Jane Alden

Jane Alden is Professor of Music and Chair of Medieval Studies at Wesleyan University. Her research addresses scribal work and manuscript studies, notation and visual culture, experimental and participatory musics. She is currently writing a book that examines the broader milieu of Cornelius Cardew’s notational innovations. Past publications include the monograph Songs, Scribes, and Society: The History and Reception of the Loire Valley Chansonniers (Oxford University Press, 2010) and various articles and broadcasts on medieval and contemporary topics. Active as a singer and conductor, Alden founded and directs the London-based Vocal Constructivists; she also serves on the board of the New York presenting organization, Music Before 1800.

Matthew Arndt

Matthew Arndt, Associate Professor of Music Theory at the University of Iowa, holds a Ph.D. from the University of Wisconsin–Madison. He studies musical poetics, three-voiced chant from the Republic of Georgia, and other instances of spirituality in music. He is the author of The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg (Routledge, 2018). His articles appear in the Journal of Music Theory, the Journal of Schenkerian Studies, Music Theory and Analysis, Music Theory Spectrum, the Proceedings of the Eighth International Symposium on Traditional Polyphony, Theoria, Theory and Practice, and Zeitschrift der Gesellschaft für Musiktheorie.

I Putu Arya Deva Suryanegara

Musician, gamelan, and electronic composer from Kerobokan village, I Putu Arya Deva Suryanegara has built on an expert foundation in traditional gamelan to explore and experiment with new departures. This includes producing a variety of new works and founding the Balinese gamelan and dance collective Naradha Gita (Nagi), which regularly collaborates with local and international composers. He graduated in 2018 from the Indonesian Institute of the Arts Denpasar, Bali (ISI Denpasar) with an original work entitled O. This mixed-media piece incorporating micro-sensors on the gamelan, among other things, had the musicians interact with a digital device. He is the guest artistic director for Gamelan Giri Kedaton (2019-present), and assistant director at Insitu Recordings: a project to document, record and disseminate the music being made on the island of Bali today. Within this framework, he has been practicing as a sound technician, doing many sound recordings and recording several of his works. Arya has been developing this interest and talent for mixed/electroacoustic music and digital technologies for a little over four years, among other things through his studies in music composition and sound creation at the Université de Montréal. This artistic background makes Arya one of the few emerging composers to master both Balinese gamelan and digital technologies.

Valentín Benavides

Valentín Benavides is a choir conductor, composer, and Associate Lecturer in Musicology at the University of Valladolid (Spain). He has received several international composition awards, such as the XXIV “Cristóbal Halffter” Prize. His research focuses mainly on the presence of the past in contemporary music, specifically on the survival of musical gestures conveying some emotional meaning throughout history.

Vincent Benitez

Vincent Pérez Benítez is Professor of Music (Theory) at The Pennsylvania State University. He holds a PhD in music theory from Indiana University, and the DMA in organ performance from Arizona State University. His research focuses on the music of Messiaen, reflected by two books, Olivier Messiaen’s Opera, Saint François d’Assise (Indiana University Press, 2019), and Olivier Messiaen: A Research and Information Guide, 2nd ed. (Routledge, 2018), and numerous articles and international presentations. Benítez is currently writing a music-theoretical book on musical time and the late music of Messiaen, which is supported by a 2022–2023 sabbatical leave.

Nicole Biamonte

Nicole Biamonte is associate professor of music theory at McGill University. Her primary research areas is the theory and analysis of popular music, focusing on pitch structures, meter and rhythm, form, and most recently timbre. She has also published on music theory pedagogy, public music theory, and 19th-century musical historicism. In addition to her edited collection Pop-Culture Pedagogy in the Music Classroom, her work appears in the journals Music Theory Spectrum, Music Theory Online, Zeitschrift der Gesellschaft für Musiktheorie, Intégral, and Beethoven Forum, as well as numerous edited collections.

