Prof. Dr. habil. Katrin Giller leads the Department of Molecular Nutrition Science (140a) at the University of Hohenheim, Garbenstraße 30, Bio Building I, Room 151, Stuttgart. Her research focuses on livestock nutrition, with specific interests in methane mitigation, antioxidant mechanisms, and metabolic syndrome in agricultural animals. Department: Molecular Nutrition Science (140a) Contact: katrin.giller@uni-hohenheim.de Office Hours: By appointment Her work spans nutritional biochemistry , ruminal fermentation , and sustainable livestock systems , often examining interactions between dietary compounds (e.g., spirulina, polyphenols, n-3 fatty acids) and animal physiology. Recent studies investigate antioxidant gene expression , transgenerational metabolic impacts , and feed efficiency . Current advisees include B.Sc. Viola Gauly, Fernando Giugno, Jana Kornherr, Mira Kühn, Daniel Obermüller, and Helen Pötzsch. The department's website details research projects, teaching events, and publications.
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.
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
University of Illinois Urbana-ChampaignUnited States
Makoto Harris Takao is an Assistant Professor of Musicology at the University of Illinois at Urbana-Champaign, with an affiliated appointment in East Asian Languages and Cultures. He holds a joint PhD in History and Musicology from the University of Western Australia and has held postdoctoral positions at the Max Planck Institute for Human Development and the Freie Universität Berlin. His research bridges Japanese religious history, global music historiography, and the history of emotions, focusing on transcultural dynamics in early modern Japan and contemporary East Asia. Education: B.A. (Japanese Studies), B.A. Hons (Asian Studies), and Ph.D. (History and Musicology) from the University of Western Australia. Research interests include Kirishitan (Japanese Christian) transculturation, global baroque music, and the interplay between music and colonial/postcolonial politics. His current book projects explore 16th-century Japanese Christian soundscapes and the Okinawan singer Amuro Namie’s entanglement with postcolonial pop politics. He also performs on the viola da gamba in revival projects of early modern Japanese-Christian music. Awards include the Bruce Mansfield Prize in Religious History and an honorable mention from UIUC’s Humanities Research Institute. He serves on the American Musicological Society’s Education Committee and the editorial board of Early Music . Teaching focuses on global music history, the Baroque era, and Japanese popular music. Courses include Global Baroque: Music, Power, and the ‘European’ Tradition and History of Japanese Popular Music .
Ivan Viola is an Associate Professor at the Institute of Computer Graphics and Algorithms, part of the Faculty of Informatics at TU Wien, Austria. He holds a leave of absence until December 2024 while also being affiliated with King Abdullah University of Science and Technology (KAUST) as an Associate Professor funded by the Vienna Research Groups program. His research focuses on visualization techniques in medicine, biological sciences, and earth sciences, with a specialty in illustrative visualization and DNA-nanotechnology applications. Viola has contributed over 100 scientific works and serves as a reviewer and panelist for major conferences in computer graphics and visualization. Education: M.Sc. (2002) and Ph.D. (2005) in Computer Graphics from TU Wien. Postdoctoral research at the University of Bergen (2006-2011), where he became Full Professor before returning to TU Wien. Research Interests: Whole-cell visualization Molecular modeling Interactive 3D environments Biomedical visualization Data-driven colormap techniques Awards: IEEE VIS 2017 Best Paper Honorable Mention, 'Best Overall Concept' for CellView, and multiple visualization awards. Active in EuroVis and IEEE VIS organizing roles. Grants & Supervision: Leads the Visualization Group at TU Wien, supervising student projects and master’s theses. Involved in grants like the Vienna Research Groups program. Labs/Teams: Visualization Group at TU Wien, collaborating on projects like CellView and Molecumentary.
Mark Podolsky is an Associate Professor in the School of Human Resource Management at York University. He holds a PhD from McMaster University's DeGroote School of Business, an MBA from Wilfrid Laurier University, and a HBMus in Performance from the University of Western Ontario. His research focuses on strategic HRM, HR measurement, situational workplace constraints, and the interplay between organizational strategy and human resource practices. He bridges academic and practitioner perspectives through his financial sector and arts organization management experience. Education: PhD in Human Resource Management and Organizational Behaviour, McMaster University (DeGroote School of Business) MBA (Finance specialization), Wilfrid Laurier University (School of Business and Economics) HBMus in Performance (violin/viola), University of Western Ontario Research emphasizes multilevel organizational analysis, behavioral norms in workplaces, and valid methods to link HR practices to strategic outcomes. His career as a professional classical musician in a Canadian symphony orchestra informs his interdisciplinary approach to organizational dynamics and human capital.
