Dr. Sam Ferguson is a Senior Lecturer at the School of Computer Science, University of Technology Sydney (UTS), with a multidisciplinary background in music performance, cognitive science, and psycho-acoustics. His research explores the intersection of sound, music, and human experience through creative coding, machine learning, and interactive systems. Key Research Areas: Sound and Music Computing, Human-Computer Interaction, Creative Coding, Cognitive Science, Installation Art, and Acoustics. Current Projects: ARC Linkage project on creative coding and multiplicitous media; industry collaborations on IoT-based audiovisual systems. Recent Publications: Focus on spatial audio complexity, gestural interaction with networked sound, music emotion recognition frameworks, and robotic performance through genre-based cultural platforms. Leadership Roles: Director of Teaching & Learning Engagement; former Deputy Head of School (Teaching and Learning); active in ACM Creativity and Cognition Steering Committee. Teaching: Courses like Digital Media Studio , Prototyping Physical Interaction , and Data Processing using R within UTS's interdisciplinary Software Development Studio.
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.
Keith Obadike is a Professor in the Department of Art at Cornell University's College of Architecture, Art, and Planning (AAP), where he also serves as Director of Undergraduate Studies. He is an acclaimed interdisciplinary artist and composer, known for his collaborative work with Mendi Obadike, which spans sound art, digital media, public installations, performance, and internet-based projects. His artistic and academic work critically engages with technology, race, history, and identity. Obadike earned a B.A. in Visual Art from North Carolina Central University and an M.F.A. in Sound Design from Yale University. Prior to joining Cornell, he taught at William Paterson University and held visiting positions at Princeton University, Columbia University, Northwestern University, and the Art Institute of Chicago. His research and creative practice focus on sound art, digital media, public art, performance, and collaborative practice , with strong interdisciplinary connections to Afrofuturism, data sonification, and social justice. He explores how sound and technology mediate racial identity, memory, and liberation, notably through the concept of acousmatic blackness , which he and Mendi developed to describe the racial perception of sound when its source is unseen. Obadike’s selected works include large-scale public sound installations such as Blues Speaker (for James Baldwin) , Free/Phase , Compass Song (Times Square Arts), and GuideStar (Space Needle, Seattle). His projects often use data sonification, archival research, and mythic storytelling, blending historical inquiry with futuristic vision. Notable series include the Opera-Masquerades , Americana Suites , and Numbers Station works, which transform databases of violence into sonic experiences. His honors include: Rockefeller New Media Arts Fellowship (2004) Louis Comfort Tiffany Biennial Award (2015) New York Foundation for the Arts Fellowship in Fiction New Music USA Creator Development Fund (2022) Obadike has received commissions and support from institutions such as the Vera List Center, Harlem Stage, Times Square Arts, the American Composers Orchestra, and the Cornell Mui Ho Center for Cities. He has exhibited and performed at The New Museum, The Whitney Museum of American Art, MoMA, and The Studio Museum in Harlem. His writings and publications include contributions to Studies into Darkness (2022), and artist books such as Four Electric Ghosts and Big House / Disclosure (both 2014). He has also released albums like Crosstalk (2008) and created internet artworks such as Blackness for Sale (2001) and The Interaction of Coloreds (2002), which are foundational in new media and critical race art. While specific advisees are not listed, his role as Director of Undergraduate Studies and Professor indicates active mentorship. His work is deeply collaborative, often co-created with Mendi Obadike, and supported by interdisciplinary teams and institutions.
