Philippa is the Programme Leader, Lecturer and Professional Practice Tutor for the MSc in Music Therapy at Queen Margaret University. Philippa studied and taught modern languages in the UK and abroad before training as a music therapist at Anglia Polytechnic University. On qualifying in 2001 she worked in various settings with adults, children and adolescents, including the field of mental health and learning disabilities. She set up and established a permanent, full-time post in a secondary school where she developed provision for young people with emotional and behavioural difficulties. This later became her research specialism.
Philippa was the lead researcher for the Music Therapy Charity’s Youth at Risk project (2009-2012). Through this she completed her PhD entitled: ‘Music Therapy for Youth at Risk: An Exploration of Clinical Practice Through Research.’ Philippa is regularly invited to present her work nationally and internationally and is a passionate advocate for the development and promotion of music therapy. She has published her work and is co-editor of the book Music Therapy in Schools (Jessica Kingsley, 2012).
Philippa’s international research activities are with young people at risk of marginalisation and exclusion. She also works freelance as a Clinical Supervisor of Arts Therapists and acts in a consultancy role.
Rachel is a freelance musician and researcher working predominantly in the field of music education and psychology, and Creative and Contextual Sudies Lecturer at Royal Conservatoire of Scotland. She is the creator and composer of BabyO and SensoryO, two groundbreaking operas for infants aged between 6 and 36 months, for which she has received international acclaim. Both operas have toured internationally, and more recently to Royal Opera House, London in March 2014. Rachel is also a lecturer on the undergraduate and postgraduate programmes at the Royal Conservatoire of Scotland, and has given a variety of research lectures across the UK.
She has a doctorate in music psychology, and specialises in music education for early years and for children with additional support needs. She has devised and delivered a number of creative projects for national arts organisations such as Scottish Opera, Children’s Classic Concerts, and Starcatchers, and Rachel’s performance credits include BBC Scottish Symphony Orchestra, Royal Scottish National Orchestra, Scottish Ballet and Scottish Concert Orchestra.
Rachel’s research interests are centred around the non-musical impact of music with specific regard to health and wellbeing, and child development. Her doctoral thesis examined the impact of Kodály-based music intervention on the language development of children between the ages of 4 and 6.
Nick Fells is a composer and sound artist based in Glasgow working mainly with computer-mediated sound in various ways, both in performing and in making pieces. Most of this work combines field and source recording, improvisation and other forms of live performance, computer-based sound processing and sound spatialisation.
Nick also makes audio-visual pieces, using computer-based animation and visual processing, and has worked with dance and music theatre. Much of his work is collaborative and he is particularly interested in how ensemble playing and other forms of collaboration are transformed through technological practice.
Nick is a senior lecturer in the School of Culture & Creative Arts at the University of Glasgow, researching and teaching sonic arts and composition.
Tara French is a Research Fellow/ Innovation Designer with the Digital Health & Care Institute. After completing her degree in Psychology at the University of Glasgow, Tara was awarded a PhD studentship from Glasgow Caledonian University. Her PhD research investigates the effects of music upon health and wellbeing.
Tara’s ongoing research interests include the use of digital technologies in health care and the use of music as a therapeutic application in health promotion. Tara has collaborated with NHS Grampian on numerous health promotion projects and has presented her research at conferences both nationally and internationally.
Prior to joining the DHI, Tara was Lecturer of Psychology at the University of the Highlands and Islands, Moray College. In her spare time, Tara is choral director of Sing for Life Speyside, a community choir based in Speyside which aims to promote health and wellbeing through singing.
Gerry Godley is Principal and Managing Director at Leeds College of Music. He was formerly director of Improvised Music Company (IMC), an Arts Council funded resource organisation for jazz and related music, established by Irish musicians and supporters in 1991. Today it is among Ireland’s leading specialist music producers with a portfolio that includes 12 Points, an award winning festival showcase for emerging European artists that rotates its location between Dublin and other European cities, and Down With Jazz, a festival of creative music that draws its inspiration from Ireland’s anti-jazz campaign of the 1930s.
Gerry is a saxophonist who has worked as a freelance musician and also as a teacher, building a programme of educational provision for early-career musicians. He has served as Secretary General of the European Jazz Network and is a member of the European sub-group for Leeds 2023, the city’s bid for European Capital of Culture.
Dr Vicky Karkou
Professor Karkou is a qualified researcher, educator, dance teacher and dance movement psychotherapist, having worked with vulnerable children and adults in schools, voluntary organisations and the NHS. In 1998 she completed her PhD in arts therapies at the University of Manchester funded by ESRC and then moved to the University of Hertfordshire where she worked as a researcher delivering projects in health, arts therapies and arts education.