Dániel Péter Biró

Dániel Péter Biró studied in Hungary, Germany, Switzerland, Austria and Israel before receiving his Ph.D. from Princeton University in 2004. From 2004-2009 he was Assistant Professor and from 2009-2018 Associate Professor for Composition and Music Theory at the University of Victoria. In 2011 he was Visiting Professor, Utrecht University and in 2014-2015 Research Fellow, Radcliffe Institute for Advanced Study, Harvard University. In 2017 he was awarded a Guggenheim Fellowship. Dániel Péter Biró is Professor for Composition at the Grieg Academy in Bergen, Norway and directs the project Sounding Philosophy as part of the Norwegian Artistic Research Program (2021-2024). Website: www.danielpeterbiro.no

Haythem Bouzguenda

Email address: haythembouzguenda@yahoo.fr

University of Gafsa

LARIDIAME laboratory 

Assistant professor at l’Institut supérieur des arts et métiers de Gafsa

PhD in cultural sciences

Quatuor Bozzini

Quatuor Bozzini has been an original voice and strong advocate in new, experimental and classical music since 1999. Driving the hyper-creative Montréal scene and beyond, the quartet cultivates an ethos of risk-taking, experimentation, and collaboration, venturing boldly off the beaten track. With a rigorous eye for quality, they have nurtured a rich and diverse repertoire, regardless of trends. This has led to over 400 commissioned pieces, and some 500 premiered works. Their open, collaborative, artist-led approach has resulted in the realisation of numerous innovative and highly-praised productions, including inter-disciplinary projects with video, theatre and dance.

Jayna Brown

Jerry Cain

Jerry Cain is a lecturer on the Music Research Faculty at McGill University, where he has taught courses in music history to music majors and non-majors since 2010. He holds bachelor’s and master’s degrees in music education from Appalachian State University, and master’s and doctoral degrees in historical musicology from Florida State University. His primary research interests are centered on the music of Anton Webern and his sketches, compositional process, and library of books and music. His dissertation research on Webern’s unpublished settings of poems by the controversial Viennese poet, author, and social critic Karl Kraus has resulted in scholarly articles, an unpublished catalog of Webern’s extant books and music, and a performing edition of Webern’s previously unpublished Two Kraus Songs (Universal Edition, Vienna, 2016). In recent years his interests have gravitated strongly toward music-history pedagogy, in particular the study of propaganda and musical historiography, as well as both playing and researching progressive rock music with his wife and collaborator Nicole Biamonte. He was recently awarded the Schulich School of Music Outstanding Teacher Award and was nominated for the Principal’s Prize for Excellence in Teaching.

Carlos Gutiérrez Cajaraville

Carlos Gutiérrez Cajaraville is Assistant Professor of Music at Musicology Department, University of Valladolid (Spain). His research focuses on musical emotions, with particular attention to melancholy, throughout history. His work ranges widely in terms of repertories, historical periods and methodological approaches, falling at the intersection of musicology, aesthetics, and history.

Vincent Cusson

Les projets de Vincent Cusson explorent l’audio génératif, immersif et interactif dans diverses installations et performances artistiques interdisciplinaires. Cusson a complété un baccalauréat en médias interactifs à l’UQAM et est auxiliaire de recherche depuis six ans pour le laboratoire nxi gestatio design (NXI). À l’automne 2019, il a entamé une maîtrise en technologie musicale à McGill. Il collabore à divers projets avec des collègues du Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) et du Input Devices and Music Interaction Laboratory (IDMIL).

Tommy Davis

Tommy is currently a doctoral candidate and SSHRC Doctoral Fellow at McGill University’s Schulich School of Music under the tutelage of Marie-Chantal Leclair. His research investigates live electronic music performance and computer improvisation through a research-creation project called eTu{d,b}e. His current research interests include improvisation, contemporary saxophone techniques, posthumanism, and human-computer interaction and agency in computer music performance. With a Student Award (2021–22) from the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) at McGill University, Tommy developed an augmented instrument called the eTube alongside instrument builder and programmer Vincent Cusson. As a CIRMMT student co-representative, Tommy organizes educational, outreach, and research events for over 250 student members.

Léo Dick

Born in Bâle in 1976, Leo Dick studied composition with Georges Aperghis at la Haute école des arts de Berne (HKB). Since 2009, he teaches in the Composition and Creative Practice master program at the HKB. He is a member of the research team of the HKB since 2017. In 2018, he published his doctoral thesis which regards to the act of speaking in the contemporary musical theatre and obtained a four-year postdoctoral scholarship (Ambizione) in 2019 from the Fonds national suisse de la recherche scientifique (FNS) for his Opera mediatrix research project.

