Timothy Polashek is an Assistant Professor of Music at Transylvania University in Lexington Kentucky. Dr. Polashek's compositions have been performed in Hong Kong, Brazil, Moscow, and other European countries, including international festivals such as the International Computer Music Conference, International Intermedia Festival, and the Icelandic Festival of Electronic Arts.
Timothy Polashek writes in a variety of media and styles, including vocal, instrumental, electro-acoustic music, text/sound compositions, and interactive performance systems. His music has been performed in Hong Kong, Brazil, Moscow, and other European countries, including international festivals such as the International Computer Music Conference, International Intermedia Festival, and the Icelandic Festival of Electronic Arts. His work can be found on Wood and Wire, published by Albany Records, and Electric Music Collective albums Incandescence and Defiant.
His research projects in audio synthesis and text/sound music are published in the Journal of the Society of Electro-Acoustic Music of the United States and the Leonardo Music Journal, published by MIT Press. Interactive and computer music by Polashek is referenced and discussed in The Oxford History of Western Music encyclopedia published by Oxford University Press. He published The Word Rhythm Dictionary: A Resource for Writers, Rappers, Poets, and Lyricists in 2014.
Tim received his Doctor of Musical Arts in Composition degree from Columbia University, an M.A. in Electro-Acoustic Music from Dartmouth College, and B.A. in Music with Honors from Grinnell College. He has studied composition and music theory with Jon Appleton, Jonathan Chenette, Charles Dodge, Joseph Dubiel, Brad Garton, Jonathan Kramer, Fred Lerdahl, Tristan Murail, and Larry Polansky.
Oliver Schneller is a composer and, in 2014, a faculty member at Internationalen Ferienkursen fur Neue Musik, Darmstadt.
Schneller grew up in Africa, Europe and Asia and studied in Germany and the USA. After completing a MA in political science and musicology at the University of Bonn he worked for the Goethe Institute in Kathmandu, Nepal (1990-91) on a project to support and sustain local forms of traditional musical practice. In 1994 he moved to the USA, first studying composition at the New England Conservatory in Boston, then at Columbia University New York as a student of Tristan Murail, where he received his doctoral degree in composition (2002) with a thesis on music and space. At the City University of New York he developed and expanded the CUNY Computer Music Studio. From 2000-01 he lived in Paris as a participant of the cursus annuel de composition et d'informatique at IRCAM/Centre Pompidou. As an assistant to Tristan Murail he taught composition and computer music at Columbia, and organized the "Lachenmann in New York" Festival in 2001. Throughout his studies, masterclasses with Salvatore Sciarrino, Jonathan Harvey, Brian Ferneyhough, George Benjamin and Vinko Globokar provided important orientations.
Douglas Geers is Associate Professor and Director of the Center for Computer Music at the Brooklyn College Conservatory of Music.
Geers is a composer living in New York City. Geers specializes in electro-acoustic and multimedia musical works, including various combinations of live musicians, actors, video, dancers, and computer-generated sounds.
Geers teaches on the the faculty of the City University of New York, where he is an Associate Professor of Music Composition and Director of the Center for Computer Music at the Brooklyn College Conservatory.
He is also a member of the CUNY Graduate Center music faculty and the faculty of the Brooklyn College M.F.A. program in Performance and Interactive Media Arts (PIMA).
Bio courtesy of his website.
Dr. Elaine Thomazi-Freitas is Senior Lecturer and Course Leader for BSc (Hons) Music Technology (Music Production) in the Sir John Cass Faculty of Art, Architecture and Design at London Metropolitan University.
She is a composer and media artist. She received a doctorate in music (DMA) from Columbia University, NYC/USA and a master's in music from Federal University of Rio de Janeiro, Brazil. She had undergone an internship in Music Documentation at IRCAM (Institute of Research and Coordination Acoustics/Music) in Paris/France, and works as a Senior Lecturer and Course Leader in Music Technology at The Cass / School of Art.
With an initial background in music, her trajectory had a further achievement with the inclusion of the visual element. Her works range from acoustic compositions to interactive media, the latter having become her main focus of research. She has embraced the use of technology as a means of artistic expression that adds to the artwork, never constraining the artistic conception and/or its realization. Actively engaged in the contemporary performing scene, she has presented her works in the Americas, Europe, Asia and Australia. Her latest works comprise a large-scale composition for alto flute with video-tracked live electronics and collaborative works with other composers in which she expands her live video practice.
