جستجوی استاد راهنمای دانشگاهی

Peter F. Driessenمشاهده پروفایل

استاد

• Communication
• Signal Processing
• Control Systems
• +۶ مورد دیگر

Professor Peter F. Driessen is a faculty member in the Department of Electrical and Computer Engineering at the University of Victoria, with a cross-appointment in the School of Music. He holds a BSc and PhD from the University of Victoria and is a Professional Engineer (PEng). His research focuses on communication systems, signal processing, control, and interdisciplinary projects in computer music and wireless technologies. Key areas include audio/video signal processing, radio propagation, sound recording, and multimedia systems. He leads the University of Victoria Propagation Laboratory, which explores radio wave propagation and Amateur radio integration with engineering education. His work spans theoretical research and applied projects like ECOSat satellite systems, software-defined radio (SDR), and innovative musical instruments such as the Radio Drum. He supervises undergraduate and graduate projects in these domains through ELEC 499 courses. Notable contributions include the APEGBC Editorial Board Award for Best Paper (2002) and patents in wireless networking and signal processing. His teaching includes courses in signal analysis and electromagnetics, and he collaborates on interdisciplinary programs like the Music/Computer Science degree. Education: BSc in Electrical Engineering, University of Victoria PhD in Electrical Engineering, University of Victoria Research Interests: Audio and video signal processing for music and media Software-defined radio and Amateur radio technologies Satellite communication and ground station development Gesture-based interfaces and musical instrument design Error mitigation in streaming audio/video Optical and microwave-photonic systems Labs & Collaborations: Propagation Laboratory (radio wave research) UVic Experimental Radio Group (Amateur radio club) UVic Satellite Design Team (ECOSat projects) UVic Centre for Aerospace Research Grants & Awards: APEGBC Editorial Board Award (2002) Multiple US patents in wireless systems and signal processing

• Phonetics
• Conversation Analysis
• Prosody
• +۵ مورد دیگر

Mattias Heldner is Professor of Phonetics and Head of Department at the Department of Linguistics, Stockholm University. He also serves as Director of the Phonetics Laboratory where he has developed advanced recording facilities for breathing movements and voice quality dynamics in conversation. Dr. Heldner received his PhD in Phonetics from Umeå University in 2002, completed a postdoc at TeliaSonera Sweden in 2005, became Docent in Speech Communication at KTH Royal Institute of Technology in 2007, and was appointed Professor in Phonetics at Stockholm University in 2011. His research focuses on communicative behavior relevant for turn-taking in conversation and signaling of prosodic functions such as prominence and boundaries. His work spans multiple dimensions of speech communication, including: Respiratory patterns and their role in conversation flow Voice quality dynamics as turn-taking cues Prosodic functions in spontaneous speech Physiological constraints in verbal communication Acoustic properties of child speech development Neural correlates of lexical stress Dr. Heldner's recent publications demonstrate how respiratory signals provide crucial information for predicting speech activity and managing turn-taking. His research combines physiological measurements with acoustic analysis to uncover hidden aspects of conversational organization, particularly the relationship between breathing patterns and speech timing. As an educator, Dr. Heldner has taught phonetics courses for Speech and Language Pathology students at Karolinska Institutet, University of Gothenburg, and Umeå University. He currently supervises one PhD student and has successfully supervised two PhD theses to completion. Dr. Heldner has held several Swedish research grants and served as one of the Technical Program Chairs for Interspeech 2017 in Stockholm. His Phonetics Laboratory has developed innovative systems like RespTrack for measuring respiratory movements during speech with high experimental control.

