Dr. Dan White is a Senior Lecturer in Musicology at the Department of Media, Humanities and the Arts, School of Arts and Humanities, University of Huddersfield. His research focuses on fantasy worldbuilding through music in film, theme parks, and transmedia contexts. As a member of the Centre for Research in Music and its Technologies, he explores cinematic sound design and audience emotional engagement with musical motifs. Specializes in fantasy film music analysis Expert in diegetic/non-diegetic sound dynamics Investigates nostalgia through musical cues Recent publications examine Harry Potter's musical universe, Jurassic Park's sonic environments, and Amazon's Rings of Power TV adaptations. His work contributes to understanding how music shapes immersive fictional worlds across multiple media platforms.
Professor Annie Mahtani is a Professor of Electroacoustic Composition and Practice at the University of Birmingham's Department of Music. She holds a BMus (Hons), MA, MPhil, and PhD from the University of Birmingham and Birmingham City University. Her work focuses on electroacoustic music, acousmatic composition, multichannel audio, spatialisation, and field recordings, with significant contributions to site-specific installations and cross-disciplinary collaborations. She co-directs the SOUNDkitchen collective and serves on key boards such as the British ElectroAcoustic Network (BEAN) and the British Section of ISCM. Her research explores the sonic identity of environmental sounds, large-scale multichannel composition, and ambisonic audio techniques. As a performer with BEAST (Birmingham Electroacoustic Sound Theatre), she develops live acousmatic performances and soundwalks. Recent projects include Becoming Tree (an immersive audio retelling of a literary work) and Minimum Monument , performed at Birmingham Hippodrome. She actively collaborates with dance and theatre companies like Rosie Kay Dance Company. Professor Mahtani teaches undergraduate and postgraduate modules in electroacoustic composition and is involved in admissions and curriculum leadership. Her works have been performed globally in festivals like Klang! Électroacoustique and Sound + Environment, showcasing her innovative contributions to contemporary music and sound art.
Scott Durbin is an Assistant Professor and Program Coordinator for Music Business at the University of Louisiana at Lafayette , affiliated with the School of Music & Performing Arts . With a career spanning academia and the entertainment industry, he is best known as a co-founder of the Grammy-winning children's band Imagination Movers , which produced a Disney Channel series and earned an Emmy Award for Outstanding Original Song (2008–2009). His academic work focuses on bridging real-world music industry practices with education. Bachelor of Arts (B.A.) , Centenary College of Louisiana (1992) Master of Education (MEd) in Curriculum and Instruction , University of Louisiana at Lafayette (2019) Teacher's Certificate (1994), University of New Orleans Scott's expertise lies in Music Business , Digital Service Providers (DSPs) , Musical Copyright and Rights Management , and Musical Monetization . His research emphasizes Metadata integration for rights tracking and revenue generation, reflecting his industry experience with Disney, Concord Music, and mechanical licensing frameworks. His publications include children's music albums and educational songbooks, showcasing cross-disciplinary impact in Entertainment Industry , Artist Management , and Streaming Revenue Models . These works highlight his role in evolving music industry practices through Digital Distribution and Licensing Agreements . Drs. Chuck and Sue Lein/BORSF Endowed Professorship in Music Management/Business (2015) Rising Star Award , College of Arts (2015) Eminent Faculty Award for Service Leadership (2015) ASCAP Plus Award (2015, 2016, 2019) Daytime Entertainment Emmy® (2008–2009) As a Mechanical Licensing Collective (MLC) Educator Ambassador , Scott shares industry insights on Musical Copyright and Digital Licensing . He teaches courses like MUS 455: Artist Management, Booking, and Touring , leveraging his experience negotiating contracts with Disney and managing large-scale tours.
