Lasse Thoresen is a professor of composition at the Norwegian State Academy of Music where he has taught composition, electro-acoustic music, and sonology since 1975. He received a graduate degree in composition in 1972 from the Oslo Music Conservatory, where he studied under Finn Mortensen, after which he studied electro acoustic music and composition under Werner Kaegi at the Institute of Sonology in Utrecht, the Netherlands. From 1978 to 1981 he conducted a post graduate research project in sonology with support from the Norwegian ‘Norwegian Research Council for Science and the Humanities’.  From 1988 to 2000 Mr. Thoresen occupied the principal chair of composition at the Norwegian Academy of Music in Oslo where he is still teaching composition. Mr. Thoresen has received a number of important awards: the Norwegian Society of Composers’ Work of the Year award for Stages of the Inner Dialogue for piano (1981), AbUno (1992), Carmel Eulogies (1993); the Music Critics’ Award for Qudrat, a work for synthesizer and percussion, the Lindeman award for his integral work as a composer (1987). In 1987 Illuminations for violoncello and orchestra obtained honorary mention in the Prix Italia.  He won Spellemannsprisen — the Norwegian equivalent of a Grammy — for the CD The Sonic Mind, featuring a violin and a cello concerto recorded by the Oslo Philharmonic (1998). In 2001, he received Prix Jacques DURAND from Institut de France, Academie des Beaux Arts for his music.  In 2002 he receives the Foundation Samii-Housseinpour Price (Belgium). In 2003 he receives the Edvard Prize for his 60 minutes’ suite for Folk Singer and Sinfonietta Løp, lokk og linjar. For three years he is composer in residence at Festival Présences, the major musical festival of Radio France, Paris (2004-2007). Influenced by Norwegian folk music, French spectral music and Harry Partch’s tonal system “Just Intonation,” as well as from his ethno-musical studies of the folk music from his own country and from Asia. Mr. Thoresen has been using microtonal principles in a number of his works since 1985. His approach to instrumentation has imported features from Musique Concréte.  Stylistically his production exhibits great variety. His pioneer work on musical analysis, combining a phenomenological approach with a structuralist approach to analytical method inspired by Pierre Schaeffer, has attracted international attention, and is the only Norwegian Music Theory project mentioned in the article on Analysis in The New Grove’s Dictionary of Music.  Mr. Thoresen has lectured extensively on his music and his method of musical analysis in Universities and Conferences  in Oslo, Bergen, Tromsoe, Trondheim, Stockholm, Malmoe, Gothenburg, Helsinki, Jyväskylä, London, York, Baghdad, Amsterdam, Utrecht, Gent, Hamburg, Moscow, Paris, Landegg (Switzerland), Kiev.

Born in Sliven (Bulgaria). Studies of violin and musicology at the Sofia State Conservatory, in Moscow at the State Conservatory “Peter Iljitsch Tschaikowsky“, scholarship of the City of Basle at the conservatory and university. She continued her studies at the University of Paris VIII (philosophy, aestheticism, musicology, linguistics) and in Berlin (scholarship of the A. v. Humboldt foundation, Technische Universität Berlin – musicology, philosophy). Doctorate in 1974, postdoctoral thesis in 1981: “Narrativität und künstlerische Aussage / Formprinzipien in der Musik des 20. Jahrhunderts“ at the University of Paris VIII. Numerous publications of books and essays translated into many languages. Since 1973 lectures at the Music Department of University of Paris VIII, Vincennes/Saint Denis. Between 1989 and 1991 lectures at University of Paris IV, Sorbonne, Musicology Department. 1975-1981 active in IRCAM, CNAC “G. Pompidou“. Artistic director of the publishing house Ricordi Paris between 1988 and 1999. She is currently professor at the Music Department of the University of Paris VIII. Member of Scientific Committee, president of Committee of Specialists (arts and philosophy) at the University of Paris VIII. Since 2003 member of University Council at the University of Music and Dramatic Arts Graz.

