Prof. Imke David is a Professor at Bauhaus University Weimar specializing in viola da gamba performance and music education. She actively participates in the Children's University Weimar initiative, delivering engaging lectures to inspire young audiences about musical instruments and sound. Her professional focus encompasses: Historical performance practices of Renaissance and Baroque music Expressive techniques of viola da gamba as a storytelling instrument Woodworking and craftsmanship in historical instrument construction Music pedagogy for children and beginners Beginning her musical journey at age five, Prof. David developed expertise across all five sizes of viola da gamba, from treble to bass instruments. She emphasizes the instrument's emotional range—from "loud and exciting" passages to "calm and quiet" moments—and incorporates humor and surprise in performances. Her dedication to instrument craftsmanship led her to carve decorative elements like lion's heads for violas da gamba during her student years. As an educator, she focuses on transmitting technical skills while nurturing creative expression, believing music education should captivate children's natural curiosity. Her outreach through the Children's University aims to motivate future generations to learn musical instruments through accessible, joyful experiences.
Michael Wartofsky is a Professor in the Songwriting Department at Berklee College of Music, where he established an undergraduate minor in musical theater writing (2015) and cofounded the annual Curtain Up student songwriting contest. His creative work includes the 2019 album All the Possibilities: Broadway Sings Wartofsky , featuring 12 Broadway artists performing his original songs, such as Kate Baldwin, Darius de Haas, and Alysha Umphress. Recent projects include the upcoming musical LATE (2022), addressing school shootings. New York University (MFA, 1997) New England Conservatory of Music (MM, 1994) Harvard University (BA, 1991) His research and practice focus on musical theater writing , songwriting pedagogy , and lyrical storytelling , blending emotional depth with humor and social critique. The 2019 album showcases themes of loss , relationships , and humanity across diverse styles from cabaret to 1970s adult contemporary . Wartofsky’s accolades include the Distinguished Faculty Award (2018) and finalist status in the Davenport Musical Theater Songwriting Contest (2014) . His compositions have been performed at the New York Musical Theatre Festival and North Shore Music Theatre , with collaborations spanning Broadway, Boston, and international stages.
Sam Nichols is Professor of Teaching and Chair of the Department of Music at the University of California, Davis, where he has taught composition, music theory, and electronic music since 2002. He holds a PhD from Brandeis University (2006) and an AB from Vassar College (1994). As an active composer, he has received commissions from prominent organizations including the Fromm Music Foundation and the Left Coast Chamber Ensemble. His research and creative work centers on contemporary composition, electronic music, and interdisciplinary sonic art. He explores innovative notations, hybrid acoustic-electronic performance, and the intersection of music with narrative and spatial experience. His work often engages with extended instrumental techniques and textual sources, as seen in pieces like things that had no opposites . His recent compositions demonstrate a strong focus on chamber and solo works with electronics, including Hinterland , Imaginary Units , and ghost walk echo/drone song switch . These pieces reflect ongoing interests in timbral exploration, real-time processing, and collaborative performance. His orchestral work This Is Not a Toy for a Child premiered in 2024 with the UC Davis Symphony Orchestra. Fromm Foundation Commission (2014–2015) Honorable Mention, Lydian String Quartet Commission Contest (2012) Sam Nichols is deeply involved in academic and artistic leadership. He directs the Empyrean Ensemble, co-organizes the UC Davis Sound Lab with Bob Ostertag, and curates the Taproot New Music Festival. He advises graduate composers and regularly collaborates with students on new works. He has no listed grants, but his commissioned projects indicate sustained external support for his creative research. He leads the Empyrean Ensemble, a professional new music group in residence at UC Davis, and co-founded the UC Davis Sound Lab, a hub for electronic music and sonic art. These initiatives foster collaboration between faculty and students in experimental music practices.
Charles Block serves as a Lecturer in Classical String Bass at Carleton College's Department of Music, holding this position since 2023. He teaches undergraduate courses across all academic terms through Spring 2026. Block earned his Master of Music (MMus) from Indiana University, forming the foundation of his performance expertise. His academic focus centers on Classical Music pedagogy, specializing in String Bass Performance techniques and Music Education methodologies. He emphasizes juried performance training and recital preparation within the classical tradition. Current teaching responsibilities include MUSC 158/158J (Classical String Bass), MUSC 258/258J (advanced levels), and MUSL 358 Recital courses across Fall 2024 through Spring 2026 terms.