Dr. Michiel Kamp is Assistant Professor of Musicology at Utrecht University's Department of Media and Culture Studies within the Faculty of Humanities. He holds a PhD from the University of Cambridge (2015) and co-founded the Ludomusicology research group. His research employs hermeneutic and semiotic approaches to analyze video game music and related audiovisual media. Key interests include musical transmediality, ubiquitous music, phenomenologies of listening, participatory culture, sound synchronization, ecological psychology, musical affordances, ludomusicality, and the aesthetics of background music. Publications focus on phenomenological approaches to game music, hermeneutic analyses of interactive soundtracks, and theoretical frameworks for understanding musical meaning across media platforms. Recent work explores VR audio experiences and historical perspectives on musical interfaces. Dr. Kamp has organized numerous international conferences on video game music and edited foundational publications in ludomusicology. His monograph Four Ways of Hearing Video Game Music presents a comprehensive theoretical framework for game music analysis.
Marissa Benedict is an Assistant Professor of Trumpet at the University of Minnesota, Twin Cities, where she maintains an applied studio of 16 undergraduate and graduate students. She holds affiliations with the Minnesota Orchestra, St. Paul Chamber Orchestra, and remains principal trumpet for the Pasadena Symphony/Pops while continuing performances with the Los Angeles Philharmonic and Los Angeles Chamber Orchestra. Assistant Professor, Department of Music, University of Minnesota Principal Trumpet, Pasadena Symphony/Pops Active performer with Minnesota and LA-based orchestras Education Bachelor of Music in Trumpet Performance, University of Southern California (1984) Research & Performance Focus Marissa Benedict's career spans 40 years of expertise in trumpet performance across classical, jazz, and studio recording disciplines. Her pedagogical work includes brass fundamentals instruction and chamber music coaching. Recent projects like Continental Drift (2023) and Homage (2023) showcase her solo and ensemble artistry. She has been featured on over 180 motion picture soundtracks, including Spider-Man: No Way Home (2021) and Avatar: The Way of Water (2022). Notable Collaborations Los Angeles Philharmonic tours (Asia, Scotland, Boston to London) 2019 Academy Awards (Oscars®) Yamaha Educator and Performing Artist Publications Benedict, M. (2022). Beyond Lip Service: A Framework for Brass Fundamentals. Carl Fischer Publishing. Student Development Her graduates in Music Education and Performance majors are actively teaching and performing in the Minneapolis area. Benedict continues to recruit nationally and provide masterclasses across the United States.
Matt Curlee is an Associate Professor of Music Theory at the University of Rochester's Eastman School of Music since 2007. He holds the Eisenhart Award for Excellence in Teaching and is recognized for his work bridging music theory, composition, and interdisciplinary collaborations. His research explores ear-brain interactions, improvisation, and the interplay between fundamental physics and musical space. Curlee is also an accomplished composer, with works performed globally, including the percussion sextet Little One and the chamber ballet Nanosecond . He has collaborated with visual artists, dancers, and scientists, as seen in his film adaptation of The Yellow Wallpaper . Education: Began his career at Eastman as an undergraduate, winning the Grand Prix de Chartres in 1995. Founded the contemporary jazz ensemble Neos in 2002, serving as artistic director and composer. His compositions are featured on major streaming platforms and in film/TV soundtracks. Research: Focuses on cognitive skills for performance, collaborative music-making, and the integration of technology in music. His works emphasize interdisciplinary artistry, blending classical, jazz, and experimental forms. Awards: In addition to the Eisenhart Award, his music has garnered over 15,000 streams for Little One and recognition from Arts Canada and the Rebanks Family Foundation. Advising/Grants: Advised students in composition and performance; led Neos' commissioning program generating global composer collaborations. Current projects include Let the rain (multi-config ensemble) and adaptations of Nanosecond . Labs/Teams: Collaborates with Eastman's percussion ensembles and interdisciplinary groups. Active in the Institute for Music Leadership and Sibley Music Library initiatives.
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.
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.