Terri Hron

Terri Hron is a musician, a performer and a multimedia artist. Her work explores historical performance practice, field recording, invented ceramic instruments and videoscores. She often works in close collaboration with others and produces performances, gatherings and events. Terri studied musicology and art history at the University of Alberta, historical and contemporary performance at the Conservatorium van Amsterdam and electroacoustic composition at the Université de Montréal. Her research focuses on collaborative practice and scoring in multimedia performance art. She is Executive Director of the Canadian New Music Network, where she has developed programs focusing on pluralism and sustainability. Recent collaborators include Monty Adkins, Charlotte Hug, Paula Matthusen, Helen Pridmore and Jennifer Beattie (Out Loud), Katelyn Clark, Jennifer Thiessen and Myriam Boucher (Medusa Selfie). Latest commissions include Ensemble Paramirabó, GreyWing Ensemble, Dead of Night, Splinter Reeds and Ensemble Supermusique.

Daryl Jamieson

Daryl Jamieson is a composer and researcher based in Zushi and Fukuoka, Japan. He co-founded the intercultural music theatre company ‘atelier jaku’, and is active as a researcher, writing on Japanese aesthetics, and contemporary music and spirituality. Jamieson’s music is strongly influenced by his study of nō theatre and Japanese philosophy. In 2018, he received the Toshi Ichiyanagi Contemporary Prize for the third of his 'Vanitas' trilogy of music theatre pieces. He currently teaches composition and aesthetics of music at Kyushu University and his music is published by Da Vinci Edition and the Canadian Music Centre. www.daryljamieson.com

Katelyn King

A native of Atlanta, USA, Katelyn Rose King is a researcher and performer working in the fields of theatre, music and everywhere in-between. Although classically trained in percussion performance and theatrical music interpretation, she is currently working toward a doctoral degree at the Universität Hildesheim and is part of a research team at the Hochschule der Künste Bern that surveys the new music theatre scene in Switzerland. Katelyn has a Master in Composition and Theory in Théâtre Musical from the HdK Bern, an MMus from McGill University, a BMus from Kennesaw State University and is a Fulbright Scholar.

Malte Kobel

Malte Kobel has recently been awarded a PhD in Music at Kingston University (London). His dissertation with the title “The musicking voice: performance, affect and listening” develops a theory of the voice as a musicking entity and offers a musico-epistemological problem to philosophies of voice and music. Prior to Kingston, Malte has studied musicology at the University of Vienna and Humboldt University of Berlin. His work has been published in the Journal for Cultural Research and Sound Studies. Apart from academic work he teaches, co-runs the record label Hyperdelia, curates radio programmes and is initiator of the collective BLATT 3000.

Alexis Lamb

Alexis C. Lamb (b. 1993) is a composer, percussionist, and educator whose work seeks to cultivate a connectedness to natural, historical, and societal relationships. As a composer, Lamb has collaborated with numerous ensembles and individuals, including Third Coast Percussion, Aizuri Quartet, Opera Omaha, Albany (NY) Symphony, Vera Quartet, Camilla Tassi, Contemporaneous, Emily Roller, Yale Philharmonia, and Evan Chapman. As a percussionist, Lamb has recently found joy in improvising in a variety of natural soundscapes, listening to how the natural world responds to her human-made music. Lamb was also a performer from 2013-2020 with Projeto Arcomusical. As an educator, Lamb’s work runs the gamut from private lessons to curriculum development, to leading clinics and teaching aural skills courses at University of Michigan.  

Lamb is currently pursuing a Doctorate of Musical Arts in Composition at the University of Michigan and previously earned degrees from Yale School of Music and Northern Illinois University. Her works are self-published and available at https://alexislamb.com/.

Benjamin Lassauzet

Benjamin Lassauzet is a doctor in musicology, associate professor at the University of Clermont-Auvergne, researcher at CHEC (Centre d’Histoire « Espaces et Cultures ») and member of CREAA (Centre for Research and Experimentation on the Artistic Act). After devoting his work to the music of Debussy, particularly on humour (L’Humour de Claude Debussy, Hermann, Paris, 2019, « Coup de Coeur » of the Prix France Musique des Muses 2020) he turned towards Icelandic contemporary music, devoting several communications to them and preparing a book devoted to Björk. His article « About identity. Analysis of Björk’s Modern Icelandic Pop Music » (Musurgia, XXVII/3, 2020) received the 2020 Jean-Jacques Nattiez Prize.

