The teaching staff at the Institute of Sonology consists of the following members:
Frank Baldé (*1956) joined STEIM Amsterdam in 1985 and started his career there as a software designer. A major influence has been his close collaboration with STEIM’s artistic director Michel Waisvisz (1949–2008), which resulted in a number of music software applications for live performance. Frank Baldé’s programming work includes MidiDraw, the real-time MIDI manipulation program The Lick Machine (together with Michel Waisvisz), the software sampling package LiSa, and the application junXion, which can read sensor data and process/translate it into MIDI or OSC. At STEIM, Frank Baldé actively assists visiting artists to create new instruments using junXion. He has been teaching at the Institute of Sonology since 1994.
Richard Barrett (*1959) is internationally active as both a composer and an improvising performer, and has collaborated with many leading performers in both fields, while developing works and ideas which increasingly leave behind the distinctions between them. His long-term collaborations include the electronic duo FURT which he formed with Paul Obermayer in 1986 (and its more recent octet version fORCH), the ELISION contemporary music group, for which he has composed and performed since 1990, and regular appearances with the Evan Parker Electro-Acoustic Ensemble since 2003. Recent projects include CONSTRUCTION, a two-hour work for twenty-three performers and three-dimensional sound system, premiered by ELISION in 2011, and the hour-long life-form for cello and electronics, premiered by Arne Deforce in 2012. He studied composition principally with Peter Wiegold, was a professor of composition at Brunel University in London between 2006 and 2009, and has twice been a member of the staff of the Institute of Sonology, between 1996 and 2001 and again from 2009 to the present. Richard Barrett’s work as composer and performer is documented on over 25 CDs, including six discs devoted to his compositions and seven by FURT.
Justin Bennett’s (*1964) widely ranging work is as rooted in the audiovisual and visual arts as it is in music. Justin Bennett produces (reworked) field recordings, drawings, performances, installations, audio walks, videos and essays. Recent work consists of thematic projects focussing on the role of the artist in urban development, the relationship of sound and memory and the history of psychiatry in relation to the occult use of technology. He collaborates widely with other artists including the performance group BMB con.
Lex van den Broek (*1967) studied electronics and information technology at the Rotterdam University of Applied Sciences. After his studies, he worked for sound projects, where he designed new amplifiers for active loudspeaker systems. Lex van den Broek is head of the Electronics Workshop (EWP) at the Royal Conservatoire. He has developed an expertise in guiding students and teachers of ArtScience, Composition and Sonology in the design and construction of electronics, in particular sensor-based (musical) instruments and multimedia installations.
Barbara Ellison (*1973) is an Irish artist and composer living and working in The Hague, who has composed for many diverse settings and setups which have involved live performers, amplified objects, electronics and prepared instruments in various configurations. She has a BA in Fine Art from NCAD (Dublin, 1994), a Master in Music and Media Technologies from Trinity College (Dublin, 2000) and a Master of Music in Sonology (2003).
Her current work explores perceptual ambiguity in the auditory and visual domain as a strategy to disorient the brain and the senses, and she received a PhD at the University of Huddersfield for her dissertation Sonic Phantoms. Her projects manifest themselves in diverse and often unexpected media and platforms involving long and intensive periods of practical and theoretical research. Recent field trips included trips to Baffin Island; the Arctic (2010), Iceland; Mamori Lake, Amazon, Brazil (2011), Svaneti, Georgia (2012), Danum Valley rain forest, Borneo (2012), Cardamom rainforest, Cambodia (2013), Mmabolela, South Africa (2013), Iceland and Australia (2013).
Raviv Ganchrow’s (*1972) work focuses on interdependencies between sound, location and listener, aspects of which are explored through sound installations, writing, and the development of acoustic-forming and vibration-sensing technologies. Recent installations address context-specific sites of hearing as modes of the contemporary listener. His on-going Listening Subjects project examines the contextual circuitry of listening whereby audibility, surroundings and subjectivity are ‘conductive’ of one another. He has been teaching architectural design in the graduate programme at Delft University of Technology and a faculty member at the Institute of Sonology since 2006.