Prof. Jörg Birkenkötter, born May 19, 1963 in Dortmund, is a Professor of Composition at the University of the Arts Bremen since 2011, where he also serves as Dean of the School of Music since May 2018. Prior to his current position, he held teaching assignments at Musikhochschule Dortmund (1990-2002) and substitute professorship at Hochschule für Musik und Darstellende Kunst Frankfurt (2002-2003). His international career includes prestigious residencies at Villa Massimo in Rome (1994/95) and Villa Concordia in Bamberg (2001), along with teaching engagements in Seoul, Zwolle, and Johannesburg. 1982-1989: Studied composition with Nicolaus A. Huber and piano with Detlef Kraus and Catherine Vickers at Folkwanghochschule Essen 1990-1994: Advanced studies in composition with Helmut Lachenmann at Musikhochschule Stuttgart Birkenkötter's research and creative work centers on contemporary classical composition with a focus on innovative notation techniques, textural exploration, and cross-cultural synthesis. His compositions span orchestral works, chamber music, vocal pieces, and electronic music, characterized by structural complexity and extended instrumental techniques. His work demonstrates particular interest in the relationship between musical form and expressive content, often engaging with literary sources and interdisciplinary approaches. His recent compositions show a trend toward increasingly complex textural layering and microtonal exploration, while maintaining strong formal coherence. There's a notable evolution in his work from large-scale orchestral compositions in the 1990s toward more intimate chamber works in recent years, with particular emphasis on percussion and string instruments. His 2020/21 work incorporating Korean traditional instruments represents a significant cross-cultural development in his oeuvre. Beethovenpreis Bonn Gaudeamuspreis Amsterdam Busoni-Preis der Akademie der Künste Berlin Schneider-Schott-Musikpreis As a dedicated educator, Birkenkötter has mentored numerous award-winning composers including Jonas Otte (2021 Studienstiftung des deutschen Volkes), Jinwook Jung (2021 Residència de Composició Musical Rodamúsic), and the Younghi Pagh-Paan Prize winners Seungwon Yang and Seungwan Baek (2017). His composition class at the University of the Arts Bremen has consistently produced successful alumni featured in major contemporary music festivals like the Wittener Tage für neue Kammermusik. His teaching approach integrates rigorous technical training with creative exploration, particularly evident in his courses on new music analysis and instrumentation. Birkenkötter maintains strong connections with leading contemporary music ensembles including Ensemble Modern, with whom he collaborated on the "into-Project" in Johannesburg. His compositions are regularly performed at major international festivals across Europe, Asia, and the Americas, reflecting his global impact on contemporary music practice.
Jacob Warren is an Adjunct Assistant Professor at Bowling Green State University's College of Musical Arts, specializing in double bass performance and composition. He holds degrees from the University of Michigan (BM, 2017; MM in Improvisation, 2018; MM in Chamber Music, 2019) and has been recognized with the 2023 International Society of Bassists Soloist Competition First Prize. His work spans classical, bluegrass, jazz, and original compositions, performed with ensembles like Warren & Flick, Westbound Situation, and Grammy-nominated Kittel & Co. Research interests focus on genre-blending acoustic music, extended instrumental techniques, and pedagogical innovation. He maintains an active private studio and has presented at institutions including Curtis Institute and Indiana University. Notable collaborations include residencies in Ohio schools and performances at venues like Royal Albert Hall and Kennedy Center. Recent works include the Cormorant album (2025), exploring experimental acoustic textures, and Waxwing (2022), featuring genre-defying compositions. His educational programs emphasize creativity through workshops on improvisation, ensemble dynamics, and historical style adaptation.
