Jean During is a distinguished Research Director affiliated with Lesc-UMR 7186 at MSH Mondes (Maison des Sciences de l'Homme Mondes) in Nanterre, France. His career spans decades of immersive fieldwork, notably 17 years in Iran and Uzbekistan, where he studied under master musicians and documented vanishing traditions. As an ethnomusicologist, he bridges academic scholarship and cultural preservation, producing over 60 CDs of Central Asian music. His research explores: Sufi musical rituals (samā') and their metaphysical foundations Shamanic healing practices in Baluchistan and Tajikistan Modal systems (Radif, Maqam) across Persian, Azeri, and Uyghur traditions Aesthetic evolution and cultural identity in post-Soviet Central Asia Cross-cultural dialogues between musical spirituality and Islamic philosophy Publications reveal a focus on: Ecstatic states induced by ritual soundscapes Timbre as cultural epistemology Historical transmission of repertoires Impacts of modernization on oral traditions His recent books (2023-2019) continue interrogating tradition through Sufi mysticism, Persian classical music, and intercultural aesthetics. Jean During maintains active scholarly engagement through international conferences, CD productions preserving endangered traditions (e.g., Baluchi epic, Uzbek spiritual chants), and collaborations with institutions like the Mahoor Institute in Tehran. Contact: jeanduring@yahoo.com.
Gurminder Bhogal serves as the Catherine Mills Davis Professor of Music at Wellesley College, where she teaches across the music curriculum with expertise in historical, theoretical, and analytical domains. Her dual scholarly focus bridges Western art music traditions and South Asian religious practices, creating a distinctive interdisciplinary profile within contemporary musicology. B.M. from Royal College of Music M.M. from King's College London Ph.D. from University of Chicago Professor Bhogal's research operates at two interconnected poles: early twentieth-century French music and Sikh devotional traditions. Her French music scholarship examines ornamental practices, aesthetic connections between music and visual arts, and colonial/postcolonial dimensions in composers like Debussy, Ravel, and Satie. Simultaneously , her groundbreaking work on Sikh Kirtan explores gender dynamics, sound theology, and instrument history within South Asian religious contexts. This dual focus reveals her methodological commitment to examining music through intersecting lenses of aesthetics, colonialism, and religious expression. Her publication trajectory demonstrates sustained engagement with both research streams, with recent works analyzing the harmonium's journey from Christian missions to Sikh practice (2022) and connections between halos in Sikh art and sonic vibration (2023), alongside ongoing contributions to French music studies. This dual trajectory positions her at the intersection of Western art music scholarship and decolonial ethnomusicology. Pauline Alderman Award for Outstanding Scholarship on Women in Music (2017) for 'Listening to Female Voices in Sikh Kirtan' As an educator, Bhogal teaches core music history courses including 'The Symphony in the World' and 'Opera: Its History, Music, and Drama,' alongside innovative electives like 'Nothingness in Music, Poetry, and Art' and 'Sacred Sounds of South Asia.' Her editorial leadership includes serving as Review Editor for the Journal of the American Musicological Society (2019-2022) and current series editor for the American Musicological Society's Studies in Music Series, demonstrating significant influence in shaping scholarly discourse. Several of her courses have received funding from the Mellon Foundation, indicating institutional recognition of her innovative pedagogical approaches.
Assoc. Prof. Rositsa Becheva, PhD is a faculty member at Nov Bulgarian University's Faculty of Music, Department of Music, specializing in electronic and computer music. With a PhD in Musicology and Music Art (2004), she has been instrumental in developing electronic music education in Bulgaria since 2000. Her educational background includes: Bachelor's in Piano (1983, Plovdiv Music School); Master's in Music Theory (1990, State Music Academy 'Prof. Pancho Vladigerov'); Postgraduate Qualification in Music Pedagogy (1997, Academy for Musical and Dance Arts-Plovdiv); and PhD (2004, NBU). Becheva's research focuses on digital arts, sound design, computer music, synthesizer methodology, and music technology integration in pedagogy. She pioneered Bulgaria's first synthesizer teaching methodology and developed innovative courses including 'Electronic Music Interpretation' and 'E-sound – live electronic, sound design and music production'. Her publication portfolio spans monographs like 'In the World of Simo Lazarov's Electronic Music' (2018) to technical papers on sound production, noise emancipation, and multimedia integration. Her work demonstrates consistent exploration of electronic sound organization, timbre concepts, and performance practices. Crystal Lyre Award 2016 (Sound and Sound Design) Book of the Year 2018 Special Award New Bulgarian Music 2019 Award for Musicology Becheva actively mentors students through projects like the 'E-SOUND AND VISION' concert series and the 'Electronic Music Interpretation' seminar. She co-founded NBU's 'Stanislav Stanchiev-Stanley' Research and Practice Center for Computer Music and Sound Design, organizing annual events including the 'Universe of Computer Music' festival since 2000. Her creative work integrates electronic music with visual arts through multimedia projects and interdisciplinary happenings.
