Lydia Andrew is currently the Audio Director at Ubisoft Quebec, having previously worked as an Audio Director for Electronic Arts. Most recently, she has served as Audio Director for the Assassin’s Creed games.

Michael L. Austin is Founding Director of the School of Music and Associate Professor of Music at Louisiana Tech University. His research encompasses a wide variety of topics concerning music, technology and the moving image. He is the editor of Music Games: Performance, Politics, and Play (2016).

Ben Babbitt is a composer and one-third of the game developer Cardboard Computer. Beyond his work for albums and film, he composed the music for Kentucky Route Zero (2013–2020).

Thomas Böcker is the founder of Merregnon Studios. He has been conceiving, producing and promoting video game music concerts since 2003. He organized the first game music concert outside Japan and continues to produce orchestral game music albums featuring high-profile orchestras and ensembles.

Rob Bridgett is an author and audio director. His books, including Game Audio Culture (2013) and From the Shadows of Film Sound (2010), are informed by his professional work as audio director on titles including Shadow of the Tomb Raider (2018).

James Cook is Lecturer in Music at Edinburgh University. As well as researching Early Music (especially music of the fourteenth to sixteenth centuries), he investigates the representation and use of Early Music in popular culture. He is a co-founder of the REMOSS (Representations of Early Music on Stage and Screen) study group.

K. J. Donnelly is Professor of Film and Film Music at the University of Southampton. His books include The Spectre of Sound: Music in Film and Television (2005) and Occult Aesthetics: Sound and Image Synchronization (2013). He is the co-editor of Music in Video Games: Studying Play (2013).

Melanie Fritsch is Junior Professor in Media and Cultural Studies with a focus on Game Studies and related fields at Heinrich Heine University Düsseldorf. She is a member of the Ludomusicology Research Group, co-founder of the Society for the Study of Sound and Music in Games and the author of Performing Bytes: Musikperformances der Computerspielkultur (2018).

William Gibbons is Associate Professor of Musicology and Associate Dean of the College of Fine Arts at Texas Christian University. He is the author of Unlimited Replays: Classical Music and Video Games (2018) and co-editor of Music in Video Games (2013) and Music in the Role-Playing Game (2019).

Mark Grimshaw-Aagaard is Obel Professor of Music at Aalborg University. He has published extensively on sound both in and beyond video games. He has edited books including Game Sound Technology and Player Interaction (2011), and the Oxford Handbook of Virtuality (2014) and Oxford Handbook of Sound and Imagination (2019).

Iain Hart completed his PhD on the semiotics of video game music at the University of Sydney. His research encompasses a variety of topics and approaches, though it is fundamentally concerned with the communicative functions of music. He has also researched music and genre in video games.

Andra Ivănescu is a Lecturer in Game Studies and Ludomusicology at Brunel University London. Beyond music her work also engages with key concepts in nostalgia, genre, gender studies and film studies. She is the author of Popular Music in the Nostalgia Video Game: The Way It Never Sounded (2019).

Michiel Kamp is Assistant Professor of Musicology at Utrecht University. His research takes hermeneutic and semiotic approaches to music in video games and related audiovisual media such as films and virtual reality. His recent publications include research on Diablo III and Skyrim.

Andrew Lemon is a senior lecturer in Music and Sound Design at London South Bank University whose career has spanned multiple platforms including video games, film and art installations. He produces audio for mobile games and is active in the demoscene, as well as building custom music technology including one-off hardware synthesizers.

Kenneth B. McAlpine is Melbourne Enterprise Fellow in Interactive Composition at Melbourne Conservatorium of Music. His research focuses on how technology changes the creation and consumption of music. He is the author of Bits and Pieces: A History of Chiptunes (2018) and has composed music for film, television and video games.

Elizabeth Medina-Gray is Assistant Professor of Music Theory at Ithaca College. Her research focuses on developing novel analytical approaches to music and sound in video games. She has illustrated her approaches through analysing games including Flower, Portal 2 and Legend of Zelda games. She also edits the Journal of Sound and Music in Games.

Guy Michelmore is a composer for film, television and games. He is also the CEO of ThinkSpace Education, an online postgraduate degree provider in music and sound design, for film, games and television.

James Newman is Professor of Digital Media at Bath Spa University. He has published numerous books on games including Videogames (2004/2013), Playing with Videogames (2008) and Best Before: Videogames, Supersession and Obsolescence (2012). James is Senior Curator at the UK’s National Videogame Museum and a co-founder of the ‘Videogame Heritage Society’ Subject Specialist Network.

Junko Ozawa is a video game composer and sound designer. She was a member of the influential Namco Sound Team and created sound for games including Gaplus (1984) and The Tower of Druaga (1984). Her innovative approaches to audio helped shape video game music in its formative years.

Dana Plank is Lecturer in Music at Ohio State University. Her research interests include disability studies, music and identity, and the sacred music of Carlo Gesualdo. Apart from her PhD research on representations of disability in 8- and 16-bit video game soundscapes, she has also published research on the online culture of Mario Paint Composer and the musical national politics of Tetris.

Steven Reale is Professor of Music Theory at the Dana School of Music at Youngstown State University. His research interests include music in video games and music analysis, often in combination. He is the co-editor of Music in the Role-Playing Game (2019) and has published on games including L. A. Noire as well as theoretical topics such as metric dissonance in music.

Hillegonda C. Rietveld is Professor of Sonic Culture at London South Bank University. Her research focuses on electronic dance music culture, in addition to electronic music and game music. She is the editor of IASPM@Journal, for the Association for the Study of Popular Music and the author of This Is Our House: House Music, Cultural Spaces, and Technologies (1998).

Richard Stevens is Course Director for the postgraduate programmes in music and sound at Leeds Beckett University. His research interests include the impact of interactive music systems on the video game player experience. He is the co-author of Game Audio Implementation (2015) and The Game Audio Tutorial (2011) amongst other book chapters and articles on game sound and music.

Tim Summers is Lecturer in Music at Royal Holloway, University of London. He is the author of Understanding Video Game Music (2016) and co-editor of Ludomusicology: Approaches to Video Game Music (2016), as well as other book chapters and articles on video game music.

Ryan Thompson is Professor of Practice at Michigan State University. His research focuses on intersections between gameplay and audio and he creates remixes of game music as part of OverClocked ReMix. His research has included work on Final Fantasy, League of Legends and music in e-sports events.

Chris Tonelli is Assistant Professor in History and Theory of Popular Music at the University of Groningen. His research interests include music and culture in Japan, unconventional vocal sound and popular music as mimesis. He is the author of Voices Found: Free Jazz and Singing (2020).

Duncan Williams is Lecturer in Acoustics and Audio Engineering at the University of Salford. He combines his research interests in psychoacoustics and the human responses to sound with a career as a composer. He is the co-editor of Emotion in Video Game Soundtracking (2018).