Wing Chung Ng is Professor and Department Chair in the History Department at the University of Texas at San Antonio (UTSA), within the College of Liberal and Fine Arts. A cultural and social historian specializing in Chinese migration and traditional Chinese opera, he teaches courses on Chinese and Japanese history as well as the Chinese diaspora. Dr. Ng's research focuses on Modern China, East Asia, and Migration History, with particular expertise in Chinese diaspora communities and Cantonese opera preservation. His scholarly work examines how Chinese communities maintain cultural identity while adapting to new environments across the Pacific, analyzing the interplay between traditional cultural practices and modern social transformations. His publication record reveals a consistent scholarly trajectory examining Chinese cultural transmission across borders. Recent works include analyses of Kunqu opera in the 21st century and historical soundscapes of Sino-Western encounters, building on his foundational research on Cantonese opera and Chinese communities in North America. His interdisciplinary approach spans cultural history, migration studies, and Asian American studies. Dr. Ng has received significant scholarly recognition: Fulbright Scholar (2012) from the United States Department of State Faculty Research Award (2004) from the National Endowment for the Humanities National Humanities Center Fellow (1996) His research has been supported by substantial grants including $5,000 for 'Connecting Worlds: Master Wong Toa's Trans-Pacific Life and Career 1914-2015' (2020-2021) and $40,000 for 'Local Theater, Transnational Arena: A New Social History of Cantonese Opera, 1860-1945' (2004-2005). He was previously a Commonwealth Scholar at UBC and has received support from the Chiang Ching-kuo Foundation and NEH. Most recently, he served as a Fulbright Scholar at Hong Kong Baptist University. Currently, Dr. Ng is working on a centennial biography of Master Wong Toa (1914-2015) to study his life and music across early 20th century South China, Cold War Hong Kong, post-exclusion era Chinatown Vancouver, multicultural Canada, and the age of China's rise.
Dr. John Severn is a Research Fellow at Macquarie University's Department of International Studies: Languages and Cultures. His career spans academia, law, and translation, with a focus on theatre internationalization, Shakespearean adaptation, and community engagement. Education: PhD in Theatre Studies and English, University of New South Wales MA(Hons) in Shakespeare and Theatre, University of Birmingham LLB(Hons) in Law and French, University of Edinburgh Postgraduate Diploma in Legal Practice, University of Edinburgh BA(Hons) in Theatre Studies and Opera Studies, University of Manchester/Rose Bruford College CertHE in Scottish Gaelic language and culture, University of the Highlands and Islands His research explores theatre and internationalization through opera, musicals, and Shakespearean adaptation. He investigates how performing arts foster inclusive/exclusive communities and addresses barriers to participation. His work intersects European cultural history, arts policy, and transnational practices. Recent publications highlight trends in Shakespearean operatic adaptation, Australian theatre censorship, and decolonial processes in performance. His co-edited works include The Routledge Companion to Theatre and Internationalization and Theatre and Internationalization: Perspectives from Australia, Germany, and Beyond . Dr. Severn collaborates with institutions like the University of Sydney, University of New South Wales, and the Goethe-Institut Australia. He founded the research cluster 'Staging Migration in Berlin' and co-organizes international conferences on theatre internationalization.
Tatjana Marković is an Austrian Academy of Sciences researcher and Adjunct Professor at the University of Music and Performing Arts Vienna, where she leads the FWF project on music historiography at the Habsburg Monarchy's southern borders (1750–1914). As editor of TheMA journal and chair of the IMS Study Group Music and Cultural Studies, she specializes in reconstructing pluricultural musical life along the Austro-Ottoman frontier. Adjunct Professor, University of Music and Performing Arts Vienna Head, FWF Discourses on Music project Editor, TheMA – Theatre, Music, Arts Chair, IMS Study Group Music and Cultural Studies Her research intertwines musicology with cultural studies, focusing on Southeast European musical traditions and their representation in Habsburg and Ottoman contexts. Key areas include diplomatic music exchanges, military border cultural dynamics, and gendered perspectives in regional music history. Recent publications address microregional musical networks, operatic diplomacy, and 19th-century battlefield commemorations through music. She contributes to international conferences on Balkan musicology and Austro-Ottoman cultural interactions, with editorial roles in multiple academic series.
David Imhoof is Professor of History at Susquehanna University and serves as the NCAA Division III Faculty Athletic Representative. He has twice chaired the History Department (2006-2015, 2020-2023) and directed the Global Opportunities (GO) Austria study abroad program since 2010. His research focuses on cultural and political history in 20th-century Germany with particular emphasis on Göttingen between the World Wars. Education : Ph.D. in History from the University of Texas at Austin, B.A. in History and Liberal Arts from Trinity University. Imhoof's research explores how cultural practices like sports, music festivals, and film shaped political integration in Weimar and Nazi Germany. His current projects include a biography of a Nazi mayor and a history of Germany's 20th-century recording industry. He has published extensively on topics ranging from the Total Work of Art concept to sound studies in German contexts. His recent publications form trends in cultural history, media studies, and political integration analysis. These works examine how music, sports, and film served as vectors for both traditional values and ideological transformation during Germany's turbulent 20th century. Scientific Awards : Multiple Susquehanna Research Grants, DAAD Fellowship, Nachtegall Junior Scholar Award, and Presidential Scholar at Trinity University. Imhoof advises senior theses and independent study projects. He has led assessment reforms in Susquehanna's history department and coordinated over $3,500 in donor campaigns. As director of GO Austria, he develops international curricula and faculty training programs. He co-founded Susquehanna's Holocaust-Genocide Studies Group (2000-2014) and leads a rock band Faculty Lounge with fellow professors. His service includes NCAA representation, university strategic planning, and organizing academic events ranging from opera performances to Holocaust survivor talks.