Donald Crockett is a Professor and Chair of the Composition Department at the University of Southern California (USC) Thornton School of Music, and Senior Composer-in-Residence with the Bennington Chamber Music Conference. He has held significant roles in contemporary music composition and conducting, including Assistant Dean for Faculty Affairs at USC. His research and creative work spans orchestral and chamber music, opera, and instrumental compositions. Notable projects include conducting and composing for ensembles like SAKURA, HOCKET, and Xtet, with a focus on ecological themes and interdisciplinary collaboration. Major compositions include Carving an Alphabet (2020) for cello quintet, And the River (2018) for piano duo and chamber orchestra, and Night Scenes (2017) for piano trio, alongside a diverse portfolio of chamber operas and concertos. Arts and Letters Award in Music (2013), American Academy of Arts and Letters Guggenheim Fellowship (2006) Grants: Barlow Endowment, Bogliasco Foundation, Copland Fund, National Endowment for the Arts Active as a conductor, Crockett has premiered over a hundred orchestral works by student composers and collaborated with renowned ensembles like the Los Angeles Chamber Orchestra and Hilliard Ensemble. His music is published by Keiser Classical and recorded on labels including Albany, ECM, and New World Records.
Miguel Chuaqui is a Chilean-American composer and Professor at the University of Utah School of Music, where he serves as Chair of the Composition Area since 2009. Born in 1964 in Berkeley, California, and raised in Santiago, Chile, he holds a PhD in Composition from the University of California at Berkeley, with academic roots in both Mathematics and Music. Education: BA in Mathematics and Music (University of California-Berkeley, 1987), MA in Music (University of California-Berkeley, 1989), PhD in Music (University of California-Berkeley, 1994) Chuaqui's creative practice spans orchestral, chamber, vocal, and electroacoustic works, with performances across the U.S. and internationally by ensembles such as Speculum Musicae, Earplay, and the Society for Electro-Acoustic Music in the United States (SEAMUS). His research emphasizes collaborations in diverse areas, including interactive dance systems with Modern Dance and therapeutic musical applications with the School of Medicine. His compositions reflect an intersection of technology and traditional instruments, often incorporating live electronics and interactive elements. Recent compositions like La Búsqueda (2024), Inseparable (2024), and Encuentro Fugaz (2024) highlight his focus on chamber works and electroacoustic innovation. He has also demonstrated a sustained commitment to solo and ensemble works, integrating Latin American cultural motifs with contemporary techniques. Scientific and Musical Awards Award in Music from the American Academy of Arts and Letters Aaron Copland Recording Grant Eisner Prize Nicola de Lorenzo Award Society for Universal Sacred Music award Induction into the National Association of Composers of Chile President’s Award from SEAMUS (2008) 2024-2025 Big 12 Faculty Fellowship As an educator, Chuaqui has taught courses including Advanced Electronic Music Composition, Senior Composition, and PhD-level Composition at the University of Utah since 2024. He hosted the 2008 SEAMUS National Conference and serves as a NASM Visiting Evaluator, maintaining leadership roles in music education and composition pedagogy.
Dr. John Hails is a Senior Lecturer and Reader in Music at Edinburgh Napier University , where he teaches aesthetics, music psychology, composition, and ethnomusicology. He holds a PhD in Music from Durham University (2008) and has trained under notable composers like Brian Ferneyhough and Richard Barrett. His research focuses on experimental composition, marginal musical practices, and interdisciplinary aesthetics. Educations: Bachelor’s and Master’s training at Durham University and University of Huddersfield PhD by Portfolio of Compositions (Durham University, 2008) Research Interests: John’s work explores unorthodox intonations, fixed media installations, and the intersection of composition with philosophy and ethnomusicology. He actively presents at international conferences on topics like post-structuralist critiques in music education and communal performance practices. Notable Works: His compositions have been performed by ensembles like the London Sinfonietta and broadcast on BBC Radio 3. Key pieces include enlightenment (microtonal trumpet and media) and Nine for ones in nine , reflecting his experimental approach. Awards & Grants: While no explicit awards are listed, his research is funded by Edinburgh Napier University. He is a core member of the Applied Music Research Centre . Supervision & Grants: He has supervised over 15 postgraduate projects, including PhDs on topics like Musical Cultures of Melanesia and Dialogical Music Systems . His supervisory roles span composition, ethnomusicology, and interdisciplinary studies. Labs/Teams: Active in the Applied Music Research Centre , focusing on creative practice and experimental music dissemination.
