| Name | Bio |
|---|---|
|
Adrian B. Latupeirissa
|
I'm a PhD student in KTH, Sweden, in the field of interaction design and sound design. Currently I'm looking at the use of sound as a medium for non verbal communication for social robot. |
|
Artur Becker
|
I am a brazilian Industrial Designer, with a Bachelor's degree from Universidade Federal do Rio Grande do Sul (UFRGS). During my Bachelor I had an exchange year at the Umeå Institute of Design, Sweden. I am currently a Master's student in Computer Science, also through UFRGS, and am in an exchange student at the University of Oslo. I have work experience in industrial design and user experience design. |
|
Cagri Erdem
|
Çağrı Erdem is an electroacoustic musician and researcher working with interactive systems for computational music. In the sequel of his classical and jazz studies, he has earned his master’s degree in Sonic Arts where he has focused on the extraction of performative and ancillary body movements in the form of physiological signals for the augmentation of traditional music instruments. He is currently expanding his research on the extraction of biosignal features, real-time mapping strategies, and digital sound synthesis and effects processing techniques with an emphasis on auditory perception mechanisms of human hearing and sonic object cognition. |
|
Christopher Knowlton
|
Christopher Knowlton, Ph.D., is a bioengineering researcher, freelance dance artist and independent choreographer based in Chicago. He has worked as a collaborative performer with many artists, including technology performance group ATOM-r (Anatomical Theatres of Mixed Reality), Erica Mott Productions, and Sildance/AcroDanza, among others. His own work, which ranges from dance, science education, comedy, storytelling, film, education and puppetry has been featured locally and internationally. In addition to performing, Chris currently researches at and manages the Motion Analysis Laboratory at Rush University Medical Center. |
|
Claudio Panariello
|
Born in Naples (Italy) in 1989, he has studied Composition, Piano and Electronic Music at Conservatory of Naples and Rome and Physics at University of Pisa. His music has been performed by international renowned contemporary music Ensembles and in different countries, such as Italy, Spain, Germany, Switzerland, USA, Japan, etc. He is also active in sound installation field with “Fewy” (Museo Madre, Naples) and “Studio in Tre Fasi” (Goethe Institut, Rome). He is currently a PhD student in Sound and Music Computing at KTH in Stockholm, focusing on musical adaptive systems. |
|
David Cotter
|
Classical Guitarist. PhD Candidate, Faculty of Music, Sidney Sussex College, University of Cambridge. Currently researching the classical guitar's status as an accompanying instrument since c.1800, identifying how the instrument’s unique affordances and characteristics possess suitability for accompaniment, and exploring how embodied, musical and visual performative devices can accurately and adequately convey aesthetic intentions. Interests include: Accompaniment, Aesthetics, Collaboration, Creativity, Ensemble performance, Entrainment, Expressiveness, Flow, Gesture, Improvisation, Interpretation, Live performance, Motion capture, New complexity, Phenomenology, Physicality of performance, Practice-led research, and Sound analysis. |
|
David Hammerschmidt
|
I am currently working as a Research Associate at the Institute of Systematic Musicology, University of Hamburg in Germany. The project I am involved in is called 'SloMo' and investigates the influence of stretched time on perception and performance related movement of musicians, dancers, and audiences. For my PhD, I am primarily interested in the relation between entrainment to musical rhythms and time perception. Furthermore, my research investigates how music and sociocultural experiences influence the biological clock. In my studies, I primarily use empirical methods including behavioral, physiological, and cognitive measures. |
|
Deniz Duman
|
I am Deniz, which means “sea” in Turkish. I was born in Ankara in 1992. After receiving Psychology and Communication & Design degrees, in 2016, I moved to Finland for my masters education on Music, Mind and Technology. Currently, at the University of Jyväskylä I am doing my doctoral research to understand how musical features of "groovy music" are perceived at neuronal level and the relationship between these neural activations and subsequent motor responses to music. I aim to have a multidisciplinary approach by combininig cortical data (via a mobile EEG system) and movement data (via a motion capture system). |
|
Diana Kayser
|
I am a 2nd year PhD student at the York Music Psychology Group (YMPG). I am interested in various areas of music cognition and music psychology, but also music information retrieval. In my PhD-research I am investigating if and to what extent different behavioural measures (facial expressions, skin conductance, heart rate) can be used to predict the subjective experience of music-induced emotions, and how these experiences might relate to musical features. |
|
Doga Cavdir
|
Doga Cavdir is a Ph.D. student at Stanford’s Center for Computer Music and Acoustics (CCRMA). She performs research on the design, manufacturing, and composition of movement-based digital musical instruments (DMI) and sonic interaction. The research she conducts at CCRMA focuses on new musical instrument design, especially for gestural interaction and movement-based computer-aided performances. Apart from DMI design, she is interested in building interactive sound installations, audio signal processing, acoustic analysis, and sound design for new musical instruments. |
