Chris Donahue is an Assistant Professor in the Computer Science Department at Carnegie Mellon University . He also serves as a part-time Research Scientist at Google DeepMind on the Magenta team. His work focuses on leveraging generative AI to enhance human creativity, particularly in music. Education: PhD in Computer Science (UC San Diego), Postdoctoral Scholar (Stanford University) His research spans controllable generative modeling of music and audio , with a focus on real-time interactive systems. Projects like Piano Genie , Beat Sage , and Copilot Arena demonstrate his commitment to real-world deployment. His Generative Creativity Lab (G-CLef) explores AI applications beyond music, including programming and natural language. Recent publications highlight advancements in multimodal music evaluation , real-time adaptation , and AI-driven sound morphing . He co-developed Magenta RealTime , an open-weight real-time music generation model, and MusicFX DJ Mode . Scientific Awards: Best Paper Award (top 1) at NAACL Student Research Workshop 2025 Best Paper Award (top 1% of submissions) at CHI 2025 Best Paper Runner-up at ISMIR 2021 He co-advises PhD students like Wayne Chi (NDSEG Fellow) and mentors Irmak Bukey . His lab receives support from the AIxArts incubator fund at CMU .
Victor Chestopal serves as Professor of Piano and Chairman of the Keyboard Section at the Royal Conservatory of Brussels since 2020, with concurrent professorship at Italy's Accademia Perosi. A globally recognized performer, he has collaborated with orchestras including the Moscow Philharmonic and Helsinki Philharmonic, and performed at venues like Brussels' Palais des Beaux-Arts and Moscow Conservatoire. His educational background includes: Early training at Moscow's Gnessin Music School and Central Music School of the Tchaikovsky Conservatoire Master's degree from Sibelius Academy (2001) Doctor of Music from Sibelius Academy (2010) with thesis "Temporal correlation in the Goldberg Variations" Studies at Imola's Accademia Pianistica (1992-1997) and Weimar's Hochschule für Musik (1995-1997) Chestopal's research integrates performance practice with musicological analysis, focusing on structural interpretation of Baroque and Romantic repertoire. His scholarly work examines temporal relationships in canonical piano works, while his artistic output spans Early Music, Contemporary Theatre, and Jazz Education. As a multilingual poet publishing in Russian, Italian, and French, he bridges musical and literary arts through collections like "Anno" (2014) and "Poeticheskie dnevniki" (2018). His honors include: First Prize at the “Carlo Soliva” International Competition (1990) As an educator since 2007, Chestopal conducts annual masterclasses in Liège and serves on international competition juries. He actively mentors students across European conservatories while leading charity initiatives for organizations including "Save the Children" and "Mary's Meals", often performing benefit concerts for humanitarian causes.
WANG Ye is an Associate Professor in the Department of Computer Science at the School of Computing, National University of Singapore (NUS). He holds a PhD in Information Technology from Tampere University of Technology, Finland, and has been a tenured faculty member at NUS since 2002, following his industry research role at Nokia Research Center. He is the director of the Sound and Music Computing Lab at NUS, leading cutting-edge research in AI-driven music and health technologies. PhD, Information Technology, Tampere University of Technology, Finland (2002) MSc, Telecommunications, Braunschweig University of Technology, Germany (1993) BSc, Telecommunications, South China University of Technology, China (1983) His research is centered on Sound and Music Computing for Human Health and Potential (SMC4HHP) , with a focus on eHealth, eLearning, mobile/wearable computing, and music information retrieval. His work spans AI for stroke rehabilitation, language learning through singing, singing voice synthesis, and automatic music transcription. He has pioneered systems like SLIONS (language learning via karaoke), CocoLyricist (AI co-creation for stroke recovery), and SinTechSVS (expressive singing voice synthesis). The latest articles highlight a strong trend in AI-driven music and health technologies , particularly in controllable lyric generation, singing voice synthesis, automatic pronunciation assessment, and multimodal music transcription. The research increasingly integrates large language models, explainable AI, fairness, and real-world deployment, reflecting a shift from theoretical exploration to practical, human-centered applications in healthcare and education. Dr. Wang has received numerous scientific honors, including: Best Paper Awards at ACM MM, ISMIR, IEEE ISM, and CHI First Prize, Asia Pacific Assistive, Rehabilitative, and Therapeutic Technologies Challenge (2015) Faculty Teaching Excellence Award, NUS School of Computing (2024) Top Paper Award, ACM Multimedia 2022 AI in Medicine Collaborative Grant for CocoLyricist project He has supervised over 11 PhD and 20 MComp students and is currently guiding six PhD candidates. His grants come from MOE, NRF, A*STAR, Nokia, and Smule. He has served as General Chair of ISMIR2017 and TPC Co-Chair of ICOT2017, and is on the editorial boards of IEEE Transactions on Multimedia and Journal of New Music Research. He has also developed and taught the first course on Sound and Music Computing in Singapore. Dr. Wang leads the Sound and Music Computing Lab (SMC Lab) , a multidisciplinary team exploring the synergy of music computing, AI, mobile technology, and cloud systems for health and education. The lab actively collaborates with medical institutions such as NUS Yong Loo Lin School of Medicine, Singapore General Hospital, and Harvard Medical School, and is currently working on projects in AI-supported language learning, stroke rehabilitation, and intelligent music interfaces.
