Curriculum Vitae

Profile

Postdoctoral researcher in computational musicology focusing on audio and symbolic score analysis across popular and electroacoustic music. Expertise in Python toolchains (music21, librosa), machine‑learning methods, and notebook‑driven, reproducible research. Proven record in third‑party funding (DFG), university teaching, and technically informed artistic practice.

Core Competencies

• Analytical stack: Python (pandas, Jupyter, music21, librosa); OpenMusic (Lisp).
• AI‑supported analysis: Timbre, rhythm, and structure; audio embeddings; evaluation pipelines for MEI/MusicXML corpora.
• Audio analysis and production: Ableton Live, Logic Pro, Max/MSP, Sonic Visualiser; studio supervision; front‑of‑house support for electroacoustic projects.
• Research transfer: Open Science (Git/GitHub), reproducible notebooks, curriculum design, cross‑institutional collaborations.
• University teaching: Course design, research‑led teaching, student project supervision.
• Research IT: Docker‑based deployment; cloud services.

Professional Experience

Postdoctoral Researcher - University of Music FRANZ LISZT Weimar (2025–present)

• Scientific conception and execution of the DFG project Development of a Comprehensive Cloud-Based Toolbox for Sheet Music Analysis (co-applicant with Prof. Dr. Martin Pfleiderer).
• Project coordination and team leadership: supervision of doctoral candidates and student assistants; alignment of research goals and deliverables.
• Methods and tooling development: Python workflows for MEI/MusicXML analytics, mei-friend enhancements for OMR corpora, packaging and delivery via Jupyter4NFDI; use of MEI/Verovio for interactive score representation.
• Contribution to national research infrastructure and transfer to teaching.

Researcher and Artistic Associate - University of Music and Theatre Leipzig (2013–2025)

• Teaching: independent design and delivery of seminars in computer-assisted analysis, AI for musicology, popular and electronic music, and electroacoustics.
• Coordination and supervision of the electroacoustic studio; support for numerous student productions; maintenance of live‑electronics hardware/software.
• Broad research profile: conception and development of computer‑assisted methods from audio synthesis (e.g., FFTimbre) and visualisation (AudioSpylt) to AI‑assisted analysis; applied to a wide range of repertoires.

Research Associate - University of Music FRANZ LISZT Weimar (2021–2022)

• Research and teaching pilots for the CAMAT toolbox; coordination of evaluation with faculty and students; workshops on computational score analysis and curricular transfer.

External Funding

• 2025–2028: DFG grant (€443,458) for the project Development of a Comprehensive Cloud-Based Toolbox for Sheet Music Analysis; scientific lead and co‑applicant (with Prof. Dr. Martin Pfleiderer).

Teaching Highlights

• Hearing (and analyzing) in time - Groove and metric analysis in electronic music (SS 2025).
• Algorithmic music models: from analysis to style transfer with Python/AI - probabilistic and machine learning techniques (WS 2024/25).
• AI and statistical analysis in musicological research - score and audio pipelines with machine learning (WS 2023/24).
• From track to DJ set, from sample to live performance - macroform concepts in popular electronic music (SS 2023).
• Annual foundational seminar Electroacoustic Music I and II (2013–2025) covering acoustics, digital production, and live electronics practice.

Education

• PhD in Musicology (Dr. phil.), University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig (HMT Leipzig), 2018 — Dissertation on computer-based analysis and visualisation; supervisors: Prof. Dr. Gesine Schröder and Prof. Dr. Martin Supper.
• Master of Music in Composition/Electroacoustic Music, State University of Music and Performing Arts Stuttgart (HMDK Stuttgart), 2014 — Prof. Marco Stroppa.
• Postgraduate Artist Diploma (Meisterklasse) in Electroacoustic Music, University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig (HMT Leipzig), 2013 — Prof. Ipke Starke.
• Diploma in Composition, University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig (HMT Leipzig), 2010 — Profs. Peter Herrmann and Ipke Starke.

Publications

• Polyakov, E. (2025). Encoding the New Frontier: Adapting MEI and Verovio for Post-Tonal and Spectral Notations. Music Encoding Conference 2025 Book of Abstracts. DOI: 10.17613/20s0d-gq678.
• Pfleiderer, M.; Polyakov, E.; Nadar, C. (2024). Analyze! Development and integration of software-based tools for musicology and music theory. In: Innovation in Music: Technology and Creativity. Routledge.
• Polyakov, E. (2021). Articles on George Crumb, loudspeaker orchestras, orchestras and new media, and recording technology. In: Lexikon des Orchesters. Laaber-Verlag.
• Polyakov, E. (2020). Computerbasierte Analyse und visuelle Repräsentationsformen der Musik. Dissertation, University of Music and Theatre Leipzig.
• Polyakov, E. (2019). “Immer ungenau und mangelhaft.” In: Proceedings of ‘Rimsky-Korsakov at 175’. St. Petersburg.

In Press / Accepted

• Polyakov, E. (forthcoming). “Exploration of Timbre by Analysis and Synthesis Using Python, Ableton, and Large Language Models.” In: Proceedings of Innovation in Music 2024. Routledge.
• Polyakov, E. (forthcoming). “Evaluation of Modern Computer-Aided Sheet Music Analysis Methods in a Practical Context.” In: GMTH Proceedings.

Under Review

• Polyakov, E. (under review). “Evaluating the Generalization Capabilities of Diffusion Models for Stylistically Constrained Symbolic Music Generation.” Submitted to Transactions of the International Society for Music Information Retrieval (TISMIR).
• Polyakov, E. (under review). “Understanding and Emulating Time: Analyzing and Simulating Musical Microrhythm Timing with the beat_it Toolbox.” Submitted to Proceedings of Innovation in Music 2025. Routledge.