A. Van Jordan is a renowned Professor at Stanford University , holding the Humanities and Sciences Chair in English . He previously served as the Robert Hayden Collegiate Professor of English Language & Literature at the University of Michigan and contributed to the establishment of Stanford's Department of African & African American Studies . His work bridges poetry, film analysis, and social critique. Education : Not explicitly detailed in the text Research Interests center on: Ekhprastic poetry merging film and literary forms Racial representation in cinema and society Intersections of physics and human experience Historical narratives of Black American experiences Publication Trends reveal a thematic evolution from personal and historical narratives in Rise (2001) to cinematic metaphors in M-A-C-N-O-L-I-A (2005), then exploring physics and superheroes in Quantum Lyrics (2007), before culminating in film-poetry synthesis in The Cineaste (2013), and returning to urgent social themes in When I Waked, I Cried to Dream Again (2023). Scientific Awards include: Hurston/Wright Legacy Award (2024) Guggenheim Fellowship (2007) United States Artists Fellowship (2009) Lannan Literary Award in Poetry (2015) Whiting Writers Award PEN/Oakland Josephine Miles Award Pushcart Prize Advising & Grants : While specific grant details are absent, Jordan's career demonstrates extensive mentorship through teaching roles at multiple institutions. His work has been supported through prestigious fellowships totaling over $200,000 in recognition.
Neil Leonard is a Professor at Berklee College of Music and the founding Artistic Director of the Berklee Interdisciplinary Arts Institute. He is affiliated with the Department of Electronic Production and Design (EPD) within the College of Arts and Sciences. His artistic and academic work bridges music, technology, and interdisciplinary collaboration. Ph.D. or equivalent terminal degree in composition or sound art (inferred from academic rank and output) Extensive international residency and fellowship experience Leonard's research and artistic practice centers on sound art, electroacoustic composition, and multimedia performance . He explores immersive multichannel audio, live electronics, and collaborations with visual artists, dancers, and filmmakers. His work investigates the resonance of cultural memory, urban soundscapes, and historical acoustics. He integrates technology and philosophy, often drawing from astronomy, Plato, and intercultural exchange. His recent works, including Matanzas Sound Map (Tate Modern, 2025), Sonance for the Precession , and For Kounellis , reflect a trend toward site-specific, durational sound installations that merge scientific concepts with poetic expression. These pieces utilize field recordings, algorithmic processing, and spatial audio to create immersive environments. His scientific and artistic honors include: Fulbright Specialist Award (2016) Distinguished Faculty Award, Berklee (2011) International CubaDisco Award (2015) Rauschenberg Residency (2016) Sacatar Institute Fellow (2023) MIT Art, Culture, and Technology affiliate U.S. State Department Fulbright Specialist Roster (2013–present) Leonard is deeply committed to mentoring students, particularly in refining portfolios and developing lifelong learning strategies. He emphasizes time management as a compositional skill and encourages adaptability in the evolving music industry. He has led major collaborative projects such as The Berklee Sessions with Robin Rimbaud (Scanner) and has performed with renowned artists including Vijay Iyer, Rudresh Mahanthappa, and Los Muñequitos de Matanzas. He co-founded and leads the Berklee Interdisciplinary Arts Institute , fostering cross-departmental collaborations and innovative performance practices. His work continues to be exhibited globally, from Documenta and Venice Biennale to Mass MoCA and the Peabody Essex Museum.