David M. Gordon is a composer and music theorist serving as a Music Theory and World Music Instructor at Northern Illinois University's School of Music within the College of Visual and Performing Arts. He holds a Ph.D. in music composition with a secondary concentration in music theory from the University of Chicago, along with B.M. and M.M. degrees in composition from Northern Illinois University. His research and creative work centers on the amalgamation of Western and non-Western musical languages, exploration of new acoustic timbres, microtonal tuning systems, and complex rhythmic structures. Gordon's theoretical specializations include historical, non-Western, and experimental tuning systems; theories of metric organization; analysis of world music; and form in popular music. Gordon's 2020 album 'Mysteria Fidei' represents a significant creative output, featuring three sacred chamber works that explore themes of searching amidst life's difficulties. The album includes 'Fader, stilla våra andar,' 'Consolation New' (featuring two microtonally-tuned pianos), and 'Mysteria Incarnationis' (a song cycle setting ancient Syriac texts). His compositional output demonstrates a consistent exploration of microtonal systems and cross-cultural musical synthesis. Collaborated with Eighth Blackbird, Pacifica Quartet, South Dakota Symphony Orchestra Performed at Tanglewood Festival, Ojai Music Festival, Singapore International Festival of Arts Featured at Chicago's Symphony Center and Philadelphia's Kimmel Center Work described as 'strong, disturbing music' (Los Angeles Times) Recognized for 'gritty, grinding passion and raw ritualism' (American Record Guide) Gordon maintains an active presence in both composition and music theory instruction, with his work bridging academic scholarship and creative practice. His teaching at NIU focuses on music theory and world music, drawing directly from his research interests in tuning systems and cross-cultural musical analysis. While not leading a formal research laboratory, his creative output functions as a significant contribution to contemporary music scholarship through performance and recording.
Ulrike Sowodniok is a Lecturer at the Career College of the University of the Arts Berlin (UdK Berlin) and collaborates with HZT (University Center for Dance). She has been teaching her innovative format Applied Anthropology of the Voice since 2011, bridging academic research with artistic practice. Her work spans voice studies, sound anthropology, and the relationship between voice and movement. Her educational background includes studies in medicine , philosophy , Lichtenberger® applied physiology of the voice , Slavic Belcanto , contemporary interpretation , and sound studies . In 2008, she completed a Master's degree in anthropology of sound. Sowodniok's research focuses on voice as a scientific and artistic phenomenon, examining how vocal sound functions as an analog storage of embodied experience. She investigates the intersection of voice physiology, somatic practices, and cultural contexts, developing methodologies for understanding voice as both physical phenomenon and cultural expression. Her work challenges traditional boundaries between scientific and artistic approaches to voice. Her scholarly output demonstrates a consistent trajectory from vocal physiology toward a comprehensive anthropology of voice, with increasing attention to interdisciplinary connections between voice, movement, and meaning construction. Her publications reveal strong connections between practical voice work and theoretical frameworks from anthropology, sound studies, and performance theory. Active collaboration with Sound Studies scholars like Holger Schulze Membership in DTKV and GEDOK artistic associations Extensive artistic network including composers, dancers, and sound artists Sowodniok teaches in her own Berlin studio and at UdK Berlin, focusing on practical applications of voice anthropology. She founded the a cappella vocal quintet Ensemble Medulla for post-somatic and feminist performance, creating works that explore voice in relation to urban environments and bodily experience. Her artistic research includes soundwalks, vocal improvisation in public spaces, and interdisciplinary collaborations that investigate the voice's relationship to movement and meaning.
Andrew Schmidt serves as an Assistant Professor of Music at Oglethorpe University, teaching vocal music education, choral conducting, and musical theater. His academic journey began in rural Illinois, where he excelled as an oboist and pianist before focusing on vocal studies. His educational background includes: Ph.D. in Teaching and Learning, Music Education, Georgia State University M.Mus. in Choral Conducting, University of Washington B.M.E. in Music Education Secondary Choral Emphasis, Northwestern University Prof. Schmidt's research explores multivocality —the embodied intersection of techniques and meanings enabling vocalization across genres. This framework aims to reimagine vocal music education by embracing diverse vocal timbres and cultural practices. His work bridges vocal pedagogy, choral conducting, and scientific inquiry, emphasizing that all voices are beautiful . His recent publications (2022-2025) reveal a trend toward interdisciplinary research, integrating cultural studies, vocal science, and pedagogical theory. Key topics include non-Western vocal techniques, the historical debate on choral vibrato, and empirical validation of vocal teaching methods. His academic honors include: Brain and Behaviors Fellow, Georgia State University (2021-2024) Graduate Assistantship, Georgia State University (2021-2024) Redner Memorial Teaching Award, University of Washington (2009) Foreign Language Area Studies Award (Estonian), Washington State University (2008) U.S. Student Fulbright Award (Estonian), Northwestern University (2005) While specific details on student advising and research grants are not provided, Prof. Schmidt has presented his work at international conferences including the Estill World Voice Symposium and the Max Planck Institute for Empirical Aesthetics.