Professor of Music History, pursues research in Textual Criticism and Editing Music, Medieval Music with a particular interest in Music and Liturgy in Medieval Aquitaine, and Popular Music since World War II. His books include The Critical Editing of Music (1996) and The Musical World of a Medieval Monk: Adémar de Chabannes in Eleventh-Century Aquitaine (2006), both with Cambridge University Press, The History of Musical Notation (forthcoming from Cambridge University Press) and a palaeographic study of the music hand of Adémar de Chabannes (forthcoming from Brepols). He has also published articles in Journal of the American Musicological Society, Journal of Musicology, Early Music History, Acta Musicologica, Plainsong and Medieval Music, Musica Disciplina, Revue d’Histoire des Textes, Speculum, Scriptorium and Journal of Medieval Latin. His research has been supported by numerous grants from the Social Sciences and Humanities Research Council of Canada, and a Morse Fellowship while at Yale University. In 2002-3, Professor Grier held the Edward T. Cone Membership in Music Studies in the School of Historical Studies, Institute for Advanced Study, Princeton. For the period 2009-12, he has been awarded a Killam Research Fellowship, as well as Fellowships from the National Endowment for the Humanities and the American Council of Learned Societies for his research in The Foundations of Musical Literacy in the Medieval West 800-1100. He taught in the Department of Classical Studies, University of Waterloo, Mount Allison University, and the School of Music at Queen’s University, before joining the Department of Music, Yale University, where he taught for seven years. Professor Grier joined the Faculty of Music, University of Western Ontario in 1997, and has held the rank of Full Professor there since 1999.  MusBac, Composition, University of Toronto, 1975; BA, Latin Language and Literature, University of Toronto, 1977; MA, Medieval Studies, University of Toronto, 1979; PhD, Medieval Studies, University of Toronto, 1985.

Composer, double bass player, sound artist and researcher at Ircam. Gilbert Nouno lives and works in Paris and Rome. He was awarded the Rome Villa Medicis grant in 2010 and the Kyoto Villa Kujoyama grant in 2007. His last compositions were given in New York, Paris and Tel Aviv. His music draws inspiration from graphic works, design, visual arts, and conveys an open form for composition, at the edge of improvisation and writing. Gilbert Nouno has been teaching electronic music composition at the Jacques Ibert Conservatory in Paris. He is working as an electronic designer and musician together with numerous other artists, including Jonathan Harvey, Suisan Buirge, Brian Ferneyhough, Kaija Saariaho, Michael Jarrell, Michael Obst, Michaël Lévinas, Pierre Boulez, the jazz saxophonist Steve Coleman and the collective of improvised music Octurn. He holds a Masters and PhD degree from Ircam and University of Paris 6 in computer music and artificial intelligence and is currently carrying out research on human-machine rhythmical interactions. He has followed parallel music courses in the Paris Conservatory : Indian classical music with Patrick Moutal, Jazz with Riccardo Del Fra, composition and musical analysis with the composer and pianist Michaël Lévinas.

Professor de Contrabaixo, Música de Câmara, Pesquisa em Música e Práticas de Performance na UFMG, onde criou o Mestrado em Música e a Revista Per Musi. Pesquisador do CNPq desde 1994, é Doutor em Contrabaixo pela University of Georgia e Mestre em Contrabaixo pela University of Iowa, EUA. Organizou o I Seminário Nacional de Pesquisa em Performance Musical (1999), o IV Encontro Internacional de Contrabaixistas (1996), o II Concurso Nacional de Composição para Contrabaixo (1996) e o I Concurso Nacional de Contrabaixistas (2002). Tem representado o Brasil nos principais eventos nacionais e internacionais do contrabaixo acústico (EUA em 1993, 1995, 1997, 1999 e 2001, França em 1994, Escócia em 1998). Tem apresentado trabalhos nos congressos da International Society of Bassists Convention, SBPC, Encontros Internacionais de Contrabaixo, Encontros Nacionais da ANPPOM, GAMUT Annual Meeting - Georgia Association of Music Theory. Tem publicado dezenas de artigos em importantes periódicos nacionais e internacionais nas áreas de performance, análise e musicologia histórica (veja Currículo Lattes no site do CNPq). Solista premiado diversas vezes no Brasil e no exterior, é contrabaixista do Trio Novarte e da Geraes Jazz ´round. Sua obra Uma Didática da Invenção foi premiada com o 3º Lugar no III Concurso Nacional de Composição para Contrabaixo (UFG, 2000). Coordenou duas vezes o Projeto Artista Visitante da UFMG com a Oficina UAKTI (1996) e a Oficina de Luteria de Contrabaixos para Crianças (2002).