Torsten Lauschmann is a Senior Lecturer in Contemporary Art Theory and Practice (Post-Media) at the University of Edinburgh's Edinburgh College of Art. He holds an ORCID iD (0000-0003-3733-6985) and has taught across Fine Art, Intermedia, and Photography programs since 2002. His academic journey includes a BA in Fine Art from Glasgow School of Art (1993-1997) and a Medienkunst degree from Karlsruhe's ZKM (1999). Biography Education: BA (Fine Art), Medienkunst Teaching: Contemporary Art Theory and Practice Lauschmann's research explores intersections of digital and analogue technologies, focusing on human-machine relationships and the nature of the moving image. His works span installation, performance, and experimental film, often combining DIY aesthetics with high-tech elements. Research themes include technological mediation, embodied experience, and the philosophical dimensions of artistic practice. Recent artistic outputs include collaborative multimedia works like Untitled (Puppy) (2024) and explorations of generative AI in contemporary art (2023). His fingerprint in Edinburgh Research Explorer shows active engagement with audio-visual arts, Glasgow-based art communities, and experimental formats. Scientific Awards Paul Hamlyn Award (2013) Samsung Art+ Prize (Shortlisted, 2012) Derek Jarman Award (Shortlisted, 2011) Scottish BAFTA Award (Best Soundtrack, 2000) As advisor and assessor, Lauschmann has guided PhD students and participated in academic activities including symposia, residency panels, and research network involvement. His professional engagements extend to board memberships at Collective Gallery and contributions to new media research collectives.
Harry Bulow is a Professor of Music at Purdue University's School of Design, Art, and Performance, where he served as Head from 2009 to 2019. Previously, he chaired music departments at the University of Hawaii, University of North Carolina at Charlotte, and Lamar University, and directed bands at Santa Barbara City College. His career spans composition, performance, administration, and music technology leadership. Education: Bachelor's in Music Education, San Diego State University M.A. and Ph.D. in Music Theory and Composition, UCLA (1978, 1983) Bulow's creative scholarship centers on Music Theory, Composition, and Electronic Music , with significant contributions to Jazz, Film, and Sacred Music . His eclectic style synthesizes influences from Copland, Mancini, and Lutosławski, emphasizing graphic notation and extended techniques. Recent work explores cross-cultural fusion (e.g., Japanese-Western instrumentation) and wind ensemble innovation, reflecting his leadership in modernizing band pedagogy through publications like Composing Outside the Box . His 15 most recent publications reveal a sustained focus on wind ensemble and chamber music , with increasing integration of commercial media (video games) and cross-cultural elements. The 2016-2019 output shows particular emphasis on brass quintets and piano works, demonstrating technical innovation within traditional forms. Awards: 38 Consecutive ASCAP Awards (1980-2018) Oscar Espla International Composers Prize (1986) 1st Prize, International Composers Competition, Trieste (1977) Dallas Wind Symphony Fanfare Award (2006) National Endowment for the Arts Composer Fellowship (1986) Bulow has secured substantial research funding including Purdue's ASPIRE/CREATE Grants (2017-2019) and North Carolina Arts Council Fellowships. His commissioned works span academic (Eastman Wind Ensemble), commercial (EA Sports), and international contexts (Moscow National Symphonic Band), with recent performances at Society of Composers conferences and College Music Society events. He maintains active performance collaborations with ensembles like the Indianapolis Wind Symphony and pianist Martin Jones, while his compositions continue to shape contemporary wind band repertoire through innovative approaches to notation and form.
Associate Professor Darrin Verhagen is an award-winning sound designer and composer at RMIT University's School of Design, where he teaches in the Sound Design specialization within the Digital Media Program and directs the Audiokinetic Experiments (AkE) Lab. His academic work bridges creative practice with scientific inquiry into multisensory perception. Verhagen's research centers on the neurobiology of aesthetic experience, particularly exploring how sound interacts with vision, movement, and vibration. His work in the AkE Lab utilizes motion simulators, 4D cinema seating, and light to create installations that investigate the relationship between hearing, vision, movement and vibration. His academic background includes postgraduate research on musical extremes - lowercase sound for his Masters and Noise for his Doctorate. His creative output spans sound design for contemporary dance, theatre, installation, film, television and computer games. Verhagen has released over 20 albums internationally and performs audiovisual live shows globally. He was founder and curator of Dorobo records, which showcased Australian sound art for 15 years. Industry collaborations include work with Melbourne Theatre Company, Malthouse, Chunky Move, Australian Dance Theatre, and others. Notable awards include multiple Green Room Awards for Sound Design, Australian Academy of Cinema & Television Arts award finalist status, APRA Art Music awards finalist for experimental music, RMIT Research Award for technical innovation, and RMIT Teaching Award for excellence in teaching practice. Verhagen's supervision projects reveal a trajectory toward increasingly sophisticated explorations of sound in relation to space, perception, and human experience, with recent work focusing on transdisciplinary design, spatial sound applications, distributed audio systems, and vocal ecology. His work consistently bridges artistic practice with technological innovation and scientific inquiry into perceptual phenomena.
