Jonathan Clarke Schwabe is a Professor of Theory and Composition at the University of Northern Iowa, where he chairs the Composition and Theory area. His work spans orchestral, operatic, and theatrical compositions, with premieres at prestigious venues like the Kennedy Center and Eastman School of Music. Education: Doctor of Musical Arts from the University of South Carolina His research interests focus on Music Composition and Music Theory , particularly in creating interdisciplinary works bridging music, literature, and theater. Schwabe's compositions have been published by Musikverlag Bruno Uetz and Alafia Press. Key trends in his work include collaborations with librettists (e.g., Beth Webb Hart), adaptations of literary works (e.g., Carson McCullers), and contributions to musical comedies like The Bake Shop Ghost . His compositions emphasize both technical rigor and emotional storytelling. Scholarly recognition includes masterclass participation with luminaries such as David Diamond and Karel Husa, though no scientific awards are explicitly listed. Students and colleagues benefit from his expertise in orchestral arranging and theatrical composition.
Jemima Stehli is a Lecturer in Postgraduate Studies in Art Practice at Goldsmiths, Department of Art. Her practice spans photography, performance art, and collaborative projects , often interrogating themes of gender, urban aesthetics, and artistic process . Email: j.stehli@gold.ac.uk, jsteh009@gold.ac.uk Her research explores self-portraiture, controlled composition, and the intersection of digital surveillance with artistic practice . Key works include collaborations with her son August, examining generative destruction in image-making, and analyses of hypersexualized urban spaces through feminist architectural critique. Exhibitions at Tate Modern (2016), ARTRA (2010), and 1961 Projects (2020) highlight her focus on landscape photography, body politics, and live performance . Publications include contributions to Madam & Eve Women Portraying Women (2018) and Photography Today (2014). Her artistic methodology emphasizes unedited real-time filming , square-format photography , and dialogue between analogue and digital media , often documenting ephemeral collaborations with musicians and family.
Derek Katz is an Associate Professor of Musicology at the University of California, Santa Barbara (UCSB), serving as Undergraduate Advisor. He holds a PhD from UCSB and a BA from Harvard University, with additional studies at the Free University of Berlin via a Fulbright Fellowship. His expertise focuses on Czech music, opera nationalism, and modernism. Research interests include Janáček's operas, institutional support for 20th-century string quartets (e.g., the Kolisch Quartet), and public musicology initiatives. He collaborates with institutions like the San Francisco Opera Guild and the Ives Collective. Publications span Musical Quarterly , Czech journals, and edited volumes on Janáček and modernist opera. His book Janáček Beyond the Borders (2009) explores transnational influences on Czech music. Recent work examines mid-20th-century American musical patronage through the New Friends of Music in New York. Awarded the Fulbright Fellowship, he has contributed program essays to leading venues (Lincoln Center, Carnegie Hall) and written for The New York Times on operatic themes. He actively engages in performance through chamber music and viola playing.
Johnie Dean serves as Associate Dean of Institutional Effectiveness and a Part-Time Lecturer of Composition at Asbury University. He holds a Doctor of Musical Arts (DMA) from the University of Kentucky, a Master of Music from Southern Seminary, and a Bachelor of Music from Campbellsville College. His professional roles include SACSCOC Institutional Liaison and composer-in-residence for various music programs. Dean’s research focuses on choral and orchestral composition, with a specialization in spiritual music arrangements, operatic outreach, and educational theater scores. He has created over 200 published works across choral anthems, handbell music, and orchestral pieces. Notable projects include commissions for the Dallas Symphony Orchestra, South African choral festivals, and the Muhlenberg County Arts Program. His recent compositions emphasize cross-genre collaborations, such as jazz-sacred fusion with the Barcelona Jazz Orchestra and children’s musicals like Tooth Tales . Dean’s works have been featured in international events like the Alltech World Equestrian Games and televised productions including WKYT’s Kentucky Christmas Chorus. His awards include recognition through festival selections (e.g., Texas/Florida All-State Choruses) and commissions from prestigious institutions. Dean’s creative output spans film scores, documentary music, and community-based projects aimed at bridging music with education and cultural preservation.