Bryan Pardoمشاهده پروفایل

استاد

• Machine Learning
• Generative Modeling
• Signal Processing
• +۷ مورد دیگر

Bryan Pardo is a Professor of Computer Science at Northwestern University and head of the Interactive Audio Lab. He co-directs the Northwestern Center for Human Computer Interaction + Design and chairs the Computer Science Diversity Committee. He teaches courses in Deep Learning, Machine Learning, Generative Modeling, and Digital Music Instrument Design. PhD in Computer Science and Engineering, University of Michigan MMus in Jazz and Improvisation, University of Michigan MS in Computer Science, Ohio State University BMus in Jazz Composition, Ohio State University His research focuses on machine understanding and manipulation of sound, particularly in music and speech domains. Key areas include Machine Learning (e.g., automated gradient clipping), Signal Processing (e.g., Multi-scale Common-fate Transform), and Human Computer Interaction. Applications involve inclusive audio interfaces, audio search engines, source separation, natural language-controlled audio effects, privacy-preserving adversarial attacks on voice recognition, and music co-creation tools. Recent publications highlight advancements in neural watermarking (MaskMark), masked acoustic modeling (VampNet), and real-time adversarial privacy systems for speech. His lab's work has been applied in Adobe's AI-powered audio editor and Lexie B2 hearing aids. Scientific Awards: $1.8 million NSF Future of Work award $440K NSF grant for accessible music programming $200K Toyota grant $100K Sony grant TorchCrepe pitch tracker: 20 million+ downloads Bryan Pardo advises PhD student Max Morrison and collaborates with researchers like Patrick O'Reilly, Zeyu Jin, and Prem Seetharaman. His lab develops technologies for blind and visually impaired audio creators, including HaptEQ and Eyes-free tools.

Jonathan Nangleمشاهده پروفایل

مدرس

• Electro-Acoustic Composition
• Live Electronics
• Interactive Sound Installation
• +۳ مورد دیگر

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.

Catherine Lawsمشاهده پروفایل

استاد

• Contemporary Music
• Performance Practices
• Interdisciplinary Art
• +۴ مورد دیگر

Catherine Laws is a Professor of Music at the University of York, affiliated with the School of Arts and Creative Technologies. She holds a dual role as a musicologist and pianist specializing in contemporary music, with particular focus on interdisciplinary performance practices and the relationship between music and language. Her research explores collaboration, embodiment, and subjectivity in performance, alongside studies of Samuel Beckett’s musical intermediality. Laws maintains a Senior Artistic Research Fellowship at the Orpheus Institute in Ghent, leading the 'Performance, Subjectivity, and Experimentation' research cluster. Education: PhD in Music (University of York, 1996), MA and BA in Music (University of York) Her research spans two core areas: 1) performance-based studies examining performer agency, embodiment, and interdisciplinary collaboration through works like the multimedia Player Piano ; and 2) investigations into composers’ responses to literary texts, notably Beckett’s works. Key outputs include co-authored Voices, Bodies, Practices (2019) and edited Performance, Subjectivity, and Experimentation (2020). Her recent projects with filmmaker Minyung Im reimagine piano performances through film, blending sound, visual, and spatial elements. Publications reflect her dual focus: experimental music performance, Beckett studies, and collaborative art practices. Her work often bridges theory and practice, integrating compositional, performative, and audiovisual mediums.

Courtney N. Reedمشاهده پروفایل

مدرس

• Human-Computer Interaction
• Music Technology
• Digital Instrument Design
• +۵ مورد دیگر

Courtney N. Reed is a Lecturer in Digital Technologies at Loughborough University London, where she joined in November 2023. She maintains a dual role as a visiting research fellow at the Max Planck Institute for Informatics. Her academic journey includes a BMus in Electronic Production and Design from Berklee College of Music (2016), followed by an MSc (2018) and PhD (2023) in Computer Science from Queen Mary University of London. Prior to her current position, she completed postdoctoral research at both the Max Planck Institute for Informatics and King's College London. Bachelor of Music: Electronic Production and Design, Berklee College of Music (2016) Master of Science: Computer Science, Queen Mary University of London (2018) Doctor of Philosophy: Computer Science, Queen Mary University of London (2023) Dr. Reed's research explores the entangled relationships between humans, bodies, instruments, and technology in music interaction, with particular focus on vocal electromyography (VoxEMG) and the vocalist-voice relationship. Her work incorporates feminist and post-human theories to examine sociopolitical contexts within arts technology, aiming to design for creativity while acknowledging individual, messy bodies in artistic practice. She has developed an open-source platform for vocal electromyography to investigate how biosignal feedback changes understanding and perception of the body in vocal performance. Her interdisciplinary approach bridges music technology, human-computer interaction, and embodied interaction studies. Analysis of Dr. Reed's recent publications (2023-2025) reveals a strong thematic focus on embodied interaction in music technology, with particular emphasis on vocal performance, biosignal feedback, and the philosophical underpinnings of digital instrument design. Her work consistently integrates theoretical frameworks like Karen Barad's agential realism with practical applications in digital musical instruments. Key trends include the exploration of ambiguity in data representation, the sociocultural dimensions of timbre in instrument design, and the development of novel methodologies for understanding embodied musical experiences through micro-phenomenology and ethnographic approaches. ACM SIGCHI Outstanding Dissertation Award (2024) for her thesis 'Imagining & Sensing: Understanding and Extending the Vocalist-Voice Relationship Through Biosignal Feedback' Best Newcomer Award at Loughborough University London's Community Awards Celebration (2024) Dr. Reed actively contributes to the academic community through conference organization and leadership roles. She serves as Member-at-Large on the NIME Board, previously chaired papers for NIME 2024, and co-organized the IBM SkillsBuild Sprint at Loughborough London. She has also chaired sessions at the ACM TEI Conference and co-chaired the Student Design Competition. Her collaborative work spans multiple institutions and includes significant contributions to interdisciplinary projects that bridge music, technology, and human experience. She has been instrumental in developing the senSInt research group and the RaveNET wearable network project. Dr. Reed leads the senSInt research group which focuses on sensorimotor interaction in music and performance contexts. The group develops innovative technologies including the VoxEMG platform for vocal electromyography, the Bones anti-corset for vocal performance, and the RaveNET network of wearable biosensing nodes. These projects explore the intersection of biosignals, embodied interaction, and musical expression, creating novel frameworks for understanding how technology mediates human creativity and performance. The group frequently collaborates with musicians, technologists, and theorists to develop and test these systems in real-world performance contexts.