Jimmie LeBlanc

In his compositions, Jimmie LeBlanc approaches the musical idea in terms of capturing forces and the logic of sensation, particularly through the concept of the Performative figure. Performers of his music include Ensemble Contrechamps, Esprit Orchestra, Quatuor Bozzini and Continuum Ensemble. LeBlanc won a 3rd prize at the Lutosławski Award (2008), as well as the Jules-Léger Prize for New Chamber Music (2009). His research concerns musical semiotics and aesthetics; he sits on the editorial board of the journal Circuit – Musiques contemporaines and teaches composition at the Faculty of Music of l’Université de Montréal.

Katia Makdissi-Warren

An innovative composer, Katia Makdissi-Warren stands out nationally and internationally for her unique style where Middle Eastern, Western and Indigenous music meet. In 2001, she founded the Ensemble Oktoécho, specialized in miscegenation. She studied composition in Quebec City and Hamburg, then Arabic and Syriac music in Beirut with Ennio Morricone, Franco Donatoni, Manfred Stahnke, P. Louis Hage and Michel Longtin.

With her ensemble, she has won several awards including the OPUS Award for Best Album in 2019 and the Diversity and Inclusion Award from the Conseil des Arts de Montréal in 2020. She was recently awarded the 2022 Betty Webster Prize by Orchestras Canada to celebrate her long-standing contributions to diversity, equity and inclusion in the Canadian music community.

 In 2019-2020, Katia was chosen to be the composer of the Hommage series of the Société de musique contemporaine du Québec. Her works have been performed by various ensembles from all over the world. She has created numerous soundtracks for theatre, dance, cinema, television, and exhibitions, including the permanent exhibition of Burl-Khalifa in Dubai, the tallest tower in the world.

Markus Ophalders

Markus Ophälders was born in the U.S.A from German parentage. He has studied Philosophy, Psychology and German Literature in Berlin, Milan and Bologna and since 2011, after teaching Aesthetics at the University of Milan, he teaches Aesthetics and Philosophy of Art and Music at the University of Verona, where he also coordinates the Research Centre ORFEO - Sound Image Writing.

His studies focus mainly on problems of aesthetic theory, philosophy of history and politics as well as philosophy of music and theories of experience in the German philosophical reflection of the nineteenth and twentieth century. One of the central issues concerns cultural studies and the changes in the structural and cultural aspects of society in the current conditions of power, masses, technology, alienation and reification.

He has published numerous essays dedicated to Romanticism and German Idealism as well as to the Frankfurt School and to specific problems in modern and contemporary literature and music.

Tyler Osborne

Tyler Osborne earned his Ph.D in music theory from the University of Oregon in 2020. His research on Fanny Hensel and nineteenth century Formenlehre has appeared in Music Theory Spectrum, Music Theory Online, and Oxford University Press’s The Songs of Fanny Hensel. In addition to nineteenth-century music, he researches intersections of philosophy and recent popular music, specifically posthumanist readings of EDM and death metal. Tyler currently is an adjunct professor of music theory at University of Oregon by day and a bartender by night.

Mariella Pandolfi

Mariella Pandolfi’s interests reflect a life experience shared between Canada and Europe for over thirty years. In addition to her teaching career in Montreal, she has conducted research in post-communist territories, particularly Albania, Bosnia and Kosovo, and has acted as an expert on conflict, humanitarian response and migration for international organizations and foundations.

Since 1994, she has been a full professor in the Department of Anthropology at l’Université de Montréal and has been invited to numerous universities in North America and Europe. Since 2000, she has co-directed the Groupe de recherche sur les interventions militaires et humanitaires (GRIMH). She is a member of the IRTG Diversity research group at l’Université de Montréal and l’Institut interdisciplinaire d’anthropologie du contemporain (IIAC) in Paris. Since 2019 she has been Professor Emeritus at l’Université de Montréal.

She has published numerous books and articles in several languages and received in 2004 the Femmes de mérite prize of the Fondation Y des femmes de Montréal in the field of education and university teaching. In 2012, she was made a Knight of the Order of Merit of the Italian Republic.

Her passion for music, and especially for opera, has marked her family and personal life since childhood. Her kinship with Giacomo Puccini on her father’s side and her tenor uncle on his mother’s side allowed her to meet many protagonists of the international music scene, which was decisive for her musical training.