|
Fred Hosken
|
Fred is a PhD student at Northwestern University researching the perception and production of the ‘pocket’ in groove musics. Specifically, he is looking at how drummers nuance their performances of fundamental drum beats to create their own particular ‘feel’. This analytical work is aligned with theories of meter and rhythm as well as cognitive theories about how the beat is perceived. Prior to moving to Chicago for his PhD, Fred went to Kings College London and Oxford, taught classroom and instrumental music, and played sax in a band. |
|
Gaute Barlindhaug
|
Is for the moment finishing a PHD in Music technology and Aesthetics while lecturing in Media and Documentation Science. Have been working with music since the early 1990s both as a composer and producer. Lately I have mostly been working with music for movies tv and theatre, but also experimented with interactive sound in relation to dance using different sensor based systems. |
|
Johannes Regnier
|
Johannes Regnier has been active as a composer and sound engineer and has conducted several projects in the field of electronic music. He studied mathematics at the University Pierre et Marie Curie in Paris, sound engineering at the Ecole Nationale Supérieure Louis-Lumière in Paris and sound art at the University of the Arts in Berlin. His primary areas of interest are sound synthesis, musical human-computer interactions, and the notion of liveness in electronic music. Johannes is currently pursuing a doctoral degree in computer music at UC San Diego under the supervision of Miller Puckette. |
|
José Guimarães
|
I am an Industrial Engineer practicioner, jazz hobbyist and sport fan, working as a Consultant for operational management problems, using analytical tools. I am also gaining interest on developing new musical instruments, combining traditional instruments with human interaction. I have lived in Brazil during almost 3 years. |
|
Karolina Prawda
|
I received my Master’s degree in Acoustic Engineering at AGH Univeristy of Science and Technology in Kraków as well as my Bechelor’ s degree in Interior Architecture at Jan Matejko Academy of Fine Arts in Kraków. During my studies I focused strongly on relation between acoustics and architecture, which led to my interest in variable acoustics. Presently, I work on artificial reverberation algorithms and I’m planning to create system for adjustable acoustics using VR and parametric design. |
|
Kıvanç Tatar
|
Kıvanç Tatar is “a worker in rhythms, frequencies, and intensities;” playing trumpet and electronics, composing experimental music, performing audio-visuals, and researching Creative Artificial Intelligence for Music and Interactive Media. His career aims to integrate Science, Technology, Engineering, Interactive Arts, Contemporary Arts, and Design to research interdisciplinary topics to create transdisciplinary knowledge. His work has been exhibited in Germany, Italy, Romania, Switzerland, Austria, Brazil, Australia, USA (New York and Atlanta), Canada (Vancouver and Montreal), South Korea, and Turkey; including the events: the cultural program at Rio Olympics 2016, the Ars Electronica Festival 2017 (with the theme Artificial Intelligence), CHI 2018, and Mutek Montreal 2018. Currently, he is a Ph.D. candidate at the School of Interactive Arts and Technology, Simon Fraser University. In the Metacreation Lab, he researches Creative Artificial Intelligence, Machine Learning, Audio Synthesis, Generative Art, and Musical Composition&Performance. |
|
Lindsay Warrenburg
|
Lindsay is a PhD candidate in the Music Theory department at Ohio State University. She is studying music perception and cognition under the supervision of Drs. David Huron and Daniel Shanahan. Lindsay received her MA in Music Theory (Music Cognition and Perception) from OSU in 2016 and a BA in Music (and Pre-med) from the University of Pennsylvania in 2013. Her research examines how and why people have certain emotional reactions to music, with an emphasis on sad music. |
|
Lucia Nikolaia Lopez Bojorquez
|
Lucia Nikolaia Lopez Bojorquez obtained her PhD on Biomedical Sciences at the Cell Physiology Institute and her Postdoctoral training at the Neurobiology Institute, both at the UNAM, National Autonomous University of Mexico. She worked as data curator at the Center for Genomic Sciences (UNAM) and later, as scientific consultant and account manager in Steelcyber Scientific, Oslo, Norway. She currently collaborates with the INTIMAL project (Interfaces for Relational Listening – Body, Memory, Migration, Telematics) at the UiO/RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion. |
|
Lynda Joy Gerry
|
Lynda has a background in neuroscience and psychology and currently does her PhD on technology-enhanced musical training using audio-visual perspective taking in Augmented Reality with auditory and motion feedback. Lynda focuses on perspective-taking in virtual environments, allowing users to see and hear from the point of view of a masterful expert while performing tasks in an overlapping embodied perspective task space. Previously, she has shown that such interfaces are effective for promoting greater interpersonal understanding and motor synchrony. For her PhD project, she aims to develop musical training using this perspective-taking AR technology that recruits sensorimotor pairings to facilitate motor coordination and audio-motor coactivations in the brain. Ultimately, the goal is to demonstrate a technology-based enhancement of cortical plasticity and musical motor skills in adult novice performers. |
