De Ritis’s 2012 recording Devolution: Concerto for DJ and Symphony Orchestra featuring DJ Spooky and the Grammy-winning Boston Modern Orchestra Project was described as a “tour de force” by Gramophone. He is beginning in his 25th year at Northeastern University in Boston where he is Professor, former Chair of the Music Department (2003-2015), and co-founder of the Music Technology program.

De Ritis completed his Ph.D. in Music Composition at the University of California, Berkeley, where he served as a teaching assistant to David Wessel at Berkeley’s CNMAT; and engaged in summer study at the American Conservatory in Fontainebleau, France, under Philippe Manoury, Tristan Murail, and Gilbert Amy. He also holds an MBA in high-tech from Northeastern University.

Jeremy Van Buskirk is Associate Dean for Academic Affairs at the Longy School of Music of Bard College, and Professor of Composition, Theory, and Computer Music. His large ensemble music have been performed in Carnegie Hall and Chicago Symphony Center, and his electroacoustic music have been released on the SEAMUS, Ablaze Records, and Tell-Tale Music Media music labels; and published by World Projects Publishing. Jeremy’s passion for electroacoustic music pedagogy led to his development of the Max Composition Environment (MAXCE) designed to aid composers learning to write pieces using the MAX programming language. B.M., Berklee College of Music; M.M. (Composition), M.M. (Modern American Music), Longy School of Music; D.M.A. (Composition), Boston University. Principal teachers: Lukas Foss, Richard Cornell, Joshua Fineberg, John Fitz Rogers, and Paul Brust.

Victor Zappi is an Assistant Professor of Music Technology at Northeastern University. Being both an engineer and a musician, he focuses on the design and the use of new interfaces for musical expression. How can we use today’s most advanced technologies to build novel musical instruments? In what ways can these instruments comply with and engage the physical and cognitive abilities of performers as well as audience? And what new forms of musical training and practices are required to master them? Victor’s research interests span virtual and augmented reality, physical modeling synthesis, music perception and cognition, and music pedagogy.

Rébecca Kleinberger (PhD) is an Associate Professor of Music and Voice Technology at Northeastern University, holding a joint appointment with the College of Arts, Media, and Design and Khoury College of Computer Sciences. Her work spans from assistive technology to vocal experiences design, including inner-voice and interspecies interaction design. Her research connects various fields including HCI, computer sciences, music technology, wearable computing, machine learning, neurology, psychology, and animal-computer interaction. She holds a PhD and Master’s from the MIT Media Lab, a Master in Engineering from ENSAM Paris, and a Master in Computer Graphics from UCL, London.

Dr. Ren is a cognitive neuroscientist. She received her Ph.D. from Brown University and was the first student in the history of Brown University to receive the Open Graduate Education Award in statistics. Her research focuses on understanding how infants and children make sense of the structures of their surrounding world, including music, language, and action, and how learning shapes their cognitive development. Dr. Ren is known for her interdisciplinary scope and capacity to address questions in music and language cognition. Her research methods span behavioral measures, neurological (EEG, MEG, fMRI & fNIRS) experiments, and machine learning and statistics advances. Dr. Ren is also a rising classical singer specializing in opera and oratorio performances.

The music of post-style composer of mostly notated music, Alexandra du Bois (Ph.D. Stony Brook University; M.M. The Juilliard School; B.M. Indiana University Jacobs School of Music), is often propelled by issues of indifference and inequality throughout the United States and the world. She has been described as “an intense, luminous American composer” (Los Angeles Times), and “a painter who knows exactly where her picture will be hung” (New York Times). She lives on traditional and unceded land of the Western Abenaki People and is Chair of the Composition & Theory Department at the Longy School of Music. Recent commissions include those from The Chamber Music Society of Lincoln Center New York, Riot Ensemble London, Institut Curie Paris, and Kronos Quartet San Francisco.

Lisa Mezzacappa is a San Francisco Bay Area-based composer, bassist, bandleader, and producer. Called “one of the most imaginative figures on the Bay Area creative jazz scene” by The Mercury News and “a Bay Area treasure” by KQED public radio, she has been an active part of California’s vibrant music community for nearly 20 years. Mezzacappa’s activities include ethereal chamber music, electro-acoustic works, avant-garde jazz, music for groups from duo to large ensemble, and collaborations with film, dance and visual art. As curator, she programs the annual JazzPOP concert seres at the UCLA Hammer Museum in Los Angeles, now in its 15th year; and co-organizes the new Do-Over Music Series in Oakland, CA with drummer Jordan Glenn.

Katarina Miljkovic investigates the interaction between science, music, and nature, through collaborative musical performance. Miljkovic has been working on the sound mapping of the elementary rules from Stephen Wolfram’s New Kind of Science. She presented her exploration in this new field at MCM 2007; ECMST ~ MASA 2010, Berlin; EUROMicroFest 2017; Improtech Paris – Philly 2017; 2022 Earth Day Art Model Telematic and Media Festival; Boston Cyberarts festivals, Cambridge Science festivals, and Boston First Night. Her generative music has been described as “a refined, hypnotic dream” (Danas) “a work of musical and visual slow-motion with only a few delicately elaborated musical metaphors” (Radio Belgrade).