Dr Alfredo Bautista is a Research Scientist and Lecturer at Singapore's National Institute of Education (NIE), Nanyang Technological University. His research focuses on teacher learning and professional development and the analysis of exemplary instructional practices. He currently works with kindergarten, primary, and secondary in-service teachers and his main content areas of interest are Mathematics, Music, and the Arts. Alfredo completed his music studies at Real Conservatorio Superior de Musica de Madrid (Spain), where he obtained two undergraduate degrees: Classical Piano Performance (2001), and Music Theory and Improvisation (2002). He also studied Psychology (with emphasis on Teaching and Learning) at Universidad Autonoma de Madrid, where he earned his undergraduate (2004), master's (2007), and doctoral (2009) degrees. After completing his PhD, Alfredo worked as a post-doctoral researcher at the University of Victoria (British Columbia, Canada) [2009-2010] and at Tufts University (Boston, United States) [2011-2013]. He joined NIE in October 2013, where he currently run several research projects as Principal Investigator and Co-Principal Investigator.
Robert Burke (PhD Monash University) is Co-ordinator of Jazz and Popular Studies at Monash University. An improvising musician, Rob has performed and composed on over 200 CDs and has toured extensively throughout Australia, Asia, Europe, and USA over the last 30 year. He has also released 11 CDs under his own name and has focused on creating research, educational and artistic ties with institutions, researchers and musicians in Italy, USA (New York), Sweden and Brazil. Rob has recorded with George Lewis, Dave Douglas, Enrico Rava, Hermeto Pascoal, Kenny Werner, Mark Helias, Ben Monder, Tom Rainey, Nasheet Waites, George Garzone, Paul Grabowsky, Tony Gould, Johannes Weidenmueller, Debasis Chackroborty, Paulo Angeli and Richie Barshay. Rob's research is mainly focussed on practice-based artistic research, (jazz, improvisation and jazz pedagogy) having written papers/chapters/books and convened conferences in these areas of research.
James L. Byo is the Carl Prince Matthies Professor and Head of Music Education at Louisiana State University, where he is a University Distinguished Teaching Professor. His research in teacher and conductor effectiveness appears in major research journals and texts. Dr. Byo has served as editor of Update: Applications of Research in Music Education, chair of the research division of the World Association of Symphonic Bands and Ensembles, and on the editorial committee of the Journal of Research in Music Education. Currently, he is the program evaluator for the National String Project Consortium. A former public school band and orchestra conductor in Wooster, Ohio, he holds music education and oboe performance degrees. He was a student of John Mack of the Cleveland Orchestra and for eight seasons performed professionally with the Youngstown (OH) Symphony Orchestra.
Jean Callaghan holds an English Trinity College Fellowship and an Australian Licentiate in singing performance and has worked internationally as a singer. She completed undergraduate and research masters degrees at the University of Western Australia, and a doctorate of philosophy at the University of Western Sydney. After many years as an academic, she now works freelance as teacher, researcher, and consultant in vocal performance and pedagogy. Her research interests are interdisciplinary and concern vocal pedagogy and the relationship between music and language. Her book, Singing&science: Body, brain & voice, explores the relationship between voice science and vocal pedagogy. She was part of the research team that developed Sing&See software and author, with Pat Wilson, of the extensive teachers' manual How to sing and see. She has served as president of the Australian National Association of Teachers of Singing, the Australian Voice Association, and the Australian Association for Research in Music Education.
Don D. Coffman, Professor of Music Education, chairs the Department of Music Education and Music Therapy at the University of Miami's Frost School of Music at and is Professor Emeritus at the University of Iowa, where he taught for 24 years. He has chaired the Community Music Activity Commission of the International Society for Music Education and the Adult and Community Music Education Special Research Interest Group of the National Association for Music Education (NAfME). He has served on NAfME's Society for Research in Music Education Executive Committee and two terms on the editorial board of NAfME's Journal of Research in Music Education. He is Associate Editor of the International Journal of Community Music and the Editor of Research Perspectives in Music Education. His passion is making music with "chronologically gifted" adults in wind bands. He received his Ph.D. and B.M. degrees from the University of Kansas, and his M.M. from Wichita State University.