Adam Bogdan Bogacki is a Professor at the Chair of String Instruments at the Fryderyk Chopin University of Music in Warsaw. He specializes in double bass performance and music education, holding positions as a soloist, chamber musician, and educator. His career spans international collaborations with orchestras and ensembles, including Sinfonia Varsovia and the Polish Radio Orchestra. Affiliations: Polish Radio Orchestra, Polish Chamber Philharmonic Gdańsk, Camerata Quartet Education: Fryderyk Chopin State Secondary Music School (Bytom), Fryderyk Chopin Academy of Music (Warsaw) under Professors Tadeusz Pelczar and Andrzej Mysiński. Research interests focus on instrumental mastery and pedagogy, with publications like Kontrabas dzisiaj . He has won major awards including the Fryderyk 98 and merits from the Minister of Culture. His teaching extends to masterclasses in Poland and jury roles in national competitions.
Tom Coult is a Professor of Composition at the Royal Northern College of Music (RNCM). Since 2021, he has served as Composer-in-Association with the BBC Philharmonic Orchestra, producing works performed by leading orchestras worldwide. His opera Violet (2022), co-written with Alice Birch, received critical acclaim and multiple awards, including the International Opera Award and South Bank Sky Arts Award. Coult’s compositions blend playful and seductive elements with rigorous craft, spanning orchestral, chamber, vocal, and operatic works. Education: Bachelor’s/Master’s studies at University of Manchester (with Camden Reeves and Philip Grange) King’s College London (with George Benjamin) Trinity College Cambridge (Visiting Fellow Commoner, 2017–2019) Research Interests: Coult explores transformation of historical musical forms (e.g., Byzantine chants, Baroque lute pieces) into modernist frameworks. His works often involve textural experimentation, collaborative storytelling, and interdisciplinary approaches. Awards: Paul Hamlyn Award for Artists Lili Boulanger Memorial Fund Prize Royal Philharmonic Society Composition Prize International Opera Award (Violet) Grants & Labs: He has been Composer-in-Residence at Aldeburgh Festival, Musikdorf Ernen Festival, and Oxford Lieder Festival. His work is frequently commissioned by institutions like BBC Proms, Lucerne Festival, and Britten Pears Arts.
Enno Senft is a Double Bass professor at the Royal College of Music (RCM), where he teaches and mentors students in double bass performance. He is a founder member and principal double-bass of the Chamber Orchestra of Europe, collaborating with renowned conductors and soloists such as Claudio Abbado, Bernard Haitink, and Oliver Knussen. His career spans performances with prestigious orchestras, including the Berliner Philharmoniker, BBC Symphony Orchestra, and London Symphony Orchestra, and he has been a tutor for the Gustav Mahler Jugendorchester and European Union Youth Orchestra (EUYO). Senft is deeply engaged in contemporary music, notably as principal double-bass of the London Sinfonietta. He has worked closely with composers like George Benjamin, Steve Reich, and Thomas Adès, premiering works such as Michael Jarrel’s Bass Concerto at IRCAM and Dai Fujikura’s Double Bass Concerto. His exploration of extended double bass techniques and scordatura has positioned him as a pioneer in modern double bass performance. He has performed at major international festivals, including the Berliner Festwochen, Venice Biennale, and Sydney Festival, and is set to perform Rebecca Saunders’ "Fury" Concerto with the Hebrides Ensemble. For inquiries, his contact details include strings@rcm.ac.uk and enno.senft@rcm.ac.uk .
James Weeks is Associate Professor of Composition at Durham University's Department of Music. A composer-conductor specializing in new music, he has released multiple portrait albums and written for leading ensembles including London Sinfonietta, Quatuor Bozzini, and EXAUDI (which he co-founded in 2002). His research explores experimental composition techniques including microtonality, modular structures, and vocal innovation. Works often engage with spatial acoustics, Renaissance influences, and text-sound relationships. Notable cycles include the South London Harmonies series and Primo Libro microtonal madrigals. Publications show consistent exploration of instrumental/vocal possibilities, with recent focus on landscape evocation and flexible ensemble formats. Earlier work includes electronic integration and conceptual approaches. He maintains strong performance practice connections through EXAUDI and guest conducting. His pedagogical approach emphasizes experimental practices and amateur engagement through organizations like CoMA (Contemporary Music for All), for whom he edits experimental vocal collections.