Dr Emily Brayshaw is an Honorary Research Fellow and Casual Academic at the University of Technology Sydney's Faculty of Design, Architecture and Building. She combines scholarly work in critical costume studies with theatrical costume design and viola performance . Holding a 2016 PhD in Design from UTS and a BA (Hons) from the University of New South Wales, her research spans fashion history, performance costume, and material culture. Current Appointments: Honorary Research Fellow (2019-2026), Casual Academic in Design/Fashion History Research Themes: WWI dress, kitsch aesthetics, sustainability in costume, shoe studies, and body-garment dynamics Her interdisciplinary work connects fashion theory with theatre practice, examining costume's psychological and ethical dimensions. Publications since 2014 explore topics ranging from vaudeville's racialized costumes to contemporary footwear trends . She actively contributes to public discourse through The Conversation and maintains memberships in the Footwear Research Network and Association of Dress Historians . Recent scholarship reveals trends in 20th-century costume methodology , WWI fashion dynamics , and shoe symbolism across media. Articles like 'Dressing for the Viola' (2023) and 'From Caftan King to Peacock Pasha' (2024) demonstrate her focus on gendered performance wear and orientalist fashion . Her 2021 Journal of Aesthetics & Culture translation of Schlemmer's kitsch manuscript bridges historical avant-garde theory with modern practice. As a public intellectual, Emily has completed over 100 media interviews since 2020, covering topics like Crocs' cultural resurgence and vaudeville's legacy . Her teaching encompasses fashion theory, critical thinking, and costume history, while she simultaneously serves as principal viola for the Woollahra Philharmonic Orchestra.
Dr David Milsom is a Senior Lecturer in Music at the University of Huddersfield , specializing in performance practice and historical violin techniques. He coordinates classical performance studies and teaches both performance and musicology. University of Sheffield: BMus (1st Class), MMus, PhD His research focuses on 19th-century violin performing practices , including acoustic recordings analysis and annotated score studies. Recent projects explore Brahms and Franck violin sonatas through historically informed approaches. David leads the Historical Performance Research Group and collaborates on digital performance projects via the MMT YouTube channel. He co-founded the professional Brigantes Orchestra and period instrument group Four's Company . Scientific Awards Edison Fellowship (British Library, 2003) AHRC Fellowship (2006) He serves as external examiner for Royal Birmingham Conservatoire and Leeds Conservatoire, and actively supervises PhD students while integrating research into undergraduate teaching.
Madeline Prager is a faculty member at the San Francisco Conservatory of Music (SFCM) since 2009, specializing in viola instruction and performance. She has extensive experience teaching both collegiate and pre-college students at various conservatories globally. Principal Violist, Stuttgart Philharmonic (1983–1991) Professor of Viola, Karlsruhe Conservatory (Germany) Her research interests and professional practice focus on viola performance and chamber music. Madeline holds a Master of Music from the Northwest Music Conservatory in Detmold, Germany, and a Bachelor of Arts from the University of California, Berkeley. Madeline has collaborated with composers such as Kurt Rohde, Ysang Yun, and Luciano Berio, including premiering notable works like White Boy/Man Invisible and Chemins II . Her teaching emphasizes practice efficiency, as reflected in her quote: “Practice makes permanent.” She has contributed to recordings of Bruch’s Octet and Beethoven’s Septet, Op. 20 , and remains active in virtual summer programs, showcasing her dedication to music education and mentorship.
