Joanna Bullivant (University of Oxford) is a musicologist educated at the University of Oxford, who specialises in early twentieth-century British music, musical modernism, and music and politics. She has a growing interest in digital musicology through her work creating a digital catalogue for the AHRC project ‘Delius, Modernism, and the Sound of Place’. As part of a research team encompassing scholars at the Oxford E-Research Centre and the Oxford Faculty of Music and the British Library, she will be embarking in September on a new Delius project, creating a pioneering interactive digital exhibition on the composer for the British Library, and running a range of educational events for 16-21 year olds.
Chris Cannam is Principal Research Software Developer in the Centre for Digital Music at Queen Mary University of London, where he works with researchers to produce useful software for music analysis. He is the primary author of the Sonic Visualiser application and many of its plugins.
Andrew Hankinson is a Senior Software Engineer with the Bodleian Libraries in the Digital Research area. He earned a Masters in Library and Information Studies and a PhD in Music Information Retrieval from McGill University. Andrew specializes in working with large collections of digitized music documents, opening access to these collections by using document image recognition technologies to make them searchable. He is also a member of the board of the Music Encoding Initiative, and a collaborator on the Single Interface for Music Score Searching and Analysis (SIMSSA) project.
David Lewis is a researcher based at the Oxford e-Research Centre. He has recently worked on projects at Goldsmiths, University of London, Birmingham Conservatoire, Universität des Saarlandes and Universiteit Utrecht. His research focusses on the creation, dissemination and use of digital corpora of music (such as the Electronic Corpus of Lute Music) and music theory (earlymusictheory.org and Thesaurus Musicarum Italicarum).
Catherine Motuz enjoys an active career in North America and Europe as a performer, teacher, and scholar. Co-director of Ensemble La Rose des Vents in Montreal and a founding member of I Fedeli, she has played and recorded with ensembles including Concerto Palatino, the Amsterdam and Freiburg Baroque Orchestras, the Studio de Musique Ancienne de Montréal at Shakespeare’s Globe Theatre in London. Recent recordings include 17th-Century Italian Motets, with ¡Sacabuche! and Fede e Amor: Baroque Music with Trombones with countertenor Alex Potter. She has taught baroque trombone, Renaissance music and counterpoint at McGill University, and baroque trombone at the University of Montreal.
Catherine lived in Basel, Switzerland, from 2004 to 2011, where she studied historical trombone with Charles Toet at the Schola Cantorum. Now a Ph.D. Candidate in musicology at McGill University’s Schulich School of Music, she has been active on the Single Interface for Music Score Searching and Analysis (SIMSSA) project, investigating the use of computational musicology in understanding musical style. Her primary research interests include historical improvisation, while her dissertation focuses on ideas about musical expression in the early Renaissance.
David M. Weigl is a postdoctoral research associate at the University of Oxford e-Research Centre. His work involves the application of Linked Data and semantic technologies in order to enrich digital music information and facilitate access to a variety of musical data sources. His research interests revolve around music perception and cognition, and music information retrieval.
Tillman Weyde studied Music, Mathematics, and Computer Science, and has been an active researcher for over 20 years on the intersection between machine learning, artificial intelligence, and data science, with music and signal analysis. Tillman is a Senior Lecturer in the Department of Computer Science at City University London and leads the Music Informatics Research Group there. He was the Principal Investigator in the AHRC Digital Transformation Project ‘Digital Music Lab - Analysing Big Music Data’ and is a partner in the upcoming Digging Into Data project 'Dig That Lick: Analysing Large-Scale Data For Melodic Patterns In Jazz Performances'.