Dr. Kathleen A. Horvath is an Associate Professor of String Education and Pedagogy at Case Western Reserve University's Department of Music, College of Arts and Sciences. She also serves as Director of Orchestras and Associate Provost for Academic Affairs. With a PhD in Music Education from The Ohio State University, her expertise spans music education, string pedagogy, and injury prevention through biomechanical techniques. Her educational background includes a Bachelor of Music in Double Bass from the Eastman School of Music, followed by a Master of Arts in Performance and String Pedagogy, and a PhD in Music Education from Ohio State. She has over seven years of K-12 teaching experience across multiple states and has held faculty positions at institutions like the University of Illinois and Eastman School of Music. Research focuses on preventing performance-related injuries via body positioning and pedagogical methods for adolescents. Key works include New Directions for Strings (co-authored) and articles in journals like Music Educators Journal . She frequently presents at national and international conferences, including ASTA and NSOA events. Horvath directs the Case/University Circle Symphony and Case Camerata orchestras, supervises student teachers, and conducts festivals nationwide. As a performer, she plays double bass with orchestras in Cleveland and beyond, blending scholarly and artistic contributions to music education.
Neil Garber is a Continuing Lecturer in the Department of Music at the University of California, Santa Barbara (UCSB), specializing in the Strings Program with a focus on double bass. He also teaches at Santa Barbara City College and California Lutheran College. His professional career includes extensive orchestral performances across Broadway productions (e.g., Sweeney Todd , Phantom of the Opera ), major symphonies (Los Angeles Opera, New York Symphony), and collaborations with renowned dance companies like the Martha Graham Dance Company. Garber holds a Bachelor of Music and Master of Music from The Juilliard School, where he studied under Homer R. Mensch as a recipient of the George C. Schirmer Scholarship. His expertise spans classical performance, chamber music, and freelance work in recordings and film scores. Office hours at UCSB are by appointment in Music Building 1261. While no formal scientific awards are listed, his contributions to music education and performance are central to his career. He maintains active roles in multiple institutions without noted grants or specific advising programs for graduate students.
John Casey serves as a Tutorial Adjunct of Music at Dordt University, contributing expertise in double bass performance and music education within the institution's Christ-centered academic environment. His educational credentials include: Bachelor of Science in Music Education from the University of Minnesota Minneapolis Master of Music in Double Bass Performance from Northwestern University, Evanston, Illinois Professional training was received under distinguished instructors including James Clute at the University of Minnesota, Warren Benfield at Northwestern University, and masterclass artists Stuart Sankey and Eugene Levinson at the Aspen Music Festival. His performance career centers on orchestral double bass, with significant positions across Midwestern ensembles. Current professional engagements feature: Principal Bass with the Northwest Iowa Symphony Orchestra Associate Principal Bass with the Sioux City Symphony Bass section member of the South Dakota Symphony Active membership in the South Dakota String Teachers Association Recent performance highlights include a Faculty Bass Recital at Augustana College in Sioux Falls, South Dakota. No information is available regarding student advising, research grants, or scientific awards.
Tyler Abbott is a Teaching Professor of Double Bass at the University of Oregon's School of Music and Dance. He is actively engaged in both classical and jazz performance, collaborating with ensembles such as the Oregon Symphony, Eugene Symphony, and jazz artists like Tom Grant and Danilo Perez. Abbott has taught at Walla Walla College and Willamette University and maintains a private teaching studio in Eugene, Oregon. Active orchestral and chamber musician Collaborator in jazz festivals and recordings Graduate of University of Oregon (MMus 2003) and Eastern Washington University (BMus 1999) His scholarly focus includes jazz studies, music theory, and performance practices, informed by mentorship under Roma Vayspapir, Jeff Bradetich, and other prominent double bassists.
K.C. Isaman is a Graduate Employee in Music at the University of Oregon 's School of Music and Dance (SOMD), focusing on performance and pedagogy of the Double Bass. She contributes to the academic and artistic community through her teaching and musical expertise. Contact Email: kcisaman@uoregon.edu Research Interests Her work centers on the Double Bass , emphasizing technical mastery, musical interpretation, and instruction methodologies.