Talks and Conferences

• 2025 — Talk: “How Machines Listen,” 25th Annual Congress of the Society for Music Theory (GMTH), Lübeck, 17–19 October 2025.
• 2025 — Symposium organisation: “Challenges of Computer-Assisted Score Analysis,” Society for Music Research (GfM) annual conference, Weimar, 6–9 October 2025.
• 2025 — Talk: “Binary score representations — an interactive method for motif, chord, function, and texture search in symbolic score representations,” GfM annual conference, Weimar, 6–9 October 2025.
• 2025 — Talk: “Understanding and Emulating Time: Analyzing and Simulating Musical Microrhythm Timing with the beat_it Toolbox,” Innovation in Music 2025, Bath (UK), 20–22 June 2025.
• 2025 — Poster: “Encoding the New Frontier: Adapting MEI and Verovio for Post-Tonal and Spectral Notations,” Music Encoding Conference 2025, London, 3–6 June 2025.
• 2024 — Workshop: “AI for Music Theory,” 24th Annual Congress of the Society for Music Theory (GMTH), Cottbus, 4–6 October 2024.
• 2024 — Talk: “How Constant Is Your Beat? Computer-Assisted Analysis of Beat and Tempo Fluctuations from Acousmatic Music to Minimal Techno with the beat_it Toolbox,” Rhythm under the Microscope: Microrhythm and Groove in Popular Music, mdw Vienna, 25–27 September 2024.
• 2024 — Talk: “Exploring Electroacoustic Music Analysis with Multimodal Large Language Models,” GfM annual conference, HfM Cologne, 11–14 September 2024.
• 2023 — Talk: “Reconstruct and Decompose: Extracting and Sonifying Rhythmic, Melodic and Spectral Patterns for Analytical and Creative Use,” GMTH annual conference, Freiburg, 22–24 September 2023.
• 2022 — Workshop: “Evaluation of computer-assisted music score analysis methods within the Fellowship project Computer-assisted music analysis at music university Weimar,” GMTH annual conference, Salzburg, 30 September–2 October 2022.
• 2022 — Talk: “Analyze! Development and integration of software-based tools for musicological and music theoretical needs,” Innovation in Music Conference 2022, Stockholm, 17–19 June 2022. (with M. Pfleiderer and C. Nadar)
• 2019 — Talk: “Immer ungenau und mangelhaft — description of instrumental tone colours in Rimsky-Korsakov’s ‘Principles of Orchestration’ in the context of current developments in computer-based timbre analysis,” Rimsky-Korsakov at 175, St. Petersburg, 18–21 March 2019.
• 2017 — Talk: “Self-similarity matrix in the context of computer-based timbre analysis and its use in teaching,” Symposium: Popular Music and its Theories, GMTH annual congress, Graz, 17–19 November 2017.

Artistic and Technical Support (Selection)

• 2018 - die maschine steht still (Johanna Wokalek, Fabian Russ). Role: live electronics realisation, stem mastering. Premiere: Futurium Berlin.
• 2016 - Fuer Tuba mit Hegel (Georg Katzer). Role: rehearsal, live electronics, restoration. Performance: University of Music and Theatre Leipzig.
• 2015 - Butterfly under glass (Fabian Russ, Laurie Young, Frieder Weiss). Role: live electronics and stem mastering. Premiere: Scala Esslingen.
• 2017 - Black is the Colour (Fabian Russ). Role: restoration and mastering for CD and online release. Label: Neue Meister (Edel).
• 2015 - Harmonia Mundi (Fabian Russ). Role: live electronics realisation, stem mastering. Premiere: Montforthaus Feldkirch.
• 2013 - Inside Partita (Folkert Uhde, Midori Seiler, Fabian Russ). Role: live electronics realisation, stem mastering. Premiere: St. Elisabethkirche, Berlin.
• 2009 - Utopia (Thomas Kessler). Role: rehearsal and technical assistance. Premiere: Viehauktionshalle Weimar.

Artistic Works (Selection)

• 2013 — “Core v2” for oboe, English horn, and 8‑channel live electronics.
• 2012 — “Manuals” for Paetzold recorder quartet and 4‑channel live electronics.
• 2011 — “Core v1” for oboe, English horn, and 4‑channel live electronics.
• — “Stereo‑Type II” for 2‑channel tape.
• 2010 — “Stereo‑Type” for 2‑channel tape.
• 2009 — “Double Helix” for oboe, cello, and 4‑channel live electronics.
• 2008 — “Schrittmacher,” 4‑channel sound installation.

Releases (Electronic Music)

• 2009 — Two Unknown Guys — “Swirl Planet EP,” Ornithopter Records (OR 005).
• 2008 — Two Unknown Guys — “The Rubber Duck Massacre EP,” Sinergy Networks (SN056).

Professional Memberships

• Gesellschaft für Musiktheorie (GMTH) — member since 2016.
• Deutsche Gesellschaft für Elektroakustische Musik (DEGEM) — member since 2018.
• Gesellschaft für Musikforschung (GfM) — member since 2024.

Personal Details

• Born 17 June 1984 in Bakhmut (formerly Artyomovsk), Ukraine.
• Married; two children.

Languages

• German - professional fluency.
• English - professional fluency.
• Russian - native speaker.

Contact

Email GitHub LinkedIn

Based in Markranstaedt, Germany. Publications may appear under the former transliteration "Poliakov."