Aric Schneller serves as Professor of Music and Director of Jazz Studies at Sam Houston State University's School of Music, where he has held leadership roles for seventeen years. He directs the Jazz Ensemble, Jazz Lab Band, and New Direction Vocal Jazz Ensemble while overseeing the SHSU Bill Watrous Jazz Festival and summer jazz camps. His academic credentials include a DMA in Trombone Performance from the University of North Texas, an MM in Vocal and Operatic Performance from Boston University, an MM in Jazz Studies from the University of North Texas, and a BM in Trombone Performance from the University of Montana. Professor Schneller's creative research spans Jazz Studies, Trombone Performance, and Vocal Jazz, with significant contributions to Music Composition and Arranging. His international collaborations and performances reflect deep expertise in both contemporary jazz and classical opera traditions, demonstrated through recordings, festival direction, and innovative clinics like 'The Art of Singing the Trombone'. Grammy Nomination (as member of One O'Clock Lab Band) Down Beat Magazine Award (for 'The Transparent Two – 1992') West Point Academy Jazz Knights Trombone Finalist (2006) As an educator, Schneller serves as President of the Texas Jazz Educators Association and is frequently invited to national conferences including TMEA, Midwest Clinic, and JEN. His leadership extends to directing the SHSU Bill Watrous Jazz Festival and mentoring students through ensemble programs. He maintains active performance roles with ensembles like the HGM Jazz Orchestra and has directed international broadcasts from Croatia and Austria, while also contributing to opera companies including Boston Lyric Opera and del' Arte Opera Ensemble.
Dr. Sammy Holloman serves as Assistant Professor of Flute at Northwest Missouri State University’s School of Fine and Performing Arts. Her work integrates pedagogy , multimedia performance , and extended flute techniques , with a focus on creating inclusive artistic environments and promoting living composers. Doctor of Musical Arts in Flute Performance (West Virginia University, 2023) Master of Music in Flute Performance (University of Kansas, 2020) Bachelor of Music Education (Kent State University, 2016) Her research emphasizes efficient practice strategies and pedagogical innovation , showcased through performances at national events like the Mid-Atlantic Flute Convention. She has performed internationally in Italy and Switzerland as soloist in Charles Griffes’ Poem, and collaborates with ensembles such as the Springfield Symphony Orchestra. Holloman’s scholarly activity includes reviews of contemporary flute works in The Flute View Magazine , analyzing compositions by William Susman, Kelly Catlin, and Sandy Kipp Isles. Her teaching spans applied flute, chamber music, and woodwind methods courses. Recent professional engagements include masterclasses at Western Kentucky University and Frostburg State University, as well as presentations on audition preparation and training strategies. She maintains active roles in regional and national flute societies.
Lorris Sevhonkian is a Swiss-Armenian Professor of Music Theory at Kalaidos University of Applied Sciences (Zurich) and a lecturer in Classical Piano . He has held significant roles at the Conservatoire de l'Ouest Vaudois (COV) , including Dean of Piano Classes and Director of the Romand Pedagogical Center of the Swiss Academy of Music and Pedagogy (ASMP) . His career spans concert performances, pedagogical leadership, and interdisciplinary collaborations with cultural institutions. Professor at Kalaidos University of Applied Sciences (Zurich) Dean of Music Education & Solfège at COV Director of Romand Pedagogical Center (ASMP-SSPM) His research and teaching focus on musical analysis , classical piano , and romantic/contemporary composition . He has authored publications on Alban Berg and Ravel's operatic works , with a particular emphasis on technical and expressive piano pedagogy. His concert performances, including Chopin's complete Études and collaborations with Swiss composers, highlight his dedication to both historical and modern repertoire. The CD recordings he has produced—such as Frédéric Chopin: Complete Études and 20th Century Swiss Music —reflect his expertise in 19th–20th century piano literature . Reviews praise his technical mastery , poetic interpretations , and innovative program design . Professional Highlights: President of the Vaud Music Teachers' Association (AVEM-SSP) Expert for Bachelor/Master exams at Frankfurt Conservatory Collaborator with institutions like the Swiss Music Pedagogy Society (SSPM) His interdisciplinary work extends to watercolor exhibitions and radio collaborations , blending visual art with musical expression.