Dr Andrea Creech is Professor of Didactique Instrumentale at the Faculty of Music, Universite Laval, where she holds a Canada Research Chair in music in community Following an international orchestral and teaching career Andrea was awarded a PhD in Psychology in Education from the Institute of Education, University of London. Andrea has presented at international conferences and published widely on topics concerned with musical development and lifelong learning and participation in the arts., including the Music for Life Project, funded by the UK Research Councils and winner of the Royal Society for Public Health's award for research in Arts and Health, 2014. She is Senior Fellow of the UK Higher Education Academy and Graduate Member of the British Psychological Association. Andrea is Editor of Psychology of Music, author of Active Ageing with Music, and co-editor of Music Education in the 21st Century in the UK.
Professor Jane W. Davidson is Deputy Director of the Australian Research Council's Centre of Excellence for the History of Emotions, Associate Dean Engagement and Professor of Creative and Performing Arts at The University of Melbourne. Academic interests include: arts and health development across the lifespan; emotion, expression and historically informed performance practices; and vocal studies. She publishes in the disciplines of music psychology and education and history of emotions, as well as reflective practice research. She has worked as an opera singer and director, collaborating with groups such as Opera North UK and the West Australian Opera Company.
Steven M. Demorest received his undergraduate degree from Luther College, a master's degree in choral conducting from Westminster Choir College, and a Ph.D. in curriculum and instruction from the University of Wisconsin-Madison. He is a professor of music education at Northwestern University where he teaches graduate and undergraduate courses in choral music methods, music cognition, research methods, and philosophy. His research interests include the cognitive, neurological, and social foundations of inaccurate singing, the cultural neuroscience of music, and choral musicianship. Recent publications include Choral Music Methods and Materials (2nd Edition) with Barbara Brinson and a chapter with Ani Patel in Diana Deutsch's The Psychology of Music (3rd Edition). His research has been published in scholarly journals from the music education, music cognition and cognitive neuroscience fields. He serves on the editorial boards of Music Perception and the International Journal of Research on Choral Singing.
Robert A. Duke is the Marlene and Morton Meyerson Centennial Professor and Head of Music and Human Learning at The University of Texas at Austin, where he is University and University of Texas System Distinguished Teaching Professor, Elizabeth Shatto Massey Distinguished Fellow in Teacher Education, and Director of the Center for Music Learning. He is also a Clinical Professor in the Dell Medical School at The University of Texas and director of the psychology of learning program at the Colburn Conservatory of Music in Los Angeles.
Robert Edwin studied theater, English, and speech at Montclair State College before completing a B.A. in humanities at Thomas Edison State College. A seminal authority on contemporary commercial music (CCM) and child voice pedagogy, he preaches what he practices at his independent studio in Cinnaminson, New Jersey, USA. His diverse performing career is matched by an equally diverse teaching career. He has served on the voice faculties of the University of Michigan, the New Jersey School of the Arts, and New Jersey's Burlington and Camden County Colleges. He is a frequent faculty member of the Voice Foundation's Annual Symposium: Care of the Professional Voice, and is an active member of the distinguished American Academy of Teachers of Singing. He continues to serve as an Associate Editor of The Journal of Singing, shepherding the "Popular Song and Music Theater" column.
Shirlee Emmons died on April 16, 2010, soon after completing her contribution to the OHME. Emmons' career began with winning the Marian Anderson Award, followed by a national tour with Lauritz Melchior, US and Canadian concert and opera appearances, engagements with major New York City choruses, and wining an Obie for the lead in Thomson's The Mother of Us All. Following her performing career, she taught for 35 years at Columbia/Barnard College, Princeton, Boston University, and Rutgers. She also maintained a private studio in New York. Students included Hei-Kyung Hong and Harolyn Blackwell. She authored five books: The Art of the Song Recital; Tristanissimo: the Authorized Biography of Heroic Tenor Lauritz Melchior; Power Performance for Singers; Researching the Song, and Prescriptions for Choral Excellence. She presented workshops and master classes in thirty-four US states, in Korea, and Canada. She was a past chair of the American Academy of Teachers of Singing.
