He was born in São Paulo on 1940 and began his piano studies at the age of eight with Professor José Kliass. At thirteen he began his career in Brazil and eighteen abroad.
His Carnegie Hall concerts, after her twenty-first year debut in a performance sponsored by Eleanor Roosevelt, have always sold out.
His recordings have often been among the best-selling, and newspapers such as The New York Times, Washington Post, and The Los Angeles Times have always devoted stories enthusiastic about his artistic personality. As a pianist, he was the only one to record J.S.Bach's masterpiece for keyboards, in a work recorded on 22 CDs, in 1998.
He left the stage definitively as a pianist in the year 2002 due to physical problems.
He is the only Brazilian musician who has had his life recorded by European filmmakers twice, the first film, Martin's Passion, directed by Irene Langman, already attended by more than one and a half million people in Europe and winner of several international festivals, and Rêverie by Belgian filmmakers Johan Kenivé and Tim Herman.
Twelve years ago he began his studies of regency. He performed successfully in London, Paris and Brussels as guest conductor, impressing on his performances the same dynamics he played as a pianist.
Thirteen years ago he founded Bachiana Filarmônica and developed a work with adolescents through his Bachiana Jovem. He idealized the Bachiana Foundation in 2006, whose theme is art and sustainability. In 2010 the orchestras were unified and form today the Bachiana Philharmonic SESI-SP.
Today, at the age of 79, he built a solid career with his orchestra, which was the first Brazilian orchestra to perform in January 2007 at Carnegie Hall, repeated in 2008.
João Carlos and his Bachiana returned to New York in 2009, 2010 and 2011, this time at Lincoln Center, once again taking the name of Brazil to international audiences.
In 2011, they performed at the Broward Center in Florida and returned to the Lincoln Center in New York, where they invited rhythm artists from the Vai-Vai samba school, showing the influence of African rhythms on the formation of Brazilian musical identity through works by Villa -Lobos, Guerra Peixe and Mateus Araujo. It was the first time in history that percussionists from a group played in these boxes.
In 2013 João Carlos Martins returned to New York, this time in front of The Saint Luke's Orchestra, in a memorable concert at the Metropolitan Museum, with repertoire entirely dedicated to J.S.Bach.
In the official seasons of the Bachiana Philharmonic, he developed countless actions of appreciation and democratization of concert music, as in 2013, in which each concert presented unpublished works by young Brazilian composers, he presented to Brazilian audiences young violinists of incredible talent Lucas Farias and Guido Sant'Anna, at the time with 12 and 9 years respectively, among others.
In its seasons, the Bachiana Philharmonic, which has already reached live about 14 million people, also counted on invited guests of international reputation, such as Pinchas Zukerman, Robert Levin, Amanda Forsyth and William Bennett.
Starting in 2014, LC Barreto along with Globo Filmes began the project of a feature film about the life of João Carlos Martins, which was completed in 2017. IN 2018 he beguns his most ambitious musical project - Orchestrating Brazil, which aims to form a thousand orchestras scattered in small Brazilian cities, surrounding it in the form of a heart. This project started in the State of São Paulo - Orquestrando São Paulo, and in just over two months already has 50 orchestras in cities with less than 30,000 inhabitants. Today he already have more than 200 in this project.
"A man born to do great things at the piano"
"One of the most important pianists in the world ..."
The New York Times
"First there was Glenn Gould ... Now there's João Carlos Martins, a Brazilian pianist whose Life story can be even more fascinating."
New Yorker Magazine
"The most exciting modern Bach piano performer to emerge from Glenn Gould."
"Martins seems possessed, free, hypnotizing in a demonic way. Your interpretations are glowing. "
Mr. Ruditsa is an author of cantatas, chamber and orchestra music. The area of his composition interests connected with a research of harmony and counterpoint, with a modern continuation of Medieval, Renaissance and Classical music traditions. Roman Ruditsa is a member of the Russian Union of Composers.
He wrote a number of musicological works devoted to questions of musical analysis, harmony and counterpoint.