Martin Skamletz is a Lecturer at the Bern University of the Arts , where he has been Head of the Institute of Interpretation since 2007 . He also served as Professor of Music Theory and Performance Practice at the Vorarlberg State Conservatory Feldkirch from 2006 to 2022. His career spans teaching, performance, and research with a focus on Classical Theory , Historical Performance Practice , and Contemporary Music . He has held teaching qualifications at institutions like the Royal Conservatory of Brussels and the University of Music and Performing Arts in Vienna . Education Highlights : M.MUS. in Traverso (Barthold Kuijken, Marc Hantaï, Frank Theuns) at Royal Conservatory of Brussels (1993–1998) Teaching qualification IGP 1 in Flute at University of Music and Performing Arts Vienna (1992–1995) Mag.art. in Music Theory at University of Music and Performing Arts Vienna (1988–1993) Research Focus : Martin Skamletz’s work bridges music theory , historical performance practice , and contemporary composition . His publications and lectures examine 19th-century opera adaptations , brass instrument evolution , and Beethoven’s keyboard innovations . He specializes in transnational musical exchanges and editorial practices in works by composers like Grétry, Cherubini, and Albrechtsberger. His ongoing dissertation investigates Grétry’s operatic arrangements in Vienna (1778–1843). Article Trends : His recent publications analyze French opera in Viennese contexts , brass instrumentation , and keyboard range expansion around 1800. These works reflect his interest in cross-cultural adaptation , instrumental limitations , and editorial interventions in music history. Teaching & Leadership : Skamletz contributes to university didactics and artistic research , particularly in projects funded by the Swiss National Science Foundation (SNSF) and Innosuisse . He has led initiatives on practice-oriented research and third-party funding for music institutions. His teaching includes historical performance practice and music theory at institutions like the Vorarlberg State Conservatory and the Free Music School Basel . Labs & Teams : Skamletz is central to the Institute of Interpretation at the Bern University of the Arts, which explores historically informed performance and instrumental conservation . He collaborates with the Swiss Music Education Association and participates in symposia like the Romantic Brass Symposium .
Michèle Friedman is a Professor at the University of Music and Performing Arts Vienna since 2004. She has also taught at Mozarteum University Salzburg (2000-2003) and the Performing Arts Studios (1994-2008). Her expertise spans vocal performance, composition, and music pedagogy. Education : BM and MM from California State University, Fullerton; further studies at the Music Academy of the West, International Bach Academy Stuttgart, and private vocal training in Vienna. Her research and professional activities focus on classical and contemporary vocal music, operatic performance, and music education. She has served as a jurist and vocal coach for Austrian Broadcasting Corporation (ORF). Professional Engagements : Former soloist with Long Beach Symphony, Los Angeles Chamber Orchestra, and National Association of Composers USA. She recorded Lili Boulanger’s "Clairières dans le ciel" (2004) and collaborated with Disneyland Productions. Teaching Activities : Conducts regular masterclasses at institutions like the Baden-Württemberg State Academy of Music.
Dr. Leah Reid is an Assistant Professor of Composition at the University of Virginia , where she teaches courses in composition and technology. Her work bridges music composition , electroacoustic music , and sound art through explorations of timbre, space, and perception. D.M.A. and M.A. in Music Composition, Stanford University B.Mus, McGill University Reid’s research focuses on the perceptual modeling of timbre and its applications in creating immersive soundscapes. She has developed a multidimensional timbre model to explore relationships between reverberant space and timbre , often using interactive sound installations and electroacoustic techniques . Her recent articles/compositions emphasize spectral density , timbral transformation , and spatial audio design . Reid is a Vice President of the International Alliance for Women in Music (IAWM), Vice President for Programs and Projects for the Society of Electroacoustic Music in the United States (SEAMUS), and Artistic Director of the Boston New Music Initiative (BNMI). She has received commissions from ensembles including Accordant Commons , Jack Quartet , and Yarn/Wire , with presentations at international festivals such as ICMC , ManiFeste , and Tilde New Music Festival . 2022 Guggenheim Fellowship American Prize in Composition Pauline Oliveros Award (IAWM) Fellowships from MacDowell, Yaddo, and Copland House Her collaborative projects and educational outreach highlight her engagement with emerging composers and technology-driven music . Reid’s works are published by Ablaze Records, New Focus Recordings, and BabelScores, reflecting her influence in contemporary acousmatic and electroacoustic circles.