Ignacy Jan Paderewski Academy of Music in PoznańPoland
Anna Starzec-Makandasis is an Assistant Professor at the I.J. Paderewski Academy of Music in Poznan, Poland, affiliated with the Institute of String Instruments . She teaches piano accompaniment and holds a qualified doctor degree in music art (2019). Her career spans solo and chamber music performance across Poland, Italy, Norway, Germany, Israel, and the USA. Educated at I.J. Paderewski Academy of Music (MA 2005), Oklahoma City University (MM 2010), Southern Methodist University (Artist Certificate 2012), and Stony Brook University (Doctor of Arts 2012) Her research focuses on piano performance, chamber music interpretation, and Polish music. She has released four critically acclaimed CDs, including works by Scarlatti, Lutosławski, and Gawroński, and contributed to the publication Viola: Spectrum of Artistic Imperative (2018). Her performances include collaborations with violinist Anna Maria Staśkiewicz, violist Mariusz Murawski, and orchestras in Oklahoma and Tel Aviv. Recipient of multiple awards: Third Prize in Rome (2003), First Prize at OMTA (2006), Grand Prize Virtuoso in London (2016) Notable achievements: Lecture-recitals on Domenico Scarlatti’s sonatas (2018), performances at Felicia Blumenthal Festival (Tel Aviv), Polish Chamber Music Conference (2020)
Laurie San Martin is a Professor of Music at the University of California, Davis, serving as department chair and undergraduate advisor for music majors with last names N-Z. She holds a PhD in Theory and Composition from Brandeis University and a B.A. in Music from UC Davis (1991). Her primary roles include teaching composition, music theory, and recital preparation, while maintaining active involvement in compositional research and performance activities. Research & Creative Work: San Martin specializes in contemporary concert music for chamber ensembles, orchestra, and chorus. Her compositions explore intersections of texture and line, often incorporating experimental techniques and cross-cultural influences. Notable works include Witches (2018), a chamber-choral piece with lyrics by Lucy Corin; Night Owls (2024), a Barlow Endowment-commissioned work for Ensemble Ari; and Elective Affinities (2013), blending Korean gayageum with string quartet. She frequently collaborates with ensembles like Earplay, Left Coast Chamber Ensemble, and Volti. Performed internationally in Europe, South America, and Asia Recipient of prestigious awards including the Guggenheim Fellowship (2016), Andrew Imbrie Award (2018), and Barlow Endowment commissions Teaching & Mentorship: As an advisor, she supports music majors while mentoring emerging composers through programs like the Pacific Chamber Orchestra's Dream American workshop. Her pedagogical focus includes fostering creativity and technical mastery in composition students. Recent Activities: In 2023, she served as guest faculty at the Cortona Sessions in Italy, where her works Octurnal , Miniatures , and Conveyer Belt Dreaming were performed. Ongoing projects include a 2025 residency at the São Paulo Contemporary Composers Festival and a new work for the Empyrean Ensemble. Awards & Recognition: Her accolades reflect her impact on contemporary music, including the League of Composers-ISCM Fellowship and ASCAP Morton Gould Young Composer Awards. She has held residencies at prestigious institutions like the MacDowell Colony and Yaddo.
Simon Mawhinney is a Professor in the School of Arts, English and Languages at Queen's University Belfast, specializing in composition with a focus on instrumental and electronic media. His work bridges complexist music, post-spectral harmonies, and cultural cantillation influences. Notable collaborations include projects with ensembles in Germany, France, and Iceland. He holds a Queen’s University Teaching Award (2012) and has pioneered modules on Messiaen’s music. His research explores new music performance, computer-assisted composition (using OpenMusic), and experimental technologies. Current roles include PhD supervision in composition, convening MA research methods modules, and undergraduate composition instruction. Key achievements include commissions from Ensemble Caput (Iceland) and Garth Knox/Quatuor Béla, resulting in works such as Marlacoo and a viola d’amore/string quartet piece premiered in Paris (2013). Recent projects involve recordings with pianist Mary Dullea and bass flutist Kolbeinn Bjarnason. His fingerprint research areas include labour studies in composition, technical performance practices, and avant-garde instrumentation. Over 35 compositions span decades, with 2016-2019 works emphasizing electronic integration and algorithmic processes. Awards include the AIC Composition Prize (2001) and Ann Driver Trust Award (2000). Professional service roles include Elected Member of the Academic Council since 2010 and Exams Liason Officer (2009-2011). Teaching: Undergraduate modules on Messiaen, Beethoven's late works, and composition techniques Research: Focus on postwar modernism, new musical technologies, and performance-based creation Public Engagement: Active in festivals, radio interviews, and international recitals