Wesley Bradford serves as Assistant Professor and Program Coordinator for Music Theory at the University of Louisiana at Lafayette's School of Music and Performing Arts, teaching courses from freshman theory to graduate composition since joining the faculty in 2016. His international engagement includes study abroad courses in London and presentations at conferences like the North American Conference on Video Game Music. Dr. Bradford's educational foundation includes: Ph.D. in Music Theory from Louisiana State University (2016) M.M. in Music Theory from the University of Oklahoma (2013) B.A. in Music Composition from Austin Peay State University (2010) His research centers on musical meaning through narrative and semiotic frameworks, with concentrated exploration of video game music. Recent projects analyze narrative structures in The Legend of Zelda series, demonstrating how mathematical and interpretive approaches reveal new dimensions in contemporary genres like interactive media soundtracks. Bradford's publication trend shows consistent focus on video game narrative analysis since 2016, evolving from woodwind repertoire studies to digital media. His work bridges classical music theory with emerging game studies, particularly examining environmental storytelling through audio in interactive contexts. His scholarly recognition includes: Dissertation Year Fellowship (Spring 2016) As Theory/Composition studio coordinator, Bradford mentors students through recitals and studio meetings while securing research funding like the 2021 SPARK ArTech Grant. His active conference participation reflects ongoing scholarly contribution to music theory communities. He maintains professional engagement through the South Central Society for Music Theory and national Society for Music Theory, fostering collaborative research networks within the university's music theory ecosystem.
Hervé Lacombe is a Professor of Musicology at the University of Rennes 2, where he has held a faculty position since 2002. He serves as Director of the Music Department (2009-2011, 2022-2023) and previously as Head of the Master's degree in Music and Musicology (2016-2019, 2020-2022). Recognized for his scholarly contributions, he became a Senior Member of the University Institute of France (IUF) in 2023 and is a member of the Academia Europaea. His academic leadership extends to the History and Criticism of Arts Research Unit (UR 1279) and editorial roles including Head of the 'Studies' series for the French Musicology Society publications. Lacombe's research centers on French music from the 19th to 21st centuries, with particular focus on opera history, lyrical dramaturgy, and the globalization of opera. His work explores interdisciplinary connections between music and other arts, cultural contexts of musical production, and historiographical approaches to musicology. He is internationally recognized as a leading authority on composers Bizet and Poulenc, having authored definitive biographies on both. His most significant scholarly achievement is the three-volume 'Histoire de l'opéra français' (2020-2022), a comprehensive history involving nearly 200 international collaborators. This monumental work has received multiple prestigious awards including the René Dumesnil Prize (2020) and the France Musique Claude Samuel Grand Prix du Livre (2021). His earlier works 'Les Voies de l'opéra français au XIXe siècle' (1997) and 'Bizet' (2000) also garnered significant recognition from the Academy of Fine Arts and French Academy. Bernier Prize from the Academy of Fine Arts (1997) Eugène Carrière History Prize from the French Academy (1998) Bordin Prize from the Academy of Fine Arts (2001) Grand Prix des Muses (2014) France Musique Claude Samuel Grand Prix du Livre (2021) Lacombe has directed eight doctoral theses to completion and currently supervises two more. His international influence extends through keynote addresses at institutions worldwide including Keele University, the University of Montreal, and the Kyiv Music Academy. He regularly contributes to opera programs for major international opera houses and has participated in numerous radio broadcasts and documentaries on French musical heritage.