Johanna Ethnersson Pontara serves as Associate Professor and Senior Lecturer in the Department of Culture and Aesthetics at Stockholm University, where she maintains an active research presence in the Portal 1700 research group. Her academic journey includes a Ph.D. completed in 2003 followed by a postdoctoral scholarship (2007-2008) at Il Dipartimento di Musica e Spettacolo, Alma Mater Studiorum Università di Bologna. Her scholarly work centers on the intricate relationship between opera and film, with particular emphasis on intermediality, narratology, cultural studies, and performance theory. Her research spans multiple historical periods including early modern opera, 18th century opera, and contemporary opera post-1960, while also exploring Baroque musical aesthetics and film music. She currently leads the significant research project 'Classical music for a mediatized world: visual and audio-visual representations of Western art music in contemporary media and society,' which examines how classical music is represented across modern media platforms. Analysis of her recent publications reveals consistent thematic threads examining how opera functions within cinematic contexts, representations of opera singers in visual media, and the evolving relationship between classical music performance and contemporary visual culture. Her work often bridges historical and contemporary perspectives, demonstrating how traditional operatic forms interact with modern media technologies and audience expectations. Dr. Ethnersson Pontara has established herself as a significant contributor to interdisciplinary scholarship at the intersection of musicology, film studies, and performance theory, with numerous publications in respected journals and edited collections that demonstrate both theoretical sophistication and detailed analysis of specific works.
Allison Wente is an Associate Professor of Music and Chair of the Department of Music at Elon University, where she coordinates the Theory Area and teaches courses ranging from foundational music theory to senior seminars. Her research bridges musicology, labor studies, and technology history. PhD in Music Theory from The University of Texas at Austin Former Assistant Professor at SUNY Fredonia (2016–2018) Dr. Wente’s research focuses on mechanical instruments and early recording technologies, particularly the player piano’s impact on musical labor and culture. Her book The Player Piano and Musical Labor: The Ghost in the Machine (2022) examines how automation reshaped musical economies and aesthetics. Recent publications analyze Taylorized labor in music, mechanical memory in media, and pedagogical innovations like the Search-Solve-Sing aural skills model. She has presented at leading conferences including the Society for Music Theory and Society for Ethnomusicology. Faculty Research and Development Hultquist Stipend (2019) New Faculty Summer Research Funding (2019) Dr. Wente mentors students and contributes to university governance through roles like Elon Core Curriculum Council Chair and University Lyceum Committee Chair. Her personal interests include reality TV, puzzles, and baking.
Eric C. Lindholm is the Harry S. and Madge Rice Thatcher Professor of Music and Conductor of the Pomona College Orchestra at Pomona College. A distinguished composer and conductor, he has led orchestras and operas internationally, including performances in Switzerland, Germany, Brazil, and the United States. Artist Diploma, Yale University Master of Music, Boston University Bachelor of Arts, Princeton University Lindholm's research focuses on conducting techniques, composition, and cello performance. His work spans classical symphonies (Mahler, Shostakovich), operatic adaptations (Mozart, Weill), and experimental chamber music. His compositions from 2007–2011 demonstrate expertise in vocal-instrumental fusion, solo viola arrangements, and avant-garde orchestration. Key themes include Shakespearean adaptation, lyrical abstraction, and instrumental interplay. Dmitris Mitropoulos International Composition Competition Finalist (2007) Tanglewood Music Center Conducting Fellow (1994) Besançon International Conducting Competition Semifinalist Prize (1993) Phi Beta Kappa (1989) Lindholm's career blends performance and creation, with notable collaborations including the Festival Strings Lucerne and the Bulgarian National Radio Symphony. He teaches courses in conducting, orchestration, and Western music history.