Kasey Pocius

Originally from St. John’s, Kasey Pocius is a gender fluid intermedia artist located in Montreal who grew up experimenting with multimedia software while also pursuing classical training in both viola and piano. In late 2014, Kasey began to concentrate more intensively on the creation of digital audio works. Outside of fixed electronic works, they have also pursued mixed media performances with live electronics, both as a soloist and in comprovisatory collaborative environments such as CLOrk, Exit Points & Fillesharmoniques. They are particularly interested in multichannel audio works and spatialization, and how this can be used in group improvisatory experiences. They hold a BFA from Concordia in Electroacoustic Studies and are currently pursuing an MA in Music Technology at McGill under the direction of Dr. Marcelo M. Wanderley. They are also the current Technical Coordinator at Matralab.

Balakrishnan Raghavan

Balakrishnan Raghavan is an accomplished musician, researcher, and educator. He is a doctoral student in cross-cultural musicology at the University of California Santa Cruz. Bala’s work focuses on oral traditions of music across the Indian subcontinent, with an emphasis on the politics of spirituality, sacred songs, South Asian performing traditions, mystical traditions, caste, gender, and sexuality. He is a STEM-trained computer science engineer as an undergraduate, and an Arts/Humanities/Social Science trained doctoral student. Bala trained for over twenty years in traditional vocal music, including a two-year-long immersive discipleship with South Indian Classical musician Dr. R.Vedavalli and fifteenth-century mystic poet-saint Kabir’s philosophy and songs from Shri.Prahlad Tipaniya. With over ten years of interdisciplinary performance experience, he attempts to re-imagine the many ways of looking at traditional music from India, centering the marginalized experience at the intersection of song, immigration, race, sexuality, personal narrative, transnational experience, and performance.

Joshua Rosner

Joshua Rosner is a PhD student in Music Theory at the Schulich School of Music of McGill University. He is a member of Stephen McAdams’ Music Perception and Cognition Laboratory and the Analysis Creation and Teaching of ORchestration (ACTOR) Project where he is involved with the Composer-Performer Orchestration Research Ensembles, the Equity and Diversity subgroup, and the Teaching and Mentoring Committee. He is also a composer and guitarist.

Breanna Stewart

Breanna Stewart is currently a PhD student in Musicology at McGill University, with a master’s degree from McGill, as well as a BMus and BA in Music Honors from Acadia University.  Stewart’s past research has centered on issues of modernism, innovation/tradition dichotomies, and historiography in post-1945 French music, particularly the music of Henri Dutilleux. Her current research interests, however, have come to center on : music of the later-twentieth and twenty-first centuries, especially electroacoustic and Canadian music; gender and sexuality; maternal theory, motherhood, and theories of care; subjectivity; posthuman and new materialist theories; and musical environmentalism.

Vicky Tremblay

Vicky Tremblay is a doctorate student in Musicology at l’Université de Montréal, under the supervision of Jonathan Goldman. After studying both literature and music, her work focuses on notions of orality, writing and of performance in the 20^th century music. Her doctoral researches are devoted to the ritualization in vocal musical works premiered in Quebec between 1970 and 2000. She benefits from a grant offered by the Conseil de recherche en sciences humaines (CRSH) and the Fonds de recherche du Québec – Société et Culture (FRQSC).

Sander van Maas

Sander van Maas teaches philosophy and music at Utrecht University College, the University of Amsterdam, and the Conservatorium van Amsterdam. His publications include The Reinvention of Religious Music: Olivier Messiaen and the Breakthrough toward the Beyond (Fordham UP, 2009), Thresholds of Listening: Sound, Technics, Space (Fordham UP, 2015) and Contemporary Music and Spirituality (Routledge, 2016). 

Holly Watkins

Holly Watkins is Professor of Musicology at the Eastman School of Music, University of Rochester (New York).  She is the author of Musical Vitalities: Ventures in a Biotic Aesthetics of Music (Chicago, 2018) and Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg (Cambridge, 2011).  She has published articles on Romantic and modernist aesthetics, music and ecology, and intersections between music and philosophy in such venues as the Journal of the American Musicological Society, Nineteenth-Century Music, New Literary History, Women and Music, Opera Quarterly, and Contemporary Music Review.  In 2010-11, Watkins held a Harrington Faculty Fellowship at The University of Texas at Austin, and in 2014-15, she received a fellowship from the American Council of Learned Societies to support work on Musical Vitalities.