Xavier Serra is a Full Professor at the Department of Engineering at Universitat Pompeu Fabra (UPF), Barcelona. He is the founder and director of the Music Technology Group (MTG), and leads the UPF-BMAT Chair on AI and Music. He also coordinates the Master in Sound and Music Computing and serves as President of the Phonos Foundation. His research focuses on audio signal processing, sound and music computing, and computational musicology, emphasizing open science and open innovation. Education: BSc in Biology, University of Barcelona (1981) Master in Music, Florida State University (1983) PhD in Computer Music, Stanford University (1989) Research Interests: Audio Signal Processing Data-Driven and Knowledge-Driven Methodologies Music Information Retrieval Cultural Music Analysis (e.g., Carnatic/Turkish/Andalusian Music) Music Education Technology Notable Projects: CompMusic (ERC Advanced Grant, 2010-2017): Multicultural computational music analysis Open datasets: Freesound, Saraga, FSD50K Technologies: Reactable, Vocaloid, Essentia API Recent Trends in Articles: Focus on AI-driven audio processing (neural fingerprints, generative models), cross-cultural music analysis, and explainable music difficulty estimation. Awards: ERC Advanced Grant (2010) for CompMusic Project. Labs/Teams: Director of MTG, Phonos Foundation, and UPF-BMAT Chair. Active in open-source projects and international collaborations.
Margus Pärtlas is Professor of Music Theory and Vice Rector for Academic Affairs and Research at the Estonian Academy of Music and Theatre (EAMT). He earned his Doctorate from the St. Petersburg Conservatory in 1992 with a dissertation on Eduard Tubin's symphonies. His career includes positions as Associate Professor (1993-2003), Senior Teacher (1987-1993), and Fulbright Visiting Scholar at the University of North Texas (1999-2000). Pärtlas's research focuses on music analysis methodologies , specializing in the works of Eduard Tubin and Richard Strauss. Key areas include symphonic form, tonal transformation in Romantic music, semiotic analysis of choral works, and cultural identity in exile compositions. His publications consistently explore structural innovation in 19th-20th century European music. His recent articles reflect a thematic emphasis on Estonian musical heritage , institutional development of music academies, and analytical studies of concerti/symphonies. A significant trend involves examining how composers negotiate cultural identity through structural elements. Awards & Honors: Fulbright Visiting Scholar Grant (1999) Best Music Article Award from 'Teater. Muusika. Kino' (1992) Academic Leadership: Chaired accreditation committees internationally (Latvia, Lithuania, Russia, Armenia), serves on editorial boards of Res Musica and Eduard Tubin's Complete Works, and organized major conferences including 'Eduard Tubin 100'. Doctoral Supervision: Guided 4 PhD students in music analysis and interpretation, focusing on topics like Tubin's piano sonatas, Estonian song traditions, and analytical approaches to contemporary performance.
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.