Dmitri Tymoczkoمشاهده پروفایل

استاد

• Composition
• Music Theory
• Geometry of Music
• +۵ مورد دیگر

Dmitri Tymoczko is a Professor of Music at Princeton University, where he has taught composition and theory since 2002. His work bridges the gap between academic music theory and contemporary composition, creating a unique interdisciplinary approach that has earned him recognition as a leading figure in modern music scholarship and creation. Tymoczko's research interests focus on the geometric modeling of musical structures, polystylistic composition that draws from genres spanning Renaissance to rock, and the mathematical foundations of tonality. His theoretical work explores how harmonic structures can be represented geometrically, revealing fundamental patterns that connect diverse musical traditions. He approaches composition as 'a logical deduction from absurd premises,' blending rigorous structural thinking with playful musical exploration. His scholarly publications and compositions reveal a consistent interest in the intersection of mathematical precision and expressive freedom. The articles demonstrate expertise across music theory, composition, and the cognitive aspects of musical perception, with recurring themes of geometric modeling, tonal structure, and genre hybridization. His work often challenges traditional boundaries between academic and popular music forms. Guggenheim fellowship Rhodes Scholarship Leonard Bernstein fellowship from Tanglewood Fellowship from the Radcliffe Institute for Advanced Study Block lectureship from the Society for Industrial and Applied Mathematics First music-theory article published in Science magazine Tymoczko maintains an active performance career alongside his academic work, with his compositions performed by leading ensembles including the Brentano Quartet, Newspeak, and Roomful of Teeth. His teaching integrates theoretical insights with practical composition, fostering a generation of musicians who understand music's structural foundations while embracing creative freedom. He has developed innovative tools like the musical programming language 'arca' to explore new compositional possibilities.

• Music Performance
• Music Perception
• Vocal Pedagogy
• +۳ مورد دیگر

Professor Helen Mitchell is a multidisciplinary scholar in music performance and perception at the University of Sydney's Sydney Conservatorium of Music. Her research explores the intersection of music practice with scientific discovery, focusing on vocal pedagogy, listener perception, and multisensory performance analysis. She holds a BA (Hons) from Oxford and a PhD from the Sydney Conservatorium. Previously, she served as Dean of Students at the University of Sydney's Women’s College (2004–2005). Research Interests: Mitchell’s work investigates listeners’ sound quality perception, vocal identity recognition, and the cognitive effects of verbal descriptions on musical memory. Notable projects include longitudinal studies on music training outcomes and current investigations into audio-visual integration in performer identification. Her ARC-funded research emphasizes practical applications in pedagogy and performance valuation. Grants & Collaborations: Key grants include the 2022 ARC Discovery Project on bel canto sound rediscovery (with Neal Peres Da Costa) and a 2014 OLT grant for perceptually-aware music leadership training. She collaborates with institutions like Sydney Living Museums via projects such as The Dowling Songbook Project, blending historical performance practice with educational innovation. Teaching & Supervision: Mitchell convenes postgraduate research methods courses and supervises Honours, Masters, DMA, and PhD students in music performance studies. She coordinates Honours research at the Conservatorium and integrates empirical approaches into ethics and methodology training. Affiliations: Member of the Charles Perkins Centre, contributing to interdisciplinary health and performance research.