Dr. Tomira Rogala serves as a university professor at the Fryderyk Chopin University of Music in Warsaw, where she has held academic positions since 1980 within the Department of Sound Engineering. She additionally teaches in the Music Engineering program at Fryderyk Nowowiejski Academy of Music in Bydgoszcz since 2007. Her academic background includes: Graduation from the Department of Sound Engineering at Fryderyk Chopin Academy of Music in Warsaw (now Fryderyk Chopin University of Music) with specialization in music directing Professional internships at German record company MDG (Detmold) and Westdeutsche Rundfunk in Cologne Doctoral dissertation defense in 2009 titled "The Power of Musical Pitch" through the Faculty of Composition, Conducting, and Theory of Music Professor Rogala's research centers on Sound Engineering , Musical Acoustics , and Psychoacoustics , with particular emphasis on: Physical-acoustic relationships in musical instrument sound quality assessment Perceptual mechanisms linking sound characteristics to pitch and timbre impressions Auditory skill development for professional musical sound evaluation Her scholarly work directly informs her specialized teaching of "Timbre Solfege" across both institutions. From 1997-2005, she collaborated extensively with the University's IT Center team on technical projects. No information regarding graduate student advisement or research grant acquisition appears in available records.
Gabriel Paiuk (born 1975) is a composer, sound artist, and researcher currently serving as a Lecturer in Sonology: Composition and Music Theory at the Institute of Sonology, part of the Royal Conservatoire in The Hague, which is affiliated with Leiden University's Academy of Creative and Performing Arts. His work explores the intersection of sound art, composition, and theoretical research, focusing on how material, technical, and collective infrastructures shape our perception of sound. His educational background includes: Bachelor's degree in Music from the Center for Advanced Studies in Contemporary Music in Buenos Aires Master's degree in Sonology (with distinction) from the Institute of Sonology, Royal Conservatoire in The Hague PhD from Leiden University (2023) for his dissertation "Mutable Audible - An Operative Ontology of the Sound Image" Gabriel Paiuk's research primarily investigates the conditions of sound experience within media-saturated environments. His work spans theoretical exploration of aural imagination, sound mediation, and the philosophical dimensions of listening. Through his concept of "operative ontology of the sound image," he examines how technological production of sound shapes our perceptual engagement with the audible world. His research integrates perspectives from Simondon's philosophy, sound studies, and artistic practice to develop new frameworks for understanding contemporary sonic experience. His approach emphasizes the affective and tactile dimensions of sound, moving beyond traditional musical frameworks to consider sound as a fundamental component of our everyday perceptual environment. Paiuk's scholarly contributions reveal a consistent focus on the relationship between sound technology and perception. His work traces an evolution from early explorations of sound installation and composition toward increasingly sophisticated theoretical frameworks that address how listening is conditioned by technological and social infrastructures. A recurring theme is the examination of "audibility" as a dynamic concept shaped by historical, technological, and cultural factors rather than a fixed perceptual capacity. His artistic works serve as research tools that simultaneously investigate and demonstrate his theoretical concepts, creating what he terms an "operative ontology" where theory and practice inform each other. His most significant recognition is the Gaudeamus Composition Prize (2006), which he received for his sound installation "Res Extensa" - notable as the first sound installation ever to be awarded this prestigious composition prize. This work established his approach of working with everyday electronic sounds and their affective resonance in contemporary listening culture. As an educator, Paiuk supervises PhD candidates through Leiden University's Academy of Creative and Performing Arts and has mentored numerous students in composition and sound art. His research has been supported by foundations including the Schuurman Schimmel - van Outeren Foundation and the Konrad Boehmer Foundation, which enabled the presentation of his doctoral artistic components. He regularly presents his research at international conferences and symposia, contributing to the growing field of sound studies and artistic research. Paiuk is actively involved with the "Transformations of the Audible" research initiative, which explores the changing nature of sound experience in contemporary technological environments. He curates research events and symposia that bring together artists, scholars, and technologists to examine emerging questions in sound studies and artistic practice. His work bridges the gap between artistic creation and theoretical inquiry, demonstrating how creative practice can generate new knowledge about sound and perception.