Piano and harpsichord repertoire includes music of Jacques Champion de Chambonnières, Jean-Henri d'Anglebert and other representatives of the French harpsichord school, Cesar Franck, Franz Liszt, Mikhail Glinka, Joseph Haydn and Ludwig van Beethoven.
Mr. Ruditsa is also known for his music criticism articles in Russian journals.
In 2014, together with Andrey Bayadzhan, Roman Ruditsa invented the Musical Notation Keyboard and founded D Notation company, which aims to create a perfect digital note writing tool and develop mass learning of musical literacy.
Roman Ruditsa was born in 1972 in Tyumen, Russia. In 1995 he graduated from Saint Petersburg State Conservatory named after N.A. Rimsky-Korsakov (composition class of Sergei Slonimsky, piano and harpsichord class of Elena Seredinskaya, music theory class of Ekaterina Ruchievskaya). From 1995 till 1997 he had an assistantship in the composition class of Sergei Slonimsky, and from 1997 till 1998 had a PhD program in the musical analysis class of Dr. Ekaterina Ruchievskaya.
In 1990 he founded the Italian association for the analysis and theory of music (Gruppo Analisi e Teoria Musicale). He was one of the promoters of the foundation of ESCOM (European Society for the Study of Cognitive Aspects of Music), and president for three years of this society.
He has published works on music analysis, emotional aspects of music experience, social impact of music, methodology of music education and historical topics, particularly of 20th century music.
He graduated at Bologna University in 1999, under the supervision of Prof. Gino Stefani, and earned his PhD at Helsinki University in 2002, under the supervision of Prof. Eero Tarasti. He regards these two scholars as his most important academic mentors.
As of 2020, he has published thirteen monographs and ca. 150 among edited collections, studies and scientific articles. His most recent monographs include: What You See Is What You Hear (Springer, 2020), Give Peace a Chant (Springer, 2017), Basics of Animal Communication (CSP, 2017), Arts and Humanities in Progress (Springer 2016), Lights, Camera, Bark! (Technologija, 2014), Authenticity, Performance and Other Double-Edged Words (Acta Semiotica Fennica, 2011), A Critical Companion to Zoosemiotics (Springer, 2010). He also wrote a monograph of the “popular philosophy” type, entitled Lettera a un futuro animalista (Mursia, 2014), and translated in Lithuanian under the title Laiškai sūnui vegetarui (Kitos Knygos, 2017).
Besides his affiliations, he has been visiting professor in four academic institutions, and has been giving ca. eighty lecture courses in fourteen different academic institutions in Europe.
Dario is currently developing a new research path called “Numanities”, devoted to the rethinking of the role and paradigm of humanities in nowadays society.
He has been recipient of several prizes, including, in 2006, a knighthood from the Italian Republic for his contribution to Italian culture.
Her main model species are elephants, highly social mammals that combine a capacity for vocal learning with complex cognitive skills. Angela significantly contributed to the field by demonstrating imitative capacities in both species (Nature 2005/Current Biology 2012).
Angela Stoeger is further interested in the potential evolutionary interconnection of vocal learning with other cognitive skills such as, for example, rhythmic entrainment. Vocal learning and rhythm, crucial for human speech and music, might share a common evolutionary origin, a hypothesis that can be empirically tested in living model species that have convergently evolved vocal learning (e.g. parrots), especially those possessing sound production mechanisms similar to humans (e.g., elephants).
In the recent years, she published in high impact scientific journals, received grants (1.310.802 € of third-party funding as PI), scientific awards and her research was reported in numerous popular scientific reports (more than 100 reports, radio and TV documentaries).
She conducts research in the simulation and applications of immersive and 3D audio including the capture, analysis and synthesis of auditory environments, auditory displays and applications in augmented acoustic sensing.
She is the author of numerous publications about the acoustics and psychoacoustics of immersive audio and auditory displays, and is the co-editor of the book titled "Immersive Sound: The Art and Science of Binaural and Multi-Channel Audio".