Dr Kevin Hunt is a Lecturer in Piano (Jazz) at the Sydney Conservatorium of Music, University of Sydney. He holds a Doctor of Philosophy (2016) and a Master of Music in Jazz Performance (2004) from the same institution. His academic roles include supervising six research projects (2017) across Honours, Masters, and PhD levels. Education: MMus(Perf) Sydney (2004), PhD in Jazz Studies (2016). Professional training includes studies with Don Burrows, Bill Motzing, and a scholarship in NYC (2001). Research focuses on jazz piano performance, intercultural collaborations with Aboriginal Torres Strait Islander musicians, and the sonic qualities of Australian-made Stuart & Sons pianos. Key projects include the OUR MUSIC workshop-festivals (2012-2016) and the Ancient & New CD project blending ancient Indigenous chants with jazz improvisation. Performance highlights include the ABC FM Listeners Choice Award-winning JS Bach Trio (1998), recordings with Don Burrows and Simon Tedeschi, and collaborations in cabaret theatre such as Prince Bettliegend (2017). Active in education since 2005, he currently leads the Kevin Hunt Trio and performs with Emma Pask and Marie Wilson. Awards include the 2016 PhD and 1998 ABC award. His work bridges jazz innovation with cultural heritage preservation, evidenced by intercultural projects and academic publications on Yiddish theatre and Indigenous music collaboration.
Enrique Sánchez Lansch is a Professor of Media Dramaturgy at the Institute for Music and Media at Robert Schumann University of Düsseldorf, appointed in 2018. Born in Gijón, northern Spain, and raised in Cologne, he has established himself as a prominent documentary filmmaker with a strong focus on music-related subjects. His educational background includes studies in music with a focus on singing, Romance languages, philosophy, and German studies. He completed his master's thesis on adaptation of literature into music films. After gaining professional experience in fictional series production, he pursued further studies in film and screenwriting at Columbia University and UCLA. Sánchez Lansch's research and creative interests center on the intersection of music and visual media. His work explores how musical experiences can be effectively translated to film, examining the relationship between sound and image. He has particular expertise in documenting musical institutions, historical contexts of music, and the educational aspects of musical performance. His approach combines rigorous historical research with innovative visual storytelling techniques that respect the integrity of musical performance while creating compelling cinematic narratives. His filmography reveals a consistent focus on music documentaries that bridge cultural and historical contexts. Early works focused on major musical institutions and figures, while more recent projects have expanded to examine the relationship between music and broader social, political, and cultural phenomena. His films consistently demonstrate a sophisticated understanding of both musical content and cinematic storytelling. His notable awards include: German Film Award German Documentary Film Award Bavarian Film Award German Critics' Award German Kinogilde Award Franz Hofer Prize Best Documentary Film at Los Angeles Latino International Film Festival Best Documentary Film at SEMINCI Festival de Valladolid Diapason d'Or Emmy nomination for "A Celebration for Gershwin" Sánchez Lansch has served as a mentor to young filmmakers, notably curating and presenting music short films by young talents for the Beethovenfest Bonn from 2006 to 2013. His professional activities extend beyond filmmaking to include teaching at institutions such as the dffb (German Film and Television Academy Berlin) and his current professorship at Robert Schumann University. He is an active member of both the German Film Academy and the European Film Academy, contributing to the broader film community through these organizations. As Professor of Media Dramaturgy, Sánchez Lansch contributes to the academic framework of the Institute for Music and Media, bringing his extensive professional experience to bear on the education of future media creators. His work bridges the gap between academic study and professional practice in the field of music-related visual media.
Professor Caroline Rae at Cardiff University is a leading scholar in 20th-century French music , with a focus on composers like Debussy, Messiaen, Jolivet, and Boulez. She also specializes in the musical writings of Alejo Carpentier and Franco-Latin American cultural interactions . Her research combines archival studies, performance practice, and pianism. Education : DPhil (Oxford), MA (Oxon), Dipl. Mus (Hanover), ARCM Her research projects include monographs on André Jolivet and Debussy’s Préludes , supported by the British Academy and AHRC . Recent publications span books on Carpentier, Debussy, and Stravinsky’s reception in France. As Co-Director of CFMR , she has organized international symposia with institutions like the Institut Français and Paul Sacher Foundation . Scientific awards include the Chevalier de l'Ordre des Arts et des Lettres (2018), Cardiff University Research Fellowship (2018-2019), and a French Government Scholarship (1982-1983). She has served on juries for the BBC Young Musician Competition and Wales International Piano Competition . As a pianist , she studied under Dame Fanny Waterman , Yvonne Loriod-Messiaen , and Karl-Heinz Kämmerling , and performs lecture-recitals linking her research. She has advised orchestras like the Philharmonia Orchestra and BBC National Orchestra of Wales on festival programming.