Since 2003 she began working in Scotland and Queen Margaret University, initially as a lecturer in art therapy. In 2008 she became a senior lecturer, founding and leading the MSc in Dance Movement Psychotherapy, the only MSc programme in the discipline. She moved to Edge Hill University in 2013 with some of her PhD students.
Her main research and teaching area is on the arts for wellbeing which she explores through a range of qualitative, quantitative and arts-based methodologies. In 2014 she was awarded with an honorary doctorate of medicine at Riga Stradins University in recognition of her contribution to the development of arts therapies training in Latvia.
Adam Linson is active internationally as a double bassist, improvisor, composer, and scholar, who performs acoustically and with live electronics, solo and in a wide variety of ensembles. He can be heard on several critically acclaimed albums, which also feature the real-time interactive computer music systems that he designs and develops. His publications span a range of topics including the ecological psychology of improvisation, the philosophy of art and artificial intelligence, and the historiography of music technology.
He is currently a Postdoctoral Fellow at the University of Edinburgh, Institute for Advanced Studies in the Humanities, and a Research Associate at the University of Oxford, Faculty of Music, where he was formerly a CMPCP Visiting Fellow. His interdisciplinary research focuses on the common cognitive basis of improvisation across domains. He completed a PhD using artificial intelligence and robotics to investigate cognition in collaborative improvisation, funded by the Open University Centre for Research in Computing (UK).
He has a Master of Fine Arts in Music/Sound from Bard College (Milton Avery Graduate School of the Arts), and a BA in Philosophy from the University of California, San Diego, where he also studied composed and improvised music under George Lewis and classical double bass under Bertram Turetzky. His extensive experience as a software engineer and GNU/Linux specialist ranges from large-scale distributed architectures to embedded systems.
Peter Lovatt is a Dance Psychologist. He holds the academic post of Reader and Principal Lecturer in Psychology at the University of Hertfordshire where he runs the Dance Psychology Lab.
His academic research addresses questions such as: what’s the link between dancing and neurodegeneration? How does dancing change the way people think and solve problems? And, why is the way we move linked to our hormonal and genetic make up?
Peter has a BSc in Psychology and English, a MSc in Neural Computation and a PhD in Experimental Cognitive Psychology. He carried out his post-doctoral research at the University of Cambridge.
Dr Sophia Lycouris is Reader in Iterdisciplinary Choregraphy at Edinburgh College of Art, interested in interdisciplinary research methodologies, including approaches informed by creative practice. She is also an artist working with movement/dance, choreography, improvisation and performance for over than twenty years, who gradually developed a dialogue with new technologies.
Sophia trained as a dancer and dance teacher in her native country Greece and holds an MA (dist) in Dance Studies (1991) and a practice-based PhD in Improvisational Performance in Dance (1996) from the University of Surrey (UK).
Between 2000 and 2003, Sophia held an Arts and Humanities Research Board Fellowship in the Creative and Performing Arts at the Nottingham Trent University (UK), focusing on the role of choreographic methods in interdisciplinary and collaborative contexts. She introduced the terms choreographic environments and interdisciplinary choreography (see “Choreographic Environments: New Technologies and Movement-related Artistic Work” in Butterworth, J. and Wildschut, L. (eds) Contemporary Choreography: A Critical Reader, 2009), which informed her subsequent research projects City Glimpses, Haptic Experiments, Emergent Objects – Snake, and Choreography of Social Movement . She is currently co-editing a book on Dance and Wellbeing.
Described as “outstanding” (Tempo), “stunning” (Wales Arts Review), “ravishing” (Pizzicato) and “remarkably sensuous” (New Zealand Herald), pianist Xenia Pestova’s performances and recordings have earned her a reputation as a leading interpreter of uncompromising repertoire of her generation.
Lauded for “dynamic energy and crystalline precision” (RTE Nova Ireland), Pestova is featured at major festivals and venues around the world, including appearances at the Queen Elizabeth Hall in London, Glasgow Royal Concert Halls, Philharmonie Luxembourg, Festival Archipel (Geneva), Christchurch Arts Festival (New Zealand), Cluster New Music and Integrated Arts Festival (Canada), Frontiers+ (Birmingham), Holland Festival (Amsterdam), Lanaudière (Canada), Festival Musica (Strasbourg), Sonorities (Belfast), Spark (USA) and Voix Nouvelles Royaumont (France).