Sam Evans studied traditional tabla drumming for a decade in India with Pandit Anindo Chatterjee and later with Ustad Zakir Hussian in the United States. He completed a bachelor of music with honors and a masters in music performance in tabla drumming at Monash University in Melbourne. He is the founder of the Melbourne Tabla School and teaches Indian and world music at Monash University. As a regular international performer he has toured throughout India performing on television, radio, and in concert. He is renowned for his world music ensembles and his music has been featured on CD alongside Ravi Shankar and Nitin Sawheny. His research interests have focused on the broadening awareness of tabla in the western world, specifically the development and implementation of a syllabus for the instrument at secondary and tertiary levels in Australia, with the creation of a hybridized notation system for the instrument. In 2013 he was awarded the prestigious Sir James McNeil Scholarship to complete a performance based PhD focusing on the development of contemporary tabla repertoire.
Professor Helena Gaunt is Vice Principal and Director of Guildhall Innovation at the Guildhall School of Music & Drama, and a Lector in Music, Education and Society at the Royal Conservatoire of the Hague. She is a National Teaching Fellow and Principal Fellow of the Higher Education Academy. Research interests include one-to-one instrumental/vocal tuition in music, ensemble practices and collaborative learning in the performing arts, and creative entrepreneurship. She is Chair of the Innovative Conservatoire (ICON), an international partnership dedicated to curriculum and leadership development in specialist music education. She is also co-editor of Music Performance Research and a member of the Editorial Board of the British Journal of Music Education. Alongside research, she is an oboist, was a member of the Britten Sinfonia for many years, and is a Trustee of the National Youth Orchestra of Great Britain.
Susan Hallam MBE studied at the Royal Academy of Music before becoming Principal Second Violin in the BBC Midland Light Orchestra and Deputy Leader of Orchestra da Camera. Following further study in psychology she became an academic. She is currently Emerita Professor of Education and Music Psychology at the Institute of Education, University of London. Her research interests are disaffection from school, behaviour, attendance, ability grouping, homework, learning and performance in music, issues relating to music education and the wider impact of music on other skills. She has published extensively in relation to music psychology and music education including Instrumental Teaching: A Practical Guide to Better Teaching and Learning (1998), The Power of Music (2001, 2014) Music Psychology in Education (2005), and Preparing for success: a practical guide for young musicians (with Helena Gaunt) (2012). She is also co-editor of The Oxford Handbook of Psychology of Music (2009, 2016) and Music Education in the 21st Century in the United Kingdom.
Professor Lee Higgins is the Director of the International Centre of Community Music based at York St John University, UK. He has held previously positions at Boston University, USA, Liverpool Institute for Performing Arts, UK and the University of Limerick, Ireland. Lee has been a visiting professor at Ludwig Maximilian University, Munich, Germany and Westminster Choir College, Princeton, USA. He received his PhD from the Irish Academy of Music and Dance, Ireland and is the President of International Society of Music Education (2016-2018). As a community musician he has worked across the education sector as well as within health settings, prison and probation service, youth and community, adult education, and arts organizations such as orchestras and dance. As a presenter and guest speaker, Lee has worked on four continents in university, school, and NGO settings. He is the senior editor for the International Journal of Community Music and was author of Community Music: In Theory and in Practice (2012, Oxford University Press), co-author of Engagement in Community Music (2017, Routledge) and co-editor of The Oxford Handbook of Community Music (2017).
Jere T. Humphreys holds degrees in music education and clarinet performance from the University of Mississippi, Florida State University, and the University of Michigan. A professor of music at Arizona State University, he is a versatile researcher with over 175 publications and 18 keynote and other major speeches worldwide. He has advised 43 dissertations (including several award winners), worked professionally in 31 countries on six continents, sat on editorial committees of 16 scholarly journals (editor of one), and was a member of the Senior Editorial Board and the contributing editor for music education for the Grove Dictionary of American Music (2nd ed.). He has received three Fulbright Scholar/Specialist grants and three research awards, including the prestigious MENC Senior Researcher Award from The National Association for Music Education. He is a long-time volunteer construction house leader and fundraiser for Habitat for Humanity and serves on the boards of several professional and community organizations.
Harald Jers is professor for choral conducting at the University of Music Mannheim and guest lecturer at several music academies in Germany. He received diplomas in conducting at the Robert Schumann University of Music Dusseldorf, in music education/solo-singing at the Cologne University of Music and in physics at the RWTH Aachen University. As a conductor of orchestras and choirs he has made concert tours through Europe, Asia and USA. He teaches choral conducting and voice training with special interdisciplinary research interest in choir and room acoustics. Furthermore he is lecturer at International symposia respectively conferences and jury member at choir competitions. With his founded chamber choirs, among others chamber choir CONSONO, he called attention with TV and radio broadcasts, CD publications and diverse first prizes at several most respected international choir competitions and was awarded a first prize by the Acoustical Society of America in musical acoustics.