Jonathan Nangle is a Lecturer in Music Technology and Electro-Acoustic Composition at the Royal Irish Academy of Music. His work spans acoustic/electro-acoustic composition, live electronics, installations, and improvisation. Educated at Trinity College Dublin under Donnacha Dennehy, Rob Canning, and later privately with Kevin Volans, his music has been performed by ensembles like RTÉ National Symphony Orchestra and Crash Ensemble. Research interests include spatial music, interactive installations, and hybrid acoustic/digital forms. Notable works include Pause (Ergodos, 2017), Iridescent Cobalt Glow (2015), and our headlights blew softly... which earned a 2009 Rostrum commendation. Awards include dual Irish Rostrum representations (2009/2011) and the 2007 AIC/Music 21 Prize. Recordings span solo piano works to ensemble commissions, often integrating innovative electronic elements. His work has been broadcast internationally and choreographed for stage/film. Current roles include academic teaching and ongoing creative exploration at the intersection of technology and traditional composition.
Samuel W.K. Wong is an Associate Professor in the Department of Statistics and Actuarial Science at the University of Waterloo. He holds a Ph.D. in Statistics from Harvard University (2013) under Prof. Samuel Kou. His research focuses on statistical methodology for complex data science challenges in protein structure modeling, dynamic systems inference, and reliability engineering of wood-based products. He has held academic positions at the University of Florida (2013–2018) and has been at Waterloo since 2018. His research interests include Bayesian computation, statistical inference for dynamic systems, and spatial-temporal data analysis. Notable contributions include the development of manifold-constrained Gaussian processes (MAGI package) and sequential Monte Carlo methods for protein folding studies. He has advised over 15 graduate students and researchers, many of whom are now in academic or industry roles worldwide. Wong has received teaching distinctions at Harvard and holds awards including the Nash Medal (2008) for academic excellence. His work bridges computational statistics with applications in bioinformatics, structural engineering, and environmental science. He has published extensively in top-tier journals like Journal of Computational and Graphical Statistics and Biometrics , and collaborates with wood scientists to improve real-time lumber quality assessment using laser imaging data. His teaching portfolio includes courses on probability theory, statistical inference, and spatial data analysis at both undergraduate and graduate levels. Beyond academia, he maintains an active passion for classical piano performance, having performed recitals combining music with his statistical research interests.
Professor Sławomir Kaczorowski, Ph.D., has been a faculty member at the Grażyna and Kiejstut Bacewicz Academy of Music in Łódź since 1981, where he teaches composition and served as Head of the Department of Composition from 2011 to 2021. He previously held significant leadership roles including Vice-Rector for Artistic and Teaching Affairs (1999-2005) and Vice-Dean of the Faculty of Composition, Music Theory, Music Education and Rhythmics (1996-1999). His educational background includes diplomas in music theory (1981) and composition under Professor Bronisław Kazimierz Przybylski (1981) from the State Higher School of Music in Łódź. Awarded the title of professor by the President of Poland in 2002, he remains an active academic leader currently serving as chairman of the Art Section of the Polish Accreditation Commission. Kaczorowski specializes in contemporary composition with emphasis on instrumental works, chamber music, and choral compositions. His research interests manifest in diverse output featuring piano, accordion, and mixed ensembles, with notable focus on tango-inspired forms and liturgical reinterpretations. He pioneered the MUSICA MODERNA sessions promoting new music through biannual concerts and lectures. Analysis of his 15 most recent compositions reveals consistent exploration of Polish contemporary classical traditions with strong emphasis on instrumental timbre, cross-genre fusion (particularly tango elements), and innovative approaches to sacred music forms. His works demonstrate technical mastery across diverse ensembles from solo piano to full orchestral settings. Silver Medal for Merit to Culture – Gloria Artis (2021) Numerous national composition competition awards Jury membership at international competitions including the T. Baird Young Composers' Competition (Warsaw 2018) and National Association of Composers USA competitions (2017-2018) Professor Kaczorowski has mentored award-winning composers including Grzegorz Duchnowski and Tomasz Szczepanik. His institutional leadership includes directing the Grażyna Bacewicz International Composition Competition (2012, 2015, 2019) and serving as president of the Łódź Branch of the Polish Composers' Union until 2022. He maintains active artistic engagement through premieres across Europe, China, and the United States. His creative work is organized through departmental initiatives including the Department of Composition's performance series and collaboration with the Artur Rubinstein Łódź Philharmonic. Current activities focus on expanding Polish contemporary music's international presence through competitions and cross-border artistic exchanges.