Agnieszka is a Fellow of the Audio Engineering Society (AES), and the President of the AES.
Khannanov is currently the Vice-Chair of Scientific Committee and one of the founders of the Russian Society for Theory of Music. He is also a member of the Organizing Committee of the European Music Analysis Conference. His other engagements include a work as an editor in the journal Music Scholarship/Problemy Muzykal’noi Nauki (2007-2013), as an ethnomusicologist at the Bashkirian Branch of Russian Academy of Sciences (1988-1991) and as a church music director and organist at St. Lukes Episcopal Church in Annapolis.
Khannanov has been teaching core undergraduate theory sequence and a number of graduate seminars in theory of Russian music in the United States for the past fourteen years and has presented papers on topics of Russian music theory and analysis, theory of formal functions, philosophy, semiotics and methodology of harmony and aural skills at the national and international conferences. His publications include: Music of Sergei Rachmaninoff: Seven Musical-Theoretical Etudes (Kompozitor: Moscow, 2011), “A Watershed in Analytical Tradition: Valentina Kholopova’s Theory of Musical Content,” a chapter in L’Analyse musicale aujourd’hui, (Delatour: Paris, 2014), “Line, Surface and Speed: Nomadic Aspects of Melody,” a chapter in Sounding the Virtual: Gilles Deleuze and Philosophy and Theory of Music (Ashgate: London, 2010), articles on theory of formal functions, approaches to analysis, musical semiotics, music of Sergei Rachmaninoff and Dmitri Tiomkin in Vereiniging voor Musiektheorie, Goldbergstiftung, Acta Semiotica Fennica, Res musica, Theoreia, Film Music Journal and Musical Academy Quarterly, as well as philosophical studies in Sinij Divan and Logos.
He has performed in many prestigious venues across a dozen countries on four continents. His career highlights include multiple engagements at the Carnegie Hall, innovative recital programs like "Beyond 88" and the "Mostly Debussy" series, a complete performance of Des Knaben Wunderhorn at the Shanghai Conservatory, directorship of the complete Duparc melodies at Songfest in LA, and collaborations with American composers such as William Bolcom, Jake Heggie, Libby Larsen, and John Musto.
Wong's academic achievements include his Yale doctoral thesis "Perspectives on Claude Debussy’s Douze Études” and the article "Humour in Late Debussy: Multiple Perspectives on Douze Études" published on the Musical Times.
As an educator and administrator, Lucas Wong was a founding faculty member at the Soochow University School of Music (China), where he served as piano professor and coordinator for chamber music, collaborative piano, and staff accompanists.
He has been regularly invited to give masterclasses and adjudications in top institutions, festivals, and competitions.
Lucas Wong began his early training at the Hong Kong Academy for Performing Arts. He is a graduate of the University of British Columbia (B.Mus.) and Yale School of Music (M.M., M.M.A., D.M.A.).
For more information, visit www.lucaswongpiano.com, www.findbach.com, and www.ipait.ca.
Julie holds the following qualifications:
- Bachelor of Education (Honours), Queensland University of Technology
- PhD, Queensland University of Technology
- Bachelor of Music, Queensland University of Technology
- Associate Diploma in Music, AMEB
Julie has served as Editor-in-Chief of the (SCIMAGO Quartile 1) Research Studies in Music Education (SAGE) since 2018 and was also Chair of the International Society of Music Education (MISTEC) from 2016-2018. She has served on editorial boards for the International Journal of Music Education, Education Studies, Research Studies in Music Education and Psychology of Music, and as Secretary for the Asia-Pacific Society of Music Education Research.
Julie's research output is marked by over 45 refereed publications including a research monograph and an edited book, with most of her journal articles in top tier journals. She is ranked 15th out of 30828 international authors cited in the field of ‘music’ since 2011 (InCites Thomson Reuters. Report Created: 13th April, 2020), and within Australia, she is the 5th (of 1242), most cited author in the field of ‘music’ since 2011 (InCites Thomson Reuters. Report Created: 13th April, 2020).
