Jeff Albert
Jeff Albert’s areas of research and creative practice include improvisation, jazz performance, performance paradigms for live computer music, and audio production. He has performed in concerts and festivals in the U.S. and throughout Europe, and contributed as a performer, producer, or engineer on over 60 recordings, including the 2017 Grammy winner for Best Traditional Blues Album. He has been named a Rising Star in the DownBeat Critics Poll, and his album Unanimous Sources was named a Top 10 album of 2020 by Jan Garelick in the Boston Globe.
He is looking forward to connecting his performance practice and the exciting music technology research for which Georgia Tech is so well known.
Henrik von Coler
Henrik von Coler is a composer, performer and researcher with a background in engineering, electronic music and empirical research, who will join Georgia Tech in 2023. In his creative work, the design of technological systems is an integral part of the creative process. His research topics include spatial aspects of fixed media and live electronics, algorithms for sound synthesis, novel instruments, control devices and artistic practices for solo performers and ensembles.
From 2015 to 2023, von Coler was the director of the TU Studio for Electronic Music at Technische Universität Berlin, where he founded the Electronic Orchestra Charlottenburg (EOC) for exploring the possibilities of live electronic ensembles on multichannel setups. He has performed and directed spatial music on immersive audio systems around the world and curated various concerts with international artists.
In his recent projects he aims at a profound integration of sound, space and Human-Computer Interaction to increase the expressive means of composers and performers.
Jocelyn Kavanagh
Jocelyn Kavanagh came into the field of music technology from an interest in sound design and live sound for theater. She has experience directing live theater as well as running tech for these productions. She came to Georgia Tech to study music technology, graduating with both bachelor's and master's degrees in the field. While pursuing studies and research, she also gained experience in marketing and event coordination.
As a student, she found Georgia Tech to be a great institution that thrives on collaboration, and she is thrilled to join the faculty to help foster that collaboration. This semester, she will teach Introduction to Audio Technology 1, the first exposure to the more technical side of music technology for many of our students. She's excited to share her passion for music technology and instill that passion into the next generation of students.
Alexandria Smith
Praised by The New York Times for her “appealingly melancholic sound” and “entertaining array of distortion effects,” Alexandria Smith is a multimedia artist, audio engineer, scholar, trumpeter, and educator who enjoys working at the intersection of all these disciplines. Her creative practice and research interests focus on building, designing, theorizing, and performing with wearable electronics that translate embodied biological data into interactive sonic and visual environments. To explore how electronic music is embodied through practice, she has been experimenting with ways to integrate biofeedback training and sensor observation into her electronic music, build controllers that go beyond keyboards and drum pads, and perform with interactive visual environments. Recent Performances include opening for Red Baraat at Tipitina’s with Marina Orchestra, David Behrman’s "Open Space with Brass" in New York City, performing in Wilfrido Terrazas’ “The Torres Cycle” in San Diego, and a curated concert of her work with biofeedback music for the nienteForte Concert Series. Her most recent audio engineering project, acclaimed as “splendidly engineered” by Downbeat Magazine, is bassist Mark Dresser’s Tines of Change where she was the tracking, mixing, and mastering engineer and co-producer.
Smith is looking forward to connecting with the brilliant students and faculty at Georgia Tech. She loves to collaborate on multidisciplinary projects and build new interfaces and systems for music, sonifying embodied data, and/or engaging music with other disciplines.