Paul Richards is a Research Foundation Professor of Music and head of the composition and theory area at the University of Florida since 1999. He previously served as Visiting Professor at Florida State University (2016) and taught at Baylor University and the University of Texas at Austin. His academic roles include teaching courses in composition, music theory, and orchestration, along with supervising graduate students. He earned a DMA in Composition from the University of Texas at Austin and degrees from the University of Arizona. Education: Doctor of Musical Arts (DMA), Composition, University of Texas at Austin, 1998 Master of Music (MM), Theory and Composition, University of Arizona, 1993 Bachelor of Music (BM), Theory and Composition, University of Arizona, 1991 Research Interests: Richards’ work spans orchestral, vocal, chamber, and theatrical compositions, including operas and wind ensemble pieces. His style blends eclectic influences—from Jewish sacred music to modernist techniques—resulting in works praised for their "strong melodic gift" and innovative orchestration. Commissions have come from prestigious organizations like the Florida Orchestra, Boston Brass, and White Snake Projects. Awards and Recognition: Recipient of numerous international composition prizes, including the St. Mary’s College/Kaplan Foundation Commission Competition and Second Prize in the International Horn Society Composition Competition University of Florida Research Foundation Professorship (2017–2020, 2010–2013) Finalist in the National Opera Association’s Dominic Argento Chamber Opera Competition (2023) Advising and Grants: Richards has advised over 40 graduate students and chaired multiple PhD committees. His grants include support from the University of Florida and the Research Foundation. He has also served as a mentor in composer-in-residence programs, including the Jacksonville Symphony Orchestra’s Fresh Ink Competition. Labs and Collaborations: He co-founded the Florida Contemporary Music Festival (2013–2018), fostering collaboration between composers and performers. His work integrates interdisciplinary projects, such as music for dance and film, and he actively collaborates with choreographers and theater artists.
Christopher Castro serves as an Assistant Professor of Composition at Chapman University's College of Performing Arts. A composer and double bassist from Brooklyn, New York, he combines academic rigor with avant-garde experimentation. Ph.D. in Composition and Theory from University of California, Davis Bachelor of Music from Juilliard School (Double Bass & Composition) His research bridges Western Art Music traditions with contemporary innovations , creating works that merge: Johannes Ockeghem's polyphonic complexity John Coltrane's spiritual intensity Modernist structural experimentation Historical reconstruction techniques Jazz-classical hybrid forms Interdisciplinary performance formats Recent compositions demonstrate trends in flexible instrumentation , text-music relationships , and genre synthesis . His output spans chamber works, orchestral pieces, and vocal compositions with equal mastery. Scientific recognition includes: 2023 Fromm Music Foundation Commission (Harvard University) Chamber Music America's 2021 Classical Commissioning Award As a new music advocate , Castro collaborates with ensembles like: Left Coast Chamber Ensemble (artistic advisory board) New Mexico Contemporary Ensemble Los Angeles Philharmonic's Upbeat Live series Lyris Quartet and Sharon Harms
Professor Stephen Broad is a musicologist and educator serving as Director of Research and Knowledge Exchange at the Royal Conservatoire of Scotland. He holds a DPhil from the University of Oxford and has extensive experience in historical musicology, music education, and policy development. His research focuses on Olivier Messiaen, 1930s French music culture, and music practice in Scotland. Broad has authored/co-authored influential reports like What’s Going On? , which informed the Scottish Youth Music Initiative, and chairs the European Platform for Artistic Research in Music (EPARM). Education: DPhil in Historical Musicology, University of Oxford (2001) MA in Music and Physics, University of Glasgow (1997) Research Interests: Historical Musicology: Messiaen’s early career, French musical traditions, and music historiography Music Education: Pedagogy in diverse contexts, policy development, and workforce training Practice-Based Research: Philosophical frameworks and interdisciplinary methodologies Awards & Roles: External Examiner at Royal Academy of Music, Royal College of Music, and others Editorial boards for Music Education Research and Practice-Based Research Journal Recipient of grants including the Scottish Government’s £1m Musical Instrument Fund Advising & Grants: Supervised over 10 doctoral projects in musicology, performance, and education Contributed to policy initiatives like Creative Scotland’s music development programs Labs/Teams: Leads the Sciences, Humanities and Arts Research Exchange (SHARE) and chairs EPARM, fostering international collaboration in artistic research.