Elizabeth Hellmuth Margulis is Professor and Director of the Music Cognition Lab at the University of Arkansas. She recently won the Wallace Berry Award from the Society for Music Theory for On Repeat: How Music Plays the Mind (Oxford University Press, 2013).
Her research approaches music from the perspective of cognitive science. She is interested in the interface between musical structure and engagement, especially in listeners without formal training, and especially as it occurs dynamically across the course of the listening experience. Her book On Repeat: How Music Plays the Mind (Oxford University Press) received the 2014 Wallace Berry Award from the Society for Music Theory.
Her past work has appeared in diverse journals including Music Perception, Journal of Music Theory, Journal of Cognitive Neuroscience, Music Theory Spectrum, Frontiers in Psychology, Computer Music Journal, Psychology of Music, Journal of New Music Research, Empirical Studies of the Arts, Review of General Psychology, Psychomusicology: Music, Mind, and Brain, Human Brain Mapping, American Journal of Bioethics, and Annals of the New York Academy of Sciences, as well as in the recently published Handbook of Music and Emotion. It has been featured in media outlets ranging from New Scientist Magazine to Readers Digest to the London Times, and on BBC and NPR. She blogs about music cognition at Psychology Today (Looking at Listening).
Miyuki ITO, a native of Nagoya, Japan, received B.A. from Aichi University of the Arts (Japan), M.A. from the Manhattan School of Music (NY), and D.M.A. from Columbia University (NY), studying with Naoyuki Terai, Pierre Charvet and Tristan Murail. She pursued research at IRCAM (Paris) with an artist grant from the Agency for Cultural Affairs, Japan. Her works have been performed at festivals and venues across the globe, including Centre Acanthes (France), ISCM (Hong Kong), Resonances (IRCAM), ICMC (Miami), Spark Festival (Minnesota), SMC (Greece and Spain) and Re:New (Denmark). She had received commissions from Harmonia Opera Company (NY), Columbia Sinfonietta (NY), Tokyo Opera City (Japan), Taketoyo Opening Concert Hall Committee (Japan), Music From Japan (NY), Attack Theater (Pittsburgh), Onix Ensamble (Mexico) and Aichi Arts Center (Japan). Her recent awards include the Nagoya Cultural Promotion Agency Prize (Japan), Japan Symphony Foundation Prize and Concorso di Composizione Franco Evangelisti 1st Prize (Rome). She has been a fellow at the Djerassi Artist Residency in California with an Oshita Fellowship and at CMMAS in Morelia (Mexico) with a support of Japan Foundation. She currently teaches at the Nagoya University of Arts, Chiba Commerce University, and Aichi University of the Arts in Japan. Ito is a co-founder and producer of the composer collectives NympheArt and JUMP (Japan-USA: Musical Perspectives). She released The Sands of Time, focused on works with live electronics on ALCD80 in 2009. Reminiscence d'un ancien esprit has been published on Edizioni Suvini Zerboni (Milan, Italy) in 2010.
Bio courtesy of her website.
Marcus Bittencourt is an American-Brazilian composer and pianist born in Garland-TX, USA. He studied music with composers such as Willy Correa de Oliveira, Fred Lerdahl, Joe Dubiel, Jonathan Kramer, and Tristan Murail, and Computer Music with Brad Garton and Thanassis Rikakis. As a composer, he is prolific both as an instrumental and an electroacoustic composer and his music has been played in the United States, Canada, Europe, and Brazil. His list of compositions includes works for orchestra, chamber ensembles, choir, solo instruments (specially the piano), operas, as well as several electroacoustic works. He has been performing widely as a pianist, conductor, and sound-projectionist, often taking those tasks simultaneously, as in the case of his piano concerti with live electronics. Among the awards he has received are the 2012 and 2010 FUNARTE Classical Composition Prizes given by the Brazilian Ministry of Culture, the first prize at the Projeto Nascente V (1996), a seven year scholarship at Columbia University for graduate studies, and a residency at the Centro Studi Ligure of the Bogliasco Foundation in Genoa, Italy. His academic credentials include a Bachelor's degree in Piano Performance from the Universidade de Sao Paulo, Brazil, and Master's and Doctoral degrees in Music Composition from Columbia University in the City of New York. He has taught Music at Columbia University, at Lehman College of CUNY, and the College of William and Mary in Virginia. He currently teaches Composition, Theory, and Computer Music at the Universidade Estadual de Maringa (State University of Parana at Maringa) in Brazil, where he created and also directs the Laboratorio de Pesquisa e Producao Sonora - LAPPSO (Laboratory for Research and Audio Production).