinavian literatures, intercultural theatre, and comparative drama. Key works include (2004) and (2009). He has been honored with the Ibsen Medal (2002) and the prestigious Changjiang Distinguished Professor title (2015). Professional contributions include directing the Chinese-Nordic Cultural Centre and European Studies Centre at Nanjing University. His academic trajectory spans over three decades, with influential publications in intercultural performance, gender studies, and environmental literary analysis.
Nicholas Mortimer is a Senior Lecturer in Design at Goldsmiths, University of London. He holds an MA in Design Interactions (Royal College of Art, 2013) and a BA in Fine Art Sculpture (University of Brighton, 2005). His work focuses on socially engaged design practices, reimagining historical performance traditions to address contemporary labor and societal issues. As co-founder of Post Workers Theatre (PWT), he explores workers’ theatre and creative resistance through collective writing, performance, and design. His research spans topics like gig economy critiques, housing privatization, and community activism, often blending performance, sound, and participatory methods. Education: MA Design Interactions, Royal College of Art, 2013 BA Fine Art Sculpture, University of Brighton, 2005 Research Interests: Performance as social critique Historical folk traditions and modern labor struggles Community-driven design practices Radical pedagogy and participatory methods Key Projects: Post Workers Theatre : Investigates politically engaged performance, addressing labor inequality through updated workers’ theatre forms. Autohoodening : Critiques Amazon labor practices via a reimagined midwinter ritual. Rave of the Ritualesque : Examines rave culture’s potential for collective resistance. Affiliations: Department of Design, Goldsmiths, University of London IASPIS (Swedish Arts Grants Committee) residency collaborations Labs/Teams: Post Workers Theatre collective Collaborations with institutions like Tate Liverpool, Luleå Arts and Crafts Biennale, and the Maidstone Museum
Panpan Yang is a Lecturer in Arts and Visual Cultures of Modern China at the School of Arts, SOAS University of London. She joined SOAS in 2021 after completing her joint PhD at the University of Chicago under the direction of Wu Hung, Tom Gunning, W. J. T. Mitchell, Judith Zeitlin, and Dana Polan. Her interdisciplinary work bridges art history, screen studies, East Asian studies, and digital humanities, with a focus on innovative methodologies in art historical writing. Dr. Yang earned a dual BA from Peking University, double majoring in art and philosophy, followed by an MA from Tisch School of the Arts at NYU, and a PhD from the University of Chicago. During her undergraduate studies, she served as president of the Society of Dream of the Red Chamber Studies, which informed her secondary academic interest in Redology and the visual material world of the novel Hong lou meng. Panpan Yang's research explores how minor discourses can deterritorialize the terrains of both art history and screen studies. Her work demonstrates a multimethodological approach attentive to archival research, material practices, close visual analysis, computer-aided vision, and cross-cultural theorization. She is particularly interested in Chinese animation history, calligraphic imagination in contemporary art, and the intersections between traditional Chinese art forms and new media. Her publications reveal a consistent focus on Chinese visual culture across multiple media forms, with particular attention to animation, film, and calligraphy. Yang's work demonstrates how traditional Chinese art forms engage with contemporary digital media, creating new hybrid forms that challenge disciplinary boundaries. Her research shows a trajectory from historical analysis of Chinese animation to contemporary explorations of calligraphy in digital contexts, revealing the ongoing relevance of traditional Chinese aesthetics in modern media. Dr. Yang has received several prestigious awards for her scholarly and creative work: China's National Young Screenwriter Award Domitor Essay Award Dean's Distinguished Dissertation Award Nomination Honourable Mention from the Association for Chinese Animation Studies As a Principal Investigator, Dr. Yang leads the AHRC-funded research project "Stroke by Stroke: Calligraphic imagination in contemporary Chinese art and emergent media" (2023-25) with Shane McCausland. She was also a collaborating partner on the NEH-funded "Media Ecology Project." Her research has received additional support from the Getty Foundation and the Sino-British Fellowship Trust. At SOAS, she works closely with faculty and graduate students interested in Chinese arts and cultures, art theory, cinematic arts, and digital art history. Dr. Yang is currently developing innovative research at the intersection of traditional Chinese calligraphy and contemporary digital media through her AHRC-funded project. This work explores how calligraphic imagination manifests in contemporary art and emergent media contexts, creating new pathways for understanding Chinese cultural heritage in the digital age.
