Curriculum Vitae

Profile

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

Core Competencies

• Analytical stack: Python · Lisp (OpenMusic).
• Symbolic music analysis: Statistical and corpus-based analysis.
• AI-supported analysis: Timbre, rhythm, and structure; audio embeddings; generative models.
• 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 · CI/CD · 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; interactive score representation with MEI/Verovio.
• 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 (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).
• Electroacoustic Music I and II — Annual foundational seminar (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 of music; 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.
• Polyakov, E. (forthcoming). “Understanding and Emulating Time: Analyzing and Simulating Musical Microrhythm Timing with the beat_it Toolbox.” In: Proceedings of Innovation in Music 2025. Routledge.

Talks and Conferences

• 2026 (accepted) — Talk: “Beyond the Black Box: Democratizing Musical Analysis and Creative Workflows via LLM-Empowered Cloud-Based Jupyter Setups,” InMusic26, Aalborg, Denmark, 18–20 June 2026.

• 2026 (accepted) — Poster/Demo: “Bridging Algorithmic Power and Visual Interactivity: A Hybrid Python–MEI Workflow Using CAMAT and mei-friend,” MEC2026, Tokyo, Japan, 26–29 May 2026.

• 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.
• 2017 — Black is the Colour (Fabian Russ). Role: restoration and mastering for CD and online release. Label: Neue Meister (Edel).
• 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.
• 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.
• 2011 — “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."