Bjarni Gunnarsson (*1980) is anIcelandic composer / sound artist who has released numerous LPs, EPs, compilation tracks and reworks on labels such as Vertical Form, Thule, Uni:form, Spezial Material, Trachanik, Lamadameaveclechien, Shipwrec and 3LEAVES. He is concerned with process-based ideas, with sounds focusing on internal activity and motion, with compositions that bring behaviours, actions, fluid sound structures, fuzzy materials or forms into the foreground.
Bjarni Gunnarsson studied at CCMIX in Paris with Gerard Pape, Trevor Wishart, Agostino Di Scipio and Curtis Roads and has recently completed a Master’s degree at the Institute of Sonology. He is currently working with algorithmic composition, generative environments and live electronics. He is also working on new material with his long-lasting electronic music duo Einóma, and for MGBG, a duo of voice and electronics with singer Marie Guilleray.
Paul Jeukendrup (*1964), a sound designer and sound director, studied music registration and electronic composition at the Royal Conservatoire in The Hague. He has designed and directed sound for festivals (Holland Festival, Wiener Festwochen, Berliner Festwochen, Sonic Evolutions Festival Lincoln Center New York), and specialises in the field of new music.
He has worked in the Netherlands and abroad with composers such as Karlheinz Stockhausen (world premiere of the Helikopter Streichkwartett), Louis Andriessen, Heiner Goebbels and Peter Eötvös, and with ensembles such as the Arditti String Quartet, Ensemble Intercontemporain, Hilliard Ensemble, MusikFabrik, ASKO|Schönberg and London Sinfonietta.
Paul Jeukendrup taught sound design at Delft University of Technology from 1997 until 2001 and has been teaching at the Royal Conservatoire since 1999. Since 2009 he has been the head of the Royal Conservatoire’s Art of Sound department.
Ji Youn Kang (*1977) is a composer and sound artist. She studied composition at Chu-Gye University of Arts in South Korea, before she moved to the Netherlands and achieved her master's degree both in Sonology and in Composition at Conservatorium van Amsterdam. Most of her music pieces have been composed based on the rites of Korean Shamanism, and many of them were written for Wave Field Synthesis playback, exploring the relationship between musical and physical spaces. At the same time she has been composing live electronic pieces for both traditional and non-traditional instruments, ranging from a solo instrument to a large orchestra, exploring mostly the primitive, empowering rhythmical elements and the noisy sound sources that the Korean ritual music involves. She is also active as a solo performer.
Her pieces have been performed in many different venues and festivals such as La Biennale di Venezia (IT), Gaudeamus Muziekweek (NL), Internationales Musikinstitut Darmstadt (IMD), Time of Music (FI), Sonic Acts (NL), STRP (NL), SICMF( KR), Sonar (ES), Synthèse (FR), TodaysArts (NL), MISO (PT), Audiopolis (ES) and Festival de Música (ES).
Johan van Kreij (*1969) is a performer and composer of electronic music. In 1998 he graduated from the Institute of Sonology, where he started developing his own electronic musical instruments. He develops both the hardware and software: sensors and other equipment form the gestural part of these instruments, while the sounding part of the instruments consists of software that employs a wide range of sound synthesis models. The instruments are used in the performance of contemporary music, dance and theatre. Johan van Kreij has taught at the Institute of Sonology since 2001.
Peter Pabon (*1956) studied biochemistry, signal processing and sonology at Utrecht University. His professional career started in 1983 as a part-time researcher on a project called Objective Recording of Voice Quality with Professor Plomp at VU University in Amsterdam, and he worked at Utrecht University as a teacher/researcher on (singing) voice analysis and speech and music acoustics from 1983 until 2011.