• Speech Science
• Phonetics
• Language Revitalization
• +۳ مورد دیگر

Dr Chris Carignan serves as Programme Director for the Language Science MSc at University College London's Division of Psychology and Language Sciences within the Faculty of Brain Sciences. His research focuses on the intricate mechanisms of human speech production, particularly through cross-linguistic phonetic studies and articulatory dynamics using advanced imaging technologies. PhD in Speech Science Specializes in the intersection of language heritage and phonetic research Develops innovative methodologies for speech data collection and analysis His work spans multiple areas including nasal coarticulation , real-time MRI of vocal tract movements , and cross-linguistic phonetic analysis . He has contributed significantly to understanding how speakers produce complex speech sounds across different languages through comparative studies. Dr Carignan's research has led to the development of open-source tools for speech production analysis and pioneered new approaches for ultrasound articulography . His work on vowel nasalization and sibilant contrasts has been particularly influential in speech science. As Programme Director, he oversees a comprehensive curriculum that provides students with methodological training , statistical expertise , and hands-on research experience while allowing specialization through optional modules. His teaching philosophy emphasizes the importance of curiosity-driven research and interdisciplinary approaches in advancing language sciences.

Miguel Chuaquiمشاهده پروفایل

استاد

• Electroacoustic Music
• Music Composition
• Interactive Dance Systems
• +۳ مورد دیگر

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.

Aaron Cassidyمشاهده پروفایل

استاد

• Contemporary Music Composition
• Musical Notation Innovation
• Non-Geometrical Rhythm Theory
• +۳ مورد دیگر

Aaron Cassidy is an American composer and conductor based in Berlin and Hannover. He serves as Professor of Composition and Director of Incontri – Institut für neue Musik at the Hochschule für Musik, Theater und Medien Hannover. His work emphasizes innovative graphical notations prioritizing physical sound production and non-geometrical rhythm theory. Cassidy’s compositions have been performed globally across 29 countries, with 12 commercial recordings on major labels like Kairos and NEOS. As a conductor, he specializes in contemporary and historical repertoire, leading over 100 world premieres with ensembles such as Ensemble Musikfabrik and ELISION. Notable engagements include the Munich Biennale and Melbourne Recital Centre. His recent research includes a 2025 reflection on non-geometrical rhythm and collaborative Erasmus+ residencies in Klagenfurt. Current projects include works for bassoon, violin-piano duet, and ANAM residency with ELISION in Melbourne (2025). Cassidy’s academic focus bridges compositional theory and performance practice. His research explores notation’s role in shaping musical interpretation, with particular attention to rhythm’s non-metric frameworks. Recent works like Reassessing Non-Geometrical Rhythm (2025) synthesize a decade of theoretical development. His teaching integrates experimental techniques and historical context, fostering innovation in Hannover’s new music institute.

• Contemporary Classical Composition
• Jazz-Classical Fusion
• Orchestral Music
• +۳ مورد دیگر

Dr Mark-Anthony Turnage CBE FRCM serves as Senior Research Fellow in Composition and RCM Research Fellow in Composition at the Royal College of Music. He is a composer of truly international stature whose orchestral and operatic music is often forthright and confrontational, unafraid to mirror the realities of modern life, yet its energy is exhilarating. With his flair for vivid titles and complete absorption of jazz elements into a contemporary classical style, Turnage produces work with strong appeal to an enquiring, often young audience while expressing deep tenderness, especially emotions associated with loss. Turnage's research interests focus on the intersection of contemporary classical music with jazz elements. His work explores: Innovative approaches to orchestral composition Jazz-classical fusion techniques Opera and theatrical music composition Music that addresses contemporary social issues Expressive techniques for conveying emotional depth Vivid musical imagery through descriptive titles An analysis of Turnage's extensive publication record reveals a consistent exploration of emotional depth and technical innovation across more than four decades. His works frequently engage with themes of loss, memory, and social commentary while maintaining a distinctive musical voice that incorporates jazz sensibilities within contemporary classical frameworks. The titles of his compositions often provide vivid imagery that guides the listener's interpretation, reflecting his belief in music's ability to communicate directly with audiences through both confrontation and tenderness. Turnage has received significant recognition for his contributions to music: Commander of the Order of the British Empire (CBE) Fellow of the Royal College of Music (FRCM) As a senior figure in composition at the Royal College of Music, Turnage contributes to the institution's research profile through his creative practice and by serving as a role model for emerging composers. His extensive body of work spanning from 1981 to the present demonstrates remarkable consistency in artistic vision while evolving with contemporary musical developments. Turnage maintains an active creative practice through his composition process, which continues to produce significant works that push the boundaries of contemporary classical music while remaining accessible to diverse audiences. His recent compositions continue to explore emotional depth and technical innovation within the contemporary classical framework.