Professor Dr. Hab. Alicja Gronau-Osińska is a distinguished composer, music theorist, and educator at the Faculty of Composition and Music Theory, Department of Music Theory at the Fryderyk Chopin University of Music in Warsaw. With a postdoctoral degree in composition, she has been teaching counterpoint since 1985 and has established herself as a leading figure in contemporary Polish music. Her research interests span composition, music theory, counterpoint, musical analysis, and the interdisciplinary connections between music and visual arts. She has published extensively on topics including form integration in symphonic works, the pedagogy of creativity, silence in music, and the relationship between national identity and universal values in musical composition. Her scholarly output demonstrates a deep engagement with both theoretical frameworks and practical compositional techniques. Professor Gronau-Osińska's compositional work reveals consistent thematic concerns across her publications and creative output, particularly in exploring the boundaries between structure and freedom, silence and sound, and the integration of visual and musical elements. Her scholarly interests often mirror her compositional preoccupations, creating a cohesive intellectual and artistic profile that bridges theory and practice. Multiple composition awards from 1987-2023 Recipient of the 'Fryderyk' Phonographic Industry Award (2012) Medal 'Zasłużony Kulturze Gloria Artis' (2011) Multiple Rector's Awards from UMFC Grand Prix from UMFC Rector for artistic and pedagogical achievements (2018) As an educator, Professor Gronau-Osińska has significantly contributed to music pedagogy through her extensive publications and teaching. Her work on Marian Borkowski's pedagogical activity and her analysis of the Experimental Rhythmics Workshop demonstrate her commitment to advancing music education methodologies. She has also served as a juror for numerous national and international composition competitions, including chairing the Tadeusz Baird Composers Competition (2020) and the Warsaw Wind Ensemble Composition Contest (2020). Her creative output includes 14 orchestral works, 29 chamber works, 17 solo works, 8 vocal works, 8 vocal-instrumental works, 12 multimedia works, and 1 opera. Her compositions have been performed internationally, with notable recognition for her chamber opera 'I co wy na to?' which represented Poland at the Eighth International Music Theater Workshop in Munich (2004).
Ted Hearne is a composer, singer, and bandleader who serves on the composition faculty at the University of Southern California. Praised by The New York Times for his 'tough edge and wildness of spirit,' and 'topical, politically sharp-edged works,' Hearne creates music inspired by the overlay of different viewpoints and their sonic possibilities. His compositions are personal, multi-dimensional works that often explore unconventional interactions of text and music, rooted in a sense of inquiry. Hearne's research interests center on politically engaged contemporary composition that blends multiple genres including jazz, pop, soul, gospel, electronica, and contemporary classical. His work frequently addresses social justice issues, American political history, and the intersection of text and music. Pitchfork called Hearne's work 'some of the most expressive socially engaged music in recent memory -- from any genre,' and Alex Ross wrote in The New Yorker that Hearne's music 'holds up as a complex mirror image of an information-saturated, mass-surveillance world, and remains staggering in its impact.' Hearne's major works include 'Sound From the Bench' (2018 Pulitzer Prize finalist), 'Place' (2021 Pulitzer Prize finalist and Grammy-nominated), and his upcoming recording 'Farming' with The Crossing. His compositions often take the form of multimedia theatrical pieces, operas, and choral works that examine themes of gentrification, corporate personhood, and American history. 2018 Pulitzer Prize finalist (for 'Sound From the Bench') 2021 Pulitzer Prize finalist (for 'Place') 2021 Grammy Award nominee (two categories for 'Place') 2014 New Voices Residency from Boosey and Hawkes Hearne's advising and collaborative work spans numerous institutions and artists. He has been commissioned by the San Francisco Symphony, Los Angeles Philharmonic, Royal Ballet and Opera, and New World Symphony. His collaborators include Erykah Badu, Pam Tanowitz, Taylor Mac, Damon Davis, and Daniel Fish, while his works have been conducted by Michael Tilson Thomas, John Adams, and Gustavo Dudamel. Currently, Hearne is working on a new operatic adaptation of Ursula K. Le Guin's 'The Dispossessed' scheduled to premiere in 2027. Hearne leads Unsettlement Music, a fluid ensemble of instrumentalists, vocalists, electronic musicians, and improvisers that tours with him and performs many of his large-scale works. This ensemble allows him to realize his complex, genre-blending compositions that require performers comfortable with both written and improvised elements across multiple musical traditions.