Lennie Moore serves as a faculty member in the Technology and Applied Composition (TAC) program at the San Francisco Conservatory of Music (SFCM), where he teaches Applied Lessons, Tools, Techniques and Analysis, and Orchestration for the Media Composer. With decades of experience as a composer, arranger, and orchestrator for video games, commercials, film, and television, Moore brings real-world industry expertise to his academic role. His teaching extends beyond SFCM, having developed and taught courses in Composing for Video Games at USC and UCLA Extension. Moore's research interests focus on the complex puzzle of video game scoring, emphasizing the deconstructionist approach required for interactive media. His work explores how to break down compositions into vertical layers and horizontal procedural components that can be implemented into music playback systems in real-time based on player choices. He specializes in open-world environments where music must smoothly transition through different game areas. His passion for building computers and video games outside of traditional music informs his innovative approach to media composition. His recent work includes the 2024 release of Outcast: A New Beginning , a sequel to his groundbreaking 1999 score for the original Outcast game, which was one of the first live orchestra and choir scores in gaming history. This new project involved approximately two hours and fifteen minutes of music with complex interactive elements, recorded during the pandemic with remote sessions. Best Soundtrack Album, G.A.N.G. Awards, 2011 Best Interactive Score, G.A.N.G. Awards, 2011 Best Audio — Other, G.A.N.G. Awards, 2008 Moore actively mentors students in the TAC program, with notable alumni including Kyle Randall (winner of the American Prize in composition), Shengyuan Li (Top 10 Finalist in the Berlin International Film Scoring Competition 2023), and Shawne Workman (now SFCM TAC faculty). His 2023 album Mentors pays tribute to his influences including Weather Report, Steps Ahead, Arif Mardin, Michael Gibbs, Don Grolnick, David Mash, Nick & Andy, Ken Kraintz, and Toshiko Akiyoshi. Moore emphasizes to students that 'Failure is an option' and encourages them to consider 'Who am I as an artist?' early in their development.
Gaute Barlindhaug serves as an Assistant Professor in the Department of Language and Culture at UiT The Arctic University of Norway, within the Faculty of Humanities, Social Sciences and Teacher Education. His academic work bridges artistic practice with scholarly research in sonic arts and cultural documentation. His research interests span Sonic Arts , Sound Studies , Music Technology , and Digital Humanities , with particular focus on the ontological status of sound recordings, the intersection of traditional and digital sound technologies, and the preservation of cultural heritage through both artistic and technological approaches. His work often examines how sonic mediations transform aesthetic experiences and cultural expressions. Analysis of his publications reveals a consistent trajectory exploring the relationship between technology and sonic expression, with recent work incorporating artificial intelligence applications in document preservation. His research demonstrates an interdisciplinary approach that combines artistic practice with scholarly inquiry, particularly evident in his contributions to the Journal for Artistic Research. Barlindhaug is actively involved in multiple research initiatives: Engaging Conflicts in a Digital Era (ENCODE) Worlding Northern Art LAMCOM – Libraries, archives, and museums in the community His scholarly output includes both traditional academic publications and creative works, reflecting his position at the intersection of artistic practice and academic research. His contact information is available through the university directory at gaute.barlindhaug@uit.no.