Barbara Pazurمشاهده پروفایل

استاد

• Music Education
• Choral Improvisation
• Audiation in Music Learning
• +۴ مورد دیگر

Barbara Pazur is a Professor at the Department of Choral Studies and Vocal Education, Faculty of Arts, Maria Curie-Skłodowska University. She specializes in Edwin E. Gordon's Music Learning Theory, focusing on audiation, choral improvisation, and early childhood music education. She leads the "Teoria uczenia się muzyki E.E. Gordona" scientific circle and serves as treasurer of the Lublin Division of Polish Choral Conductors' Association. Completed music education at Wrocław Music Academy (1985) Postgraduate studies in Vocal Emission and Choral Conducting Habilitated in Music Arts (Choral Conducting) at Fryderyk Chopin University (2014) Her research focuses on musical creativity development through Gordon's methodology, autism-friendly music approaches, and Polish folk/popular song adaptation for choral education. She pioneered the "Lubelski Festiwal Chórów Parafialnych" and co-developed national choral programs. Key awards include the Srebrny Krzyż Zasługi (2018), multiple Rector's Awards, and the Pro Maris Medal (2016). She has published numerous books and articles on Gordon-based pedagogy and choral arrangements.

• Developmental Psychology
• Cognitive Neuroscience
• Language Acquisition
• +۴ مورد دیگر

Judit Gervain is a Full Professor at the Department of Developmental and Social Psychology at the University of Padua, Italy, and a CNRS Senior Research Scientist (Directeur de Recherche) at the Integartive Neuroscience and Cognition Center (CNRS & Université Paris Descartes), Paris, France. Her research focuses on early speech perception, language acquisition in monolingual and bilingual infants, and the neural mechanisms underlying language learning. She pioneered studies on newborn speech perception using near-infrared spectroscopy (NIRS), revealing prenatal influences on perceptual abilities and the emergence of grammatical structures in preverbal infants. Education: PhD in Cognitive Neuroscience (2002, SISSA, Trieste), postdoctoral research at the University of British Columbia (2007–2009), and CNRS researcher since 2009. She has authored over 100 peer-reviewed articles in journals like Science Advances , Nature Communications , and Developmental Science . Research Interests: Infant language processing, bilingualism, neuroimaging techniques (fNIRS), and comparing infant learning trajectories to artificial intelligence systems. Her work bridges developmental psychology, neuroscience, and computational linguistics, emphasizing the role of innate biases and environmental input in language acquisition. Her recent studies explore how infants’ learning mechanisms differ from Large Language Models (LLMs), focusing on input requirements, critical periods, and the role of multimodal integration. She also investigates the impact of prenatal auditory experience on neonatal speech perception and the neural foundations of linguistic structure detection. Labs/Teams: Affiliated with the CNRS’s Integartive Neuroscience and Cognition Center and the University of Padua’s developmental psychology group. Serves as associate editor for Developmental Science and Neurophotonics .

Roseen Gilesمشاهده پروفایل

استادیار

• Early Modern Music
• Baroque Music
• Music and Literature
• +۳ مورد دیگر

Roseen Giles is an Assistant Professor of Music at Duke University, affiliated with Trinity College of Arts & Sciences. She also serves as Curator of the Duke University Musical Instrument Collections (DUMIC). Her expertise lies in early modern Italian musical culture, particularly the intersections between poetry and music in the 17th century. Giles holds a Ph.D. and B.Mus. from the University of Toronto. Her research explores the aesthetic, professional, and personal relationships between poets and musicians, with a focus on Claudio Monteverdi and Giambattista Marino. Key works include her monograph Monteverdi and the Marvellous: Poetry, Sound, and Representation (2023) and the forthcoming Lettera amorosa Musical Love-Letters in Early Modern Italy (2025). She has been recognized with the 2025 Bass Chair award. Teaching spans courses on music history, Baroque studies, and interdisciplinary topics. Recent courses include Music History I/II , Focus Seminars , and Analysis of Early Music . Outreach activities include leadership in Duke’s Story+ program, fostering collaborative research projects. Awards: 2025 Bass Chair Publications: Over 20 scholarly works, including books and chapters on Monteverdi, Marino, and Baroque aesthetics Grants/Advising: Not explicitly detailed in provided texts Labs/Teams: Curator of DUMIC, engaged in musicological curation and public outreach