Harald Jorgensen is Professor Emeritus of Education at the Norwegian Academy of Music, Oslo. He has been Rektor (Principal) of the institution 1983-89 and 2002-2005, Head of Research and Development 1995-2002, Head of the Ph.D. program 2006-2008. He has published several books on issues of research, music education and psychology of music in Norway, edited books published in English, published several articles in international journals and handbooks, given presentations on international conferences, and been a member of and chaired national and international committees on issues relevant for music education, especially higher music education. Special research interests: Instrumental practice and research into higher music education. Most recent book publication: "Research into Higher Music Education. An overview from a quality improvement perspective", 2009.
Margaret Kartomi undertook her doctorate in musicology at Humboldt University. She served as president of the Musicological Society of Australia (MSA), director-at-large of the International Musicological Society, and is professor of music at Monash University. Her publications include over one hundred articles and books and she is on the editorial board of numerous musicology journals. Kartomi is a Fellow of the Australian Academy of the Humanities and a Member of the Order of Australia. In 2012 she received the title "Beautiful Queen Jewel" from the Governor of Lampung for her research on the music of the Indonesian province. In 2016 she received the Cultural Award for Traditional Indonesian Arts from the Indonesian Director-General of Culture and the International Fumio Koizumi Prize for Ethnomusicology as well as the Don and Joan Squires Award from the MSA and the Sir Bernhard Heinze Memorial Award for outstanding contributions to Australia music.
Reinhard Kopiez received a degree in classical guitar from the School of Music in Cologne, and a masters and PhD in musicology from the Technical University in Berlin. He is professor of music psychology at the Hanover University of Music, drama and Media, Germany and head of the Hanover Music Lab. His latest journal publications concern psychological research on the relationship between music performance and handedness, historiometric analyses of Clara Schumann's repertoire, and music and emotion. He is co-editor of the German standard handbook on music psychology (Handbuch Musikpsychologie, 2017, Hogrefe ). From 2001- 2005 he has been president of the German Society for Music Psychology (DGM). From 2010-2012 he was president of ESCOM.
William R. Lee earned a master's degree in composition from the University of Georgia and a doctorate in music education from the University of Kentucky. He is Professor Emeritus at the University of Tennessee at Chattanooga where he was professor and coordinator of music education and taught undergraduate methods and graduate research. His research interests are in the history of music education with emphasis on the nineteenth and early twentieth centuries. He has published extensively, including multiple entries in the New Grove Dictionary of American Music, 2nd ed. He served as national chair of the History Research Special Interest Group of the Music Educators National Conference (MENC) and on the editorial committees of the Journal of Research in Music Education and the Journal of Historical Research in Music Education (JHRME). He is book review editor of the JHRME and edits a veterans' historical journal. His numerous awards include a DAAD fellowship in Germany, a biennial Distinguished Service Award from the MENC History Research Special Interest Group, and an election to the Tennessee Music Education Association Hall of Fame.
Andreas C. Lehmann holds a master's degree in music education and a Ph.D. in musicology from the Hochschule fur Musik und Theater Hannover (Germany). He conducted postdoctoral research in psychology at the Florida State University, Tallahassee. He is currently professor of Systematic Musicology at the Hochschule fur Musik Wurzburg (Germany). He is associate editor of Musicae Scientiae, on the editorial board of JRME, and vice-president of the German society for music psychology. He teaches in the area of music psychology and related topics. His research interests concern the structure and acquisition of high levels of instrumental music performance skill (sight-reading, practice, generative processes), they include historical studies on the development of expertise, and they cover a broad range of topics in music education (e.g., competency modelling, amateur music making and participation).