She has presented at various international conferences both in Australia and overseas, and led an Australian Learning and Teaching Council Grant (known as Music Teachers Oz) that used online, collaborative case-based learning in music education courses across Australia.
Julie has been a visiting scholar at New York University, Oakland University, the University of South Florida, and a guest speaker at Trinity College Dublin. She frequently addresses international audiences on her areas of research expertise, collaborates widely, and has examined theses from key institutions around the world (Sibelius Academy, Helsinki, The Education University of Hong Kong, University of Melbourne, University of Sydney, Newcastle University, Australian National University, Griffith University). She enjoys teaching pre-service and in-service teachers at the Bachelor and Masters Level, as well as supervising several PhD students.
Author of the books: «Chopin’s Piano Miniature» (1995), «Piano Miniature and Ways of Musical Romanticism» (1997; 2nd ed. - 2019), «Music – Eidos – Time. A.F. Losev and scope of contemporary discipline of music» (2015, in English transl. - 2018), the set of 5 books “Music in the Space of Culture” (with co-author Konstantin Zhabinsky) and more than 150 articles.
Participated in many (more than 300) musicological conferences in Russia, many of European countries, America, Asia and Africa, read lectures as invited professor in the universities of Philadelphia, Hong Kong, Leuven, Nur-Sultan, Cisinau etc. Chief-editor of the musicological magazines «Nauchny Vestnik Moskovskoy Konservatorii» (since 2010), “Music of Eurasia. Traditions and the Present” (since 2020).
A founder and vice president of the council of OTM (Society for Theory of Music in Russia). Also a pianist, takes part in the concerts as a soloist and in ensemble (Russia, China, Belorussia, Belgium, Austria etc.)
After receiving degrees in Biology and Medicine (BA) and Cognitive Science (PhD) at Brown University, Fitch took a one-year break to travel around the world on a mountain bike. During his post-doctoral years he took another one-year break to patent an invention (a sonification system for anesthesiologists, later purchased by Johnson & Johnson) and founded a start-up company in Cambridge, Massachusetts. Following an NIH postdoctoral fellowship in Speech and Hearing Science at MIT and Harvard, Fitch became a lecturer at Harvard (in both Biology and Psychology). He moved to Europe in 2002, where he was a visiting researcher at the European Institute for Advanced Studies (Wissenschaftskolleg Berlin). He then occupied posts as a senior lecturer and then Reader at the University of St Andrews, Scotland, during which he also occupied a visiting Leibniz Professorship in Leipzig. Finally, he joined the Faculty of Life Sciences at the University of Vienna as a full Professor in June 2009, where he co-founded the Department of Cognitive Biology in 2010.
In addition to his scientific interests Fitch is an avid musician. He sings and plays guitar and percussion, and composes music in many styles. His most recent project involves setting poems of the great English poets to music, in a variety of popular music styles (from rock to salsa).
Associate Professor at Music Theory Departament of the St. Petersburg Rimsky-Korsakov State Conservatory
A winner of "The Independent Music Awards”. As an often speaker at different international panels on Art & Tech, she has shared a stage with AL Gore, Tim Berners-Lee, Vint Cerf. Masha Brodskaya aka ÅMBE is featured in Forbes Magazine and The New York Times, PBS NewsHour, CBS, Brooklyn Public TV, RTVI channel, as well as multiple radio shows and music magazines. In her creative work she has been bridging electronic and classical music with Virtual & Augmented Realities, as well as Neuroscience.
Masha Brodskaya has collaborated with various Grammy-winning artists and producers, including Lisa Fischer, (Rolling Stones, Sting, Tina Turner, Bobby McFerrin...), Brian Forbes (Emily King, Sam Barsh, Sonya Kitchell, Bilal, Terrel Stafford), Fernando Otero (Paquito D'Rivera, the Kronos Quartet, Quincy Jones, Eddie Gómez, Dave Valentin, Dave Grusin), as well as Manhattan Symphonie Orchestra, and VR Lab “Jump Into The Light”, United Nations, The Safe Water Network, and many more.
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