She is equally at home in experimental concert settings, and has performed in an underground World War II fortress, tropical gardens and a natural cave system inhabited by hibernating bats.
Pestova’s commitment and dedication to promoting music by living composers led her to commission dozens of new works and collaborate with major innovators in contemporary music. Her widely acclaimed recordings of core piano duo works of the Twentieth Century by John Cage and Karlheinz Stockhausen with pianist Pascal Meyer are available on four CDs for Naxos Records.
Her recording of Stockhausen’s “Mantra” was praised as “a highly accomplished presentation of one of the landmark pieces in the second half of the 20th century” in the Guardian. Her evocative solo debut of premiere recordings for the Innova label titled “Shadow Piano” was described as a “terrific album of dark, probing music” by the Chicago Reader. Currently, she is the Director of Performance at the University of Nottingham, and continues to mentor emerging musicians in workshops at conservatories and universities around the UK, Europe, Canada, New Zealand, USA and Brazil.
Franziska Schroeder is a saxophonist and theorist with research interests in The intersection of critical theory and performance in digital environments, in particular the role of the body in the age of technological change.
In 2006 Franziska was awarded a PhD from the University of Edinburgh for her research into performance and theories of embodiment. She has since written for journals including Leonardo, Organised Sound and Performance Research. She has published a book on performance and the threshold and an edited volume on user-generated content for Cambridge Scholars.
Franziska has been an AHRC and a RCUK Research Fellow at the Sonic Arts Research Centre, Belfast and is now a Lecturer at the School of Creative Arts, Belfast, where she coaches 3rd year recitalists and MA performance students.
Franziska has performed with many international musicians including Joan La Barbara, Pauline Oliveros, Stelarc, the Avatar Orchestra, Carin Levine, Chris Brown, Tom Arthurs and Evan Parker.
Franziska has several CDs on the creative source label, a recording on the SLAM label with a semi-autonomous technological artifact, guitarist Han-earl Park and saxophonist Bruce Coates, and recently released a recording on ‘Buster and Friends’ (digital download) with Han-earl Park (guitar).
Pierre A Tremblay
Pierre Alexandre Tremblay (Montréal, 1975) is a composer and a performer on bass guitar and sound processing devices, in solo and within the groups ars circa musicæ (Paris, France), de type inconnu (Montréal, Québec), and Splice (London, UK). He is a member of the London-based collective Loop. His music is released by Empreintes DIGITALes and Ora.
He formally studied composition with Michel Tétreault, Marcelle Deschênes, and Jonty Harrison, bass guitar with Jean-Guy Larin, Sylvain Bolduc, and Michel Donato, analysis with Michel Longtin and Stéphane Roy, studio technique with Francis Dhomont, Robert Normandeau, and Jean Piché. Pierre Alexandre is Professor in Composition and Improvisation at the University of Huddersfield (England, UK) where he also is Director of the Electronic Music Studios.
He previously worked in popular music as producer and bassist, and is interested in videomusic and coding.He likes spending time with his family, drinking oolong tea, gazing at dictionaries, reading prose, and taking long walks. As a founding member of the no-tv collective, he does not own a working television set.
Since his time with the ensemble Gemini, which he founded after studying at Durham University, and his work at the Guildhall School of Music and Drama, Peter Wiegold has always sought to explore alternative forms of music-making, and has worked a great deal with non-Western musicians.
He has been Artist-in-Residence with Birmingham Contemporary Music Group, and has worked with an array of ensembles, including London Sinfonietta, Royal Scottish National Orchestra, Northern Sinfonia, Endymion Ensemble and Southbank Sinfonia. He directed the Composers Ensemble in a Proms Portrait of the music of Pierre Boulez in the presence of the composer, and has also worked with them in Dartington, Brighton, Bath, Oxford, Darmstadt, Salzburg, Holland and Macedonia.
He also works internationally, having conducted Symphony Nova Scotia, the Hourglass Ensemble in Canada, Joensuu Orchestra and Camerata Labacensis, Slovenia and opening the Cologne Triennial Festival in 2007 with a performance of Berio Accordo, Peter’s recent compositions include He is armoured without for the BBC Proms (for 180 musicians including Uzbek trumpeters and the Coldstream Guards), Bow-Wave for the National Youth Orchestra and The End of the Line • an opera for 150 performers from the RNCM for Manchester Piccadilly Railway station.
Peter is the director of Club Inégales and the Institute of Composing.