Gary E. McPherson studied music education at the Sydney Conservatorium of Music, before completing a master of music education at Indiana University, a doctorate of philosophy at the University of Sydney and a Licentiate and Fellowship in trumpet performance through Trinity College, London. He is the Ormond Professor and Director of the Melbourne Conservatorium of Music and has served as National President of the Australian Society for Music Education and President of the International Society for Music Education. His research interests are broad and his approach interdisciplinary. His most important research examines the acquisition and development of musical competence, and motivation to engage and participate in music from novice to expert levels. With a particular interest in the acquisition of visual, aural and creative performance skills he has attempted to understand more precisely how music students become sufficiently motivated and self-regulated to achieve at the highest level.
Steven J. Morrison completed his undergraduate study in music education at Northwestern University and subsequently received a master of music degree at the University of Wisconsin-Madison and a doctorate of philosophy at Louisiana State University. He is professor of music and chair of music education at the University of Washington, director of the Laboratory for Music Cognition, Culture, and Learning, and is director of the university's Symphonic Band. In addition to his teaching area of instrumental music education, his published research addresses neurological responses to music listening, cultural variables in music perception and cognition, integration of aural and visual information in performance evaluation, and use of expressive gesture and modeling in ensemble instruction. He is editor of the Journal of Research in Music Education and was a visiting fellow at the Centre for Research in the Arts, Social Sciences and Humanities at the University of Cambridge.
John Nix, Tenor, is Associate Professor of Voice and Vocal Pedagogy at the University of Texas at San Antonio, USA. Mr. Nix has been a faculty member at The University of Colorado-Denver and Eastern New Mexico University, and worked for four years at the National Center for Voice and Speech with Ingo Titze. He holds degrees in Arts Administration from Florida State University, in Vocal Performance from the University of Georgia and the University of Colorado-Boulder, and Certification in Vocology from the University of Iowa. At Colorado, he studied voice and pedagogy with the late Barbara Doscher and Alexander Technique with James Brody. Current and former students have sung with the Santa Fe Opera, Opera Theatre of Saint Louis, Chautauqua Opera, Opera Omaha, Arizona Opera, Nevada Opera, San Antonio Opera, The Soldiers' Chorus, The Mormon Tabernacle Choir, and the Metropolitan Opera Chorus, and include faculty members at universities in Montana, Texas, Wyoming and New York. He has won research grants from The Grammy Foundation and NIH, and was awarded the 2006 Van Lawrence Award by NATS and The Voice Foundation. He has published more than 25 articles and edited or contributed to 5 books.
Ioulia Papageorgi is the Director of the University of Nicosia Teaching and Learning Institute (UNTLI) and an Associate Professor in the Department of Social Sciences at the University of Nicosia. She is a Fellow of the Higher Education Academy (FHEA), a Chartered Psychologist (CPsychol) and an Associate Fellow of the British Psychological Society (AFBPsS). Ioulia has served on the board of Cyprus Psychologists' Association (2015-2017 as Vice-President; 2013-2015 as Treasurer), on the Board of Educational Affairs of the European Federation of Psychologists' Associations (EFPA) (2013 - Date), as well as the Committee of Society for Education, Music and Psychology Research (SEMPRE) (2014 - Date). She previously held the position of Lecturer and Coordinating Research Officer at UCL Institute of Education, University of London (2006-2011), and of Associate Lecturer at the Open University (UK) (2009-2011). Her research interests focus on test anxiety, psychometric testing, the psychology of performance, the development of expertise and the association between music training and cognitive development in children. She has presented her work in many international conferences and has several publications in a peer-reviewed journals and books. Her first book focused on the development of advanced expertise in musical performance (Ashgate, 2014).
Kenneth H. Phillips, Ph.D., is Professor Emeritus, The University of Iowa, and former Director of Graduate Music Education at Gordon College. An award-winning researcher in the area of child and adolescent vocal pedagogy, he is the author of four books, numerous reviews, chapters, and professional journal articles. Two of his books are now in second edition (Teaching Kids to Sing, 1992/2014, Schirmer/Cengage, and Directing the Choral Music Program, 2004/2016, OUP). Professor Phillips is the recipient of numerous outstanding teaching awards from The University of Iowa, and is recognized by NAfME as one of the nation's most accomplished music educators (Teaching Music, October 2000). Phillips is the recipient of the Robert M. McCowen Memorial Award for Outstanding Contribution to Choral Music (the highest honor given by the Iowa Choral Directors Association), the Distinguished Music Alumni Award from Kent State University, and serves as honorary board member of the Lowell Mason Foundation.