Harry White is a Professor of Music at University College Dublin (UCD), serving as Head of Department from 1993-2005. He holds academic positions such as visiting professorships in Canada, Croatia, Germany, and the UK. Educated at UCD, University of Toronto, and Trinity College Dublin, he specializes in cultural history of Irish music, Austrian baroque music, and Anglo-American musicology. His awards include the Harrison Medal (2014) and Royal Irish Academy membership (2006). Research focuses on music’s role in Irish cultural identity, European baroque traditions, and historiographical methods. Notable works include The Keeper's Recital (1998) and co-editing The Encyclopaedia of Music in Ireland (2013). Recent engagements include delivering the Alfred S. Hook Memorial Lecture (2022) and receiving a Festschrift in 2018. Education: BMus (UCD), MA (Toronto), PhD (Trinity College Dublin) Awards: Harrison Medal, MRIA, Honorary Fellowships (R.I.A.M., Croatian Musicological Society) Editorial Roles: General editor of Irish Musical Studies , advisory editor for New Grove Dictionary and Journal of the Royal Musical Association
Professor Adam Gorb is a renowned composer and academic, serving as Professor of Composition and former Head of the School of Composition at the Royal Northern College of Music (RNCM) from 2000 to 2023. He holds a PhD in Composition from the University of Birmingham (2013), alongside degrees from Cambridge University (BA 1980) and the Royal Academy of Music (RAM, MMus with Principal’s Prize 1993). His research and creative output focuses on orchestral, operatic, and wind ensemble composition. Notable works include operas Anya 17 (2012) and The Path to Heaven (2018), which explore themes like human trafficking and the Holocaust. His wind ensemble pieces, such as Towards Nirvana and Farewell , have won British Composer Awards and are performed globally. Awards include three British Composer Awards and a House of Commons accolade for Anya 17 . He advises PhD students in composition while maintaining international collaborations, including recent projects in Romania, Australia, and the USA. His music is frequently recorded and performed worldwide, with CDs such as 24 Preludes (2022) and Dancing in the Ghetto (2016) showcasing his diverse output. Teaching roles include undergraduate and postgraduate composition at the RNCM, alongside guest lectures at institutions globally. His current projects include commissions for the Royal Academy of Music and interdisciplinary work with Parkinson’s patients.
Prof. Dr. hab. Marzena Górecka is a Full Professor at the Department of German-Language Literature and Culture , Faculty of Humanities , John Paul II Catholic University of Lublin . Her academic career includes habilitation (2006), Erasmus teaching assignments at the University of Freiburg (Switzerland), and leadership of the INTERREG III C project Language Bridges (2004-2006). Education: University of Lublin (Humanities), University of Zurich (Germanic Philology), University of Perugia (Italian Studies) Degree: Licentiata Philosophiae (1995), Doctorate in German Medieval Literature (1999) Research Focus: German medieval mysticism (Mechthild von Magdeburg, Hildegard von Bingen), Swiss German-language literature of the 20th century (Meinrad Inglin, Albin Zollinger), and literary translation theory with emphasis on Joseph Ratzinger/Benedict XVI's Opera Omnia . She explores mystical anthropology, cultural boundaries, and the interplay between theology and literature. Recent Trends: Analysis of postmodern literary spirituality, translation challenges of theological texts, and cultural memory in European border regions. Her 2023 publications examine educational crises through religious pedagogy and contemporary social critique in Swiss literature. Key Awards: Feniks National Literary Award (2014, 2013), Ministerial Individual Scholarship (MEiN), Landes&Gyr Foundation Research Stipend (Switzerland) Academic Service: Active in international research (SNSF Berlin evaluation), editorial leadership for Opera Omnia Ratzinger , and conference organization on European values and migration. She serves on the Polish Ministerial Expert Panel for academic promotions.
Dimitri Scarlato serves as Area Leader in Masters Programmes in Composition for Screen and Doctoral Supervisor at the Royal College of Music's Faculty of Composition. Holding a Doctorate in Composition from the RCM (2014) alongside prior studies at Guildhall School of Music & Drama (2004) and Rome's Conservatorio di Musica S.Cecilia, he maintains active roles in academic leadership and doctoral supervision while continuing professional creative work. His research spans film composition, opera, and contemporary classical music with specialized focus on screen-based media. Key interests include soundtrack production techniques, cross-cultural narrative scoring, and innovative vocal composition for modern contexts. His work integrates academic rigor with industry practice through film scores, operatic productions, and multimedia performances that bridge traditional and contemporary forms. Scarlato's recent creative output demonstrates consistent thematic development in audiovisual storytelling, with increasing sophistication in emotional resonance and cultural contextualization across film and opera formats. His projects frequently explore Italian cinematic traditions while incorporating international perspectives from collaborations at venues like Berlinale Talent Campus and Royal Opera House. 2nd Prize, Opera Harmony Digital Opera Festival (2020) for 'A Life Reset' Award for Soundtrack to Short Film 'Intolerance' (2021) RCM Rising Star Selection (2010) As Doctoral Supervisor, Scarlato guides emerging composers through rigorous academic and creative development, emphasizing practical industry integration. His professional engagements include conducting premieres of contemporary operas across Europe and high-profile collaborations such as coaching Sir Michael Caine for the film 'Youth' (2015). Current projects focus on expanding composition techniques for digital media platforms while maintaining strong connections to traditional performance venues.
