Daniel Walzer (editor) - Audio Education: Theory, Culture, and Practice

daniel walzer and mariana lopez

george brock-nannestad

elissa johnson-green

brian heller

mark bassett

mariana lopez

adam scott neal

m. nyssim lefford

jeremy j. wells

ben mosley

elsa lankford

paul thompson and ben mosley

duncan williams

victor zottmann

doug bielmeier

clare hibberd

jude brereton, helena daffern, marc green, frank stevens, and andy hunt

Mark Bassett is an internationally experienced academic director, lecturer, mastering engineer, and acoustician. He is the Director of Academic Quality Assurance for the SAE Institutes international licensed campuses and his professional audio experience includes managing a successful acoustic consultancy business and working as a mastering engineer for nearly a decade in Sydney. He holds a PhD from the University of Sydneys Spatial Audio and Acoustics Lab and his research in technical ear training has been published and presented internationally, including on several expert panels. In 2018, he founded Zipper Noise, a company specializing in developing audio engineering education technology.

Doug Bielmeier is an associate teaching professor at Northeastern University with a doctorate in education and over 15 years of experience teaching music/audio engineering at graduate and undergraduate levels. Bielmeier, formerly a freelance engineer in Nashville, Tennessee, has 15 years proven success as a studio and live-sound engineer. His live-sound work has included working at the Kennedy Center, in Washington D.C., doing sound for Vice President Joe Biden. Bielmeier was the Designer/Studio Manager of the C.L.E.A.R. Lab recording studio at the Purdue School of Engineering. His papers on audio education, circular design, and music have been published internationally.

Jude Brereton is a senior lecturer in music technology, University of York. She was the founding program leader for the MSc in audio and music technology in the Department of Electronic Engineering. She currently teaches in the areas of virtual acoustics and auralization, music performance analysis, and voice analysis/synthesis. She is dedicated to improving diversity in audio engineering, through innovative, creative approaches to teaching. She serves as a panel member for the UK Athena SWAN charter, which promotes gender equality in higher education. With a background in arts and music administration, she is still active in promoting research-inspired live performance events combining art and science for public engagement.

George Brock-Nannestad graduated in signal processing in 1971, focusing on musical acoustics. With public funding, from 1981 to 1986 he carried out the project The Establishment of Objective Criteria for Correct Reproduction of Historical Sound Recordings. From 1991 to 1998 he was responsible for the media at the School of Conservation in Copenhagen. Subsequently, he has researched and consulted on sound restoration and AV technology history. He was a regular contributor to the AHRC Research Centre for the History and Analysis of Recorded Music, 200409, and contributed chapters to The Cambridge Companion to Recorded Music (2009) and The Art of Record Production (2012).

Helena Daffern is currently a senior lecturer in music technology in the Department of Electronic Engineering at the University of York, UK. She received a BA (honors) degree in music, an MA degree in music, and PhD in music technology, all from the University of York, UK, in 2004, 2005, and 2009, respectively, before completing postgraduate training as a classical singer at Trinity College of Music, London. Her research utilizes interdisciplinary approaches and virtual reality technology to investigate voice science and acoustics, particularly singing performance, vocal pedagogy, choral singing, and singing for health and well-being.

Marc Green received a BA degree in music production in 2013 from the University of Central Lancashire followed by an MSc in audio and music technology in 2015 from the University of York, UK. Presently a PhD candidate at the AudioLab, University of York, UK, following a successful year as an associate lecturer, his research interests include spatial audio, environmental soundscapes, and machine listening.

Brian Heller is an artist and technician who works with sound using a unique blend of skills. Over 20 years, he has built a practice integrating composition, audio engineering, and education. This diverse range of experience has taken him everywhererecording in a grain silo, collaborating at a Bamboo festival, composing in an abandoned Manhattan storefront, and writing for Electronic Musician magazine. His positions at the Banff Centre, the Tanglewood Music Center, and the Aspen Music Festival have allowed him the privilege of recording concerts featuring some of the great classical performing artists of our time. Brian graduated from The Hartt School, and is currently the director of the Sound Arts program at Minneapolis College.