Lisa Popeil has studied piano, voice and composition, earned a Master of Fine Arts degree in Voice from California Institute of the Arts and has taught professionally for over 40 years. Ms. Popeil is the creator of the VoiceworksRG Method for singers, the 'Total Singer' DVD, the 'Daily Vocal Workout for Pop Singers' CD, and is co-author of the book 'Sing Anything - Mastering Vocal Styles'. As a professional singer, Lisa has performed and recorded with the Pasadena Symphony, Frank Zappa, "Weird Al" Yankovic, in addition, her self-titled pop album was a Billboard 'Top Album Pick'. Her voice research projects have focused on belting voice production, vibrato, vocal registers and the comparison of classical and commercial vocal genres. Ms. Popeil is a member of many organizations, including the Voice Foundation (on the Advisory Board), the National Association of Teachers of Singing, SAG/AFTRA (Screen Actors Guild/American Federation of TV and Radio Artists), ASCAP (American Society of Composers and Publishers) and is a voting member of NARAS (National Academy of Recording Arts and Sciences - the GrammyRG organization).
John W. Richmond earned a bachelor's degree in music education from William Jewell College (MO), a master's degree in conducting from the University of Missouri at Kansas City, and a Ph.D. in music education from Northwestern University. He is a professor and dean of the College of Music at the University of North Texas, America's second largest public-university music program. His published research focuses on arts education policy and philosophy, with particular interests in education litigation, ethics, and the convergence of aesthetic and religious experience. He served as conference director for the 1994 World Conference of the International Society for Music Education. He was editor of the policy/philosophy section of the New Handbook of Research in Music Teaching and Learning (2002) and wrote its chapter on "Law Research and Music Education." More recently, he has written about composition pedagogy in Composing Our Future: Preparing Music Educators to Teach Composition (Kaschub and Smith, eds., 2012). Richmond served two consecutive terms on the National Association of Schools of Music Commission on Accreditation.
Carlos Xavier Rodriguez holds a bachelor's degree in music performance from Pitzer College, a master's degree in music education from UCLA, and a doctor of philosophy degree in music education from Northwestern University. He is currently associate professor of music education at the University of Michigan, and has held previous appointments at the University of South Florida, University of Iowa, and The Ohio State University. He has published articles and presented papers nationally and internationally on musical development, music cognition, creative thinking, and popular music and culture. A leading authority on popular music in music education, his work emphasizes ways to broaden conceptualizations of musicality and support increased creative thinking in music. He has edited collections on popular music and ethics in music education, and is currently editing the forthcoming Coming of Age: Teaching and Learning Popular Music in Academia. He is an experienced practitioner, working in local public schools and the community as a musician and educator.
Nelson Roy received his doctorate in communication disorders in 1997 from the University of Wisconsin-Madison, Wisconsin. He completed his undergraduate and master's degree education in Speech-Language Pathology at the University of Western Ontario, London, Ontario, Canada. Currently, he is Professor of Speech-Language Pathology in the Department of Communication Sciences & Disorders at the University of Utah. His research focuses on the assessment and management of voice disorders in adults including: (1) epidemiology of voice and swallowing disorders, including high risk groups such as school teachers, the elderly, and those with autoimmune conditions (2) treatment outcomes research in voice and other speech/language disorders, (3) developing an objective, acoustic index of dysphonia severity, (4) establishing a clinical diagnostic algorithm to improve differential diagnosis of muscle tension dysphonia and spasmodic dysphonia, (5) assessing the phonatory and laryngoscopic effects of acute, external superior laryngeal nerve denervation, and most recently (6) voice-related health care services, practice patterns, and costs.
Robert T. Sataloff is professor and chairman at the Department of Otolaryngology-Head and Neck Surgery and senior associate dean for Clinical Academic Specialties at the Drexel University College of Medicine, and on the faculty of the Academy of Vocal Arts. He is also a professional singer and singing teacher, and conductor of the Thomas Jefferson University Choir. He has written over 1000 publications, including 61 books. His medical practice is limited to care of the professional voice and to otology/neurotology/skull base surgery. He is chairman of the Board of Directors of the Voice Foundation and of the American Institute for Voice and Ear Research. He is editor-in-chief of the Journal of Voice, editor-in-chief of Ear, Nose and Throat Journal, associate editor of the Journal of Singing, and on the editorial boards of numerous otolaryngology journals.