Prof. Dr. Florian Freitag is a Professor of American Studies at the University of Duisburg-Essen (Germany) since 2019, specializing in Transnational American Studies, Canadian Studies, and Theme Park Studies. His academic journey includes a PhD in North American literatures from the University of Constance (Germany) in 2011, followed by postdoctoral research at the Obama Institute, JGU Mainz. His educational background includes: 1998-2005: Student of English and French, University of Konstanz, Germany 2002-2003: Exchange student, Department of American Studies, Yale University 2006-2011: Doctoral Student, Department of Literature, University of Konstanz 2009: Visiting Scholar, University of British Columbia, Vancouver, Canada 2015-2016: Visiting Scholar, CityTech (CUNY), New York, USA Freitag's research interests span Transnational American Studies, Canadian Studies, Popular Culture, Theme Park Studies, Periodical Studies, Performance Studies, and Hurricane Katrina studies. His work explores the intersections of cultural representation, spatial theory, and transnational flows, with particular attention to how American culture travels and transforms in global contexts. He has made significant contributions to understanding theme parks as cultural spaces that negotiate national identity, transnational influences, and historical narratives through spatial design, narrative construction, and visitor experience. His publications reveal a strong focus on how themed spaces mediate cultural understanding across national boundaries. His scholarship demonstrates how popular culture forms like theme parks serve as important arenas for cultural work that often goes unrecognized in more traditional academic contexts. His work examines the political dimensions of themed environments, the adaptation of classical mythology in global theme parks, and how cities like New Orleans are represented across different media forms. Among his notable scientific contributions are his books The Farm Novel in North America: Genre and Nation in the United States, English Canada, and French Canada, 1845-1945 (Camden House 2013), Popular New Orleans: The Crescent City in Periodicals, Theme Parks, and Opera, 1875-2015 (Routledge 2021), and Key Concepts in Theme Park Studies: Understanding Tourism and Leisure Spaces (Springer 2023), which established him as a leading scholar in interdisciplinary theme park studies. Freitag has also been active in academic service, including co-editing special issues and volumes on intersectionality, Chinese theme parks, and transnational approaches to North American regionalism. His work demonstrates a commitment to interdisciplinary approaches that bridge literary studies, cultural geography, and media studies, with significant contributions to understanding cultural representation in themed environments.
David J. Levin is a Professor at the University of Chicago, holding affiliations in Germanic Studies, Cinema & Media Studies, Theater & Performance Studies, and the College. With a PhD from UC Berkeley (1992), he has taught at UChicago since 1998 and served as Senior Advisor to the Provost for Arts (2018-2023). He previously held a Visiting Professorship at the University of Oslo (2014-2019) and founded the Gray Center for Arts and Inquiry (2011-2016). PhD in Germanic Studies, UC Berkeley (1992) Teaching at UChicago since 1998 Visiting Professor, University of Oslo (2014-2019) Founding Director, Gray Center for Arts and Inquiry (2011-2016) His research spans Opera Studies, Theater and Performance, Cinema, and Dance, focusing on the interpretive and political dimensions of staging. He explores Wagner’s dramaturgy, digital reproducibility in opera, and the interplay between immersion and critique. His current book projects examine Wagner’s pedagogical politics and opera’s digital transformation. The articles he has published reflect a deep engagement with operatic and cinematic modernism, the ethics of adaptation, and the role of the dramaturg in interdisciplinary performance. His work bridges German literature, musicology, and critical theory. Levin’s editorial and collaborative roles include Executive Editor of The Opera Quarterly (2005-2015), dramaturg positions with German and U.S. opera houses, and collaborations with choreographers like William Forsythe and Saar Magal.