|
Mariam Bergloff
|
Mariam Bergloff is a classical pianist exploring the boundaries of electroacoustic music composition and performance. Her interest lies within the psychoacoustic qualities of sound. Working with several programming languages, she seeks to immerse the public into a state of active listening. Through the use of interactive, generative and spatialized processes, her compositions invite listeners to converse with everyday objects in order to deepen their relationship to sound. |
|
Mehrdad Bahadori
|
Mehrdad Bahadori is an Iranian Ph.D. student at the University of Verona in Department of Neuroscience, Biomedicine and Movement Sciences. He got his bachelor and MSc degrees in Biomedical Engineering and his projects were about medical images processing and the interplay of visual and auditory sensory information in action planning respectively. Currently, his research focused on sound perception in the peripersonal space and its relationship with action preparation considering normal hearing subjects and also cochlear implanted subjects. |
|
Mercedes Blasco
|
I am an interdisciplinary artist and composer based in New York. My work involves designing and building imprecise technological assemblages that catalyze new listening modes and embodied forms of live composition in electroacoustic sounds. Through these devices, I attempt to establish a more horizontal relationship with audio technologies, distancing myself from parameters of precision, power, and control. I instead explore collaborative spaces where these instruments render audible unheard energetic forces, and offer a composition methodology in which my body and the live exploration of alternative materials are central elements. I have presented performances and installations at the Whitney Museum of American Art, Sonar Festival in Barcelona, La Biennale di Venezia, NIME conferences, Tsonami International Sound Art Festival in Chile, The High Line in New York, SONIC Festival, Mapping Festival (Geneva), Queens Museum of Art and the Museum of Contemporary Art in Santiago de Chile, among others. My work has been featured in The New York Times, The Wall Street Journal, and Wire magazine. I am currently a Ph.D. Candidate in music composition at New York University (GSAS). |
|
Merve Akca
|
Merve Akça is a doctoral research fellow in Music Cognition at RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo. She holds a Bachelor of Science degree in Psychology from Izmir University of Economics, Turkey and a Master of Science degree in Psychology with a focus on Social Psychology and Cognitive Neuropsychology from Lund University, Sweden. Her current project deals with auditory attentional blink phenomenon, where she aims to explore the temporal dynamics of selective attention in relation to musical expertise. Outside academia, she writes concert/festival reviews on a rock/heavy metal magazine and plays various instruments. |
|
Michelle Outram
|
Michelle Outram works as a PhD researcher on the ERC-funded Project SloMo (Slow Motion: Transformations of Musical Time in Perception and Performance) at the Institute for Systematic Musicology at the University of Hamburg, Germany. With a background in Performance Studies (BA hons, University of Sydney, 2001) and Functional Neuroimaging (MSc, Brunel University London, 2015) as well as many years experience in the field of dance, Michelle’s main focus in Project SloMo is on movement. She is particularly interested in using mobile brain and body imaging to study dance and dance perception. |
|
Nicola Davanzo
|
I studied Computer Engineering (bachelor and master) at the University of Pavia (Italy). I'm actually a PhD student at the University of Milan. My current research field is "Digital Musical Instruments for disabled people". I'm working to design new Music Interfaces suitable especially for people who cannot use their arms to play, but I'm also interested in a many other topics in the SMC field. I'm attending this Winter School to expand my knowledge about Music and HCI, but also to meet other people who work in my field. |
|
Olof Misgeld
|
Olof Misgeld, from Uppsala, is a Swedish folk musician and Senior Lecturer at the Department of Folk Music Folk Music at the Royal College of Music in Stockholm (KMH). Olof have a Bachelor in Folk Music Performance and a Master in Music Theory from KMH, and is now doing PhD-studies (50%) at The Royal Technical Institute of Stockholm (KTH). Olof’s research is centered around rhythm, meter and groove in Swedish Folk music and dancing. This is also a large part of his practice as musician in ongoing pedagogical and artistic collaborations with folk dancers and dance pedagogues in Sweden. |
|
Qichao Lan
|
I had my master degree in Sonic Art at the University of Sheffield, where I also joined the Algorave live coding community. My research at UiO is about designing an interactive music generative system. By writing tools and models in SuperCollider and Python, I will study how deep neural networks can alter the features in electronic dance music, together with the related influence on body movement, entrainment, etc. Also, I am exploring how human beings can interact with this generative system through body motion and code expression. |
|
Rory Kirk
|
My background is in music and following my bachelor’s degree I spent six years working for a music service as a guitar teacher. I returned to academia in 2017 and completed the Psychology of Music MA at the University of Sheffield, focusing on physiological responses and expressive performance for my dissertation. I am now applying for PhD positions and applied to the winter school in order to broaden my knowledge and skills in music research. |