He initiated a project for singing voice synthesis and analysis at the Royal Conservatoire that later resulted in a cooperative project with the singing department to monitor voice change as an effect of voice training. In 2002, he founded Voice Quality Systems, a company in which he develops the voice quality recording system Voice Profiler, which is nowadays in use at many clinical centres, conservatories and schools for professional voice training. Peter Pabon is currently writing a PhD thesis at KTH Stockholm, which has generated several papers and presentations on Voice Range Profile (VRP) recording methodology and the effects of voice training.
Gabriel Paiuk (*1975) is a composer and sound artist whose work deals with the problematisation of the conditions of experience of sound within the realm of widespread media. His work takes the form of sound installations and compositions for traditional instruments and particular loudspeaker setups, and has been performed internationally by ASKO ensemble, Kammerensemble Neue Musik Berlin, Slagwerk Den Haag, Francesco Dillon, Rank Ensemble, Ensemble 306, Kwartludium Ensemble, Quinteto Sonorama and Alexander Bruck. His electronic composition / sound installation Res Extensa was awarded the Gaudeamus composition prize in 2006.
He holds a Master of Music in Sonology (2012), was director of theCenter for Advanced Studies in Contemporary Music in Buenos Aires (2009) and taught sound design at the Center for Cinematographic Investigations in Buenos Aires (2004–2009). In recent years he has articulated his compositional practice with theoretical research, leading to talks and workshops in contexts such as the Master Artistic Research at KABK (co-led with Raviv Ganchrow), the Amsterdam School for Cultural Analysis (University of Amsterdam) and to a publication in Organised Sound magazine (Cambridge University Press, UK).
Active and activist, Irene Ruipérez Canales is a flutist and educator involved in different aspects of performance, music making, multidisciplinary projects and teaching. She has studied Flute, Education and Sonology. With a large trajectory playing in orchestras and ensembles, she is interested in extended practices and innovative uses of the flute applied to diverse transversal fields.
Spawned in the first generation of computer music hackers in San Francisco’s Silicon Valey, Joel Ryan (*1945) is a composer who has long championed the idea of performance-based electronic music. Drawing on his scientific background, he pioneered the application of digital signal processing to acoustic instruments. Since 1984, he has collaborated extensively at STEIM in Amsterdam with artists and musicians including Evan Parker, William Forsythe, George Lewis, Steina Vasulka and Jerry Hunt. He has taught philosophy, physics and mathematics. He is a researcher at STEIM in Amsterdam and tours with the Frankfurt Ballet. He has performed literally all over the world.
Kees Tazelaar (*1962) followed courses in Sonology in Utrecht and The Hague, and later studied composition under Jan Boerman at the Royal Conservatoire. He has been teaching at the Institute of Sonology since 1993 and has been head of the institute since 2006. His electronic music features a combination of formalisation, richness of sound and a compositional approach to sound spatialisation.
As well as a composer, Kees Tazelaar is a historian, who has specialised in the early years of electronic music in the Netherlands and Germany. He has twice been the Edgard Varèse Guest Professor at the Technische Universität Berlin, where he earned his PhD in 2013 with the dissertation On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands 1925–1965 (ISBN 978-94-6208-065-2).
Guest lectures and workshops have been provided amongst others by: Mathew Adkins, Folkmar Hein, Konrad Boehmer, Christopher Ariza, Wouter Snoei, Alvin Lucier, Evan Parker, Sarah Nicolls, Richard Cavell, Kaija Saariaho, Douglas Kahn, Peter Evans, Cathy van Eck, Sergio Luque, Arne Deforce, Matthew Ostrowski, Gottfried Michael Koenig, Francisco Lopez, Larry Polansky, John Richards, James Dashow, Stefan Weinzierl, Daniel Teruggi, Erwin Roebroeks, Diemer de Vries, Lawrence Harvey, Ramón Gonzalez Arroyo, Edwin van der Heide, Barry Truax, Dario Sanfilippo, Nicholas Collins, Hillel Schwartz, Roberto Doati, Trevor Wishart and Horacio Vaggione.