Frederick A. Seddon studied music education at the University of Keele before completing a masters and doctorate in music psychology also at the University of Keele. He also gained a certificate in instrumental teaching from the associated board of the royal schools of music. During the past 10 years, he has completed several research contracts related to music education and music psychology and is currently an enterprise researcher at the University of Northampton, UK. He conducted research into music education and psychology at the universities of Keele, Reading, Open University, UK and the University of Padua, Italy. His research interests include the impact of formal musical training on musical creativity and investigating musical communication between small groups of jazz and classical musicians. His current research investigates the impact of enterprise skills programs on perceived self-efficacy and attitude to enterprise in the unemployed.
Sten Ternstrom received his Ms.Sc.E.E. from KTH in Stockholm, joined the Music Acoustics group there in 1982, and became its professor in 2003. His Ph.D. thesis Acoustical Aspects of Choir Singing was the first major text on this subject, on which he has continued to publish occasionally. His research interests center on analysis and simulation of the human voice from scientific, clinical and pedagogical perspectives. Ternstrom teaches acoustics and audio technology in the School of Computer Science and Communication at KTH. He is an associate editor of Acta Acustica united with Acustica, a fellow of the Acoustical Society of America, and serves on several editorial boards.
Michael Webb initially qualified in music education then completed a performance degree at the Sydney Conservatorium while studying ethnomusicology. After gaining six years of cross-cultural teaching experience in Papua New Guinea he undertook postgraduate studies in ethnomusicology at Wesleyan University in Connecticut, where he undertook his MA and PhD. A decade of secondary school music teaching in western Sydney followed. He currently lectures in pre-service music education at the Sydney Conservatorium of Music, the University of Sydney. His recent research has examined expanding concepts of musicianship as well as multimodal literacy, and he has published on the potential of YouTube for music education. He is a co-author of the forthcoming Oxford University Press Global Music Series volume, Music in Pacific Island Cultures, and continues to undertake field work in Melanesia. Since 2007 he has also written on contemporary Australian jazz.
Graham F. Welch holds the University College London (UCL) Institute of Education Established Chair of Music Education. He is elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE), a former President of the International Society for Music Education (ISME), and past co-chair of the Research Commission of ISME. Current Visiting Professorships include the Universities of Queensland (Australia), Guildhall School of Music and Drama, and Liverpool (UK). He is an ex-member of the UK Arts and Humanities Research Council's (AHRC) Review College for music and has been a specialist consultant for Government departments and agencies in the UK, Italy, Sweden, USA, Ukraine, UAE, South Africa and Argentina. Publications number over three hundred and fifty and embrace musical development and music education, teacher education, the psychology of music, singing and voice science, and music in special education and disability. Publications are in English, Spanish, Portuguese, Italian, Swedish, Greek, Japanese and Chinese.
Dr Jenevora Williams is a leading exponent in the field of vocal health and singing teaching. After a successful career in Opera, Jenevora turned her attention to investigating healthy and efficient vocal function. The combination of academic study and practical experience has resulted in a unique perception for understanding the human voice. She was the first singing teacher to be awarded a PhD in voice science in the UK, and won the 2010 BVA Van Lawrence Prize for her outstanding contribution to voice research. Her book, Teaching Singing to Children and Young Adults, has been enormously popular with singing teachers throughout the world. She is well-known for her imaginative and rigorous training courses for singing teachers in the UK and Europe. As a teacher of singing, she works with professional singers of all ages, as well as working in Vocal Rehabilitation for BAPAM and the NHS.
Michael D. Worthy holds a bachelor of music education degree and a master of music degree from Southwestern Oklahoma State University, and a Ph.D. in music education from the University of Texas at Austin. He is an associate professor of music at the University of Mississippi in Oxford, where he teaches undergraduate and graduate courses in instrumental methods, wind literature, and research methods, and directs the Mississippians Jazz Ensemble. His interests include music education, teacher preparation, and rehearsal techniques. His research has been published in the Journal of Research in Music Education, Bulletin of the Council for Research in Music Education, Journal of Music Teacher Education, and Teaching Music, and he was a contributor to the second edition of the New Grove Dictionary of American Music. He is an editor of the Southern Music Education Journal and a member of MENC: The National Association for Music Education.