|
Sandra Solli
|
My name is Sandra, I am 28 years old and I live in Oslo. I am currently working as an acoustician, and I am very interested in sound and music, from all points of view. My educational background includes a MA in Engineering Acoustics, where I among other things focused on auditory signal processing and neuroscience. I have a BA in Musicology with a specialization in Music Technology, and also a BA in Cognitive Psychology. I am really looking forward to the winter school and to meet you all! |
|
Sanjay Majumder
|
I am Sanjay Majumder from Bangladesh currently studying in USA. I completed my undergraduate degree in Computer Science & Engineering from West Bengal University of Technology, India. While studying, I worked as Sound Engineer at Samata Audio. After Completing my undergraduate degree, I served as Assistant Project Coordinator at a software company named Royex Technologies in Bangladesh. In 2016, I came to USA to study M.S. in Music Technology at Indiana University-Purdue University Indianapolis. Currently I am studying M.S. in Acoustics at Pennsylvania State University. My research interests are Music Information Retrieval, Audio Signal Processing, Musical Acoustics, Human Computer Interaction, Automatic Music Composition. |
|
Sercan Atlı
|
Sercan Atlı is designer/software engineer at Avid Technology, technology and multimedia company specialized in audio and video. Previously, Sercan worked as a researcher/software engineer at Music Technology Group, Pompeu Fabra University. He graduated from Audio Technologies Department at Bahçeşehir University, where he used to work as a research assistant during his studies. He has research experience in music information retrieval. He won a design and a music production awards from Audio Engineering Society. |
|
Seyed Mojtaba Karbassi
|
Born in a small historical city in Iran, I have just finished my M.Sc. in control systems. A music lover, a curious researcher, and an eager engineer, I just want to enjoy the magic of music and the mystery of science. As an engineer, I am currently working for ISENSE Company focusing on machine learning and anomaly detection methods for Structural Health Monitoring. While learning about motor control and movement analysis during my master, I have been enjoying music throughout my life. I am here to expand my knowledge of musical movements to establish my Ph.D. studies on it. |
|
Shen Li
|
Shen Li is a PhD student on the psychology of music programme at the department of Music of the University of Sheffield. Her research background is piano performance (BA) and psychology of music (MA, MMUS). She is currently working with Dr Renee Timmers. Her research project is about the perception and production of piano timbre, especially the conceptualization process, communication, and learning/teaching issues related to piano timbre. This project is funded by Chinese Scholarship Council. |
|
Stella Paschalidou
|
Stella Paschalidou holds a BSc in Physics, an MSc in Music Technology and a PhD in Hindustani vocal improvisation and gesture. She is currently working as a lecturer at the Department of Music Technology and Acoustics Engineering of the TEI of Crete in Greece teaching music technology. During her PhD fieldwork in India she worked with an optical mocap system to track vocalists' upper-body movements, in order to examine relationships between gestures, musical structure and effort during (alap) improvisation. Her research interests include gesture in music, embodied music cognition, Hindustani improvisation, new electronic musical instruments and audio interaction. |
|
Tejaswinee Kelkar
|
I am a phd student with the RITMO center of excellence at University of Oslo , and a singer with an interest in melodic perception, and human body motion. I have a masters degree in computer science and have trained in north indian classical music, western classical composition, and play the harmonium and other instruments. My PhD project is about melodic cognition using motion-capture and motion-annotations as the main tool to elicit our understanding of melodic contour, and prosody in music. I am also interested in musical chills, and melodic memory. Artistically, i am interested in improvisation, and recreation of the voice as a disembodied object. |
|
Will Barleycorn
|
I am Will, which is my english name for Guillem. I am from Barcelona and carry some Spanish and African heritage. I regularly learn from both, engineering and the arts. I took a BSc in Audio-visual Systems engineering and a MSc on AI and Intelligent Systems, and also studied, taught, performed and composed music for street and contemporary dance. While having worked as a creative technologist in some industry projects, I am fully interested in the computational potential for enhancing, modelling and pushing the boundaries of creative possibilities (and staying aware of the perceptual, affective and cognitive consequences). |
|
Zachary Bresler
|
Zachary Bresler is a musician, recording engineer, and music technologist from Nebraska. He came to Norway in 2016 for post-graduate study in music production at the University of Stavanger, and is now working on a PhD at the University of Agder about the musicology of space and place, and the production of popular music in immersive audio formats. Zachary has interests in popular musicology, music meaning, music perception, and the changing role of technology in music production, creation, distribution, and listening. |
