As a researcher in psychology of music, he received a Ph.D. at Padova University, discussing an experimental research about the perception of environmental sounds. For reason of research and advanced study Biasutti spent time at Indiana University in Bloomington and at the University of California at Berkeley. He was visiting professor at New York University. 
His writings have been published in several international psychological reviews. Among them: International Journal of Psychosomatics, Rivista di Musicoterapia, Hearing Research (Elseiver). He is the author of the books: Scholar Autonomy and Educational Research (cleup), Environmental Sound Education (La Nuova Italia). He has taught at the Conservatories of Novara and Venice.
His music is recorded on Compact disc Artis-Cramps (arcd 062, Polygram distribution), Fondazione Russolo-Pratella (Ef. Er. P94), Rivo Alto (crr 2111, crr 2025, crr 9511, crr 9610, Electa and Ducale distribution), Intersound IS 01-7, Accademia Musicale Pescarese (mv001).
Michele Biasutti specializes in ecological music, music which seeks to return to the essential elements of human nature, re-evaluating the primary sphere of human auditory perception. He is interested in the relationship between scientific thought and the logic of music, applying the results to his composition and research.
Michele Biasutti is Associate Professor at Padova University.

Renzo Cresti is a noted musicologist, author of 40 books, 28 books listed in the National Library of the Ministry of Cultural Heritage (the most important of these being his studies on contemporary music), he is very active in the cultural world and he is a permanent teacher of the history of Music at the Conservatory in Lucca. 
He was born in Florence in 1953. He studied guitar and double bass at the Conservatory there and then went on to the University of Bologna where he took a degree in art, music and theatre. He thereafter did post-graduate studies, writing two theses on Wagner which later formed the basis of his book Wagner oggi, Padua 1983, 2nd edition with a preface of Luigi Rognoni.
In the seventies he founded the Florence Music Centre and the magazine Prisma to which he contributed several articles on cultural questions. He also had a variety of experiences playing guitar and double bass. He has been a member of a number of music societies, including the “G.A.M.O.” in Florence and “Musica Futura Society” in La Spezia. He has organised and continues to organise international musical events and festivals. It was he who conceived the Anfiteatro Jazz season in Lucca where he also revived the illustrious Jazz Circle. He has worked with several universities, some of them outside Italy, grand opera companies, traditional theatres, music conservatories, colleges, international music associations, cultural organisations, the Biennale in Venice, the Chigiana in Siena, Italian public TV and so on.
He was music consultant for the Teatro del Giglio in Lucca for four years from 1995 to 1998, was one of the founder members of the Italian Composers’ Federation, is presently on the science committee of the adult study centre in Lucca (Università dell’età libera) and has organised exhibitions and congresses. In addition he is in great demand as a speaker at conferences and works with Directors of Studies for in-service teacher training.
He has been a regular contributor to numerous periodicals such as Piano Time, La Musica, FaLaUt, Konsequenz, Orfeo nella rete, La linea dell’occhio and Antologia del Gabinetto Viesseux. Since 1988 he has written a column in Il Grandevetro, called “I fatti della Musica”, and another in the monthly publication Luna Nuova, called “I suoni della Luna”. He writes regularly for the magazines Erba d’Arno and Feeria and the latter is presently publishing a collection of his articles that appeared in this magazine (Il cuore del suono, 2001). He was a member of the editorial board of the magazine Musica Attuale for which he edited a number of Quaderni monographs on aspects of music in the 20th century. He also edited the Gazzetta record catalogue, Il Pasquino Musicale, from 1991 to 1993. His articles have been translated into English, French, German and Spanish.
He has published more than thirty books including textbooks such as Per una nuova storia della musica, now Ipertesto di Storia della musica (ed. Feeria) and numerous books on different composers including the above mentioned Wagner oggi,, Giacomo Puccini, l’intimismo fatto spettacolo (Fucecchio 1995, translated into English, Lucca 1998) and Vincenzo Galilei (Santa Maria a Monte 1985). Recently he edited a volume about the singer Franco Calabrese (Lucca 1997).
He specialises in the 20th century and has written monographs on Petrassi, Scelsi, Margola, Prosperi, Chailly, Berio, Donatoni, Clementi, Castiglioni, Gaslini, Nono, Cesa, Giani Luporini, Bussotti and others. Since 1991 he has been director of the Miano list called “Il Cammeo Blu” in which he published a powerful series of essays on contemporary composers an music. Included in his many contributions to today’s music are the first Italian anthology of young musicians, Verso il 2000 (Pisa 1990) and a collection of writings entitled Autoanalisi dei compositori italiani contemporanei (Naples 1992). He also edited the Enciclopedia italiana dei compositori del Novecento, 3 volumes and 10 CDs (Naples 1999-2000).
In addition to his teaching, organising musical events and writing about music, Renzo Cresti is interested in the figurative arts and edits several catalogues and works written about contemporary artists (Corbani, Romiti and so on). He is deeply interested in philosophy and literature and has written some poetry, two librettos (set to music by Gottardo, Deraco and Cecchi) and several pieces of travel writing (which appeared in Il Grandevetro and Feeria).
His love of writing has led him to break away from specific themes and to allow himself to go where his pen and his heart take him. It was in this way that his first novel, Nella notte, la fiamma (Empoli 1995), and his long story, Un mondo a parte (published in the magazine Pietraserena) came to be written. In 1996 he was amongst the prize winners in the Domenico Rea Competition in Empoli, with his short story Andare. The well known Milan publishers, Jaca Book, published his second novel, La Terra che canta, in 1999.
He also edited: Firenze e la musica italiana del secondo Novecento, LoGisma, Florence 2004. L'Arte innocente, and cdrom, Rugginenti, Milan 2004. Gaetano Giani Luporini, musica fra utopia e tradizione, LIM ANTIQUA, Lucca 2005. Testimonianze di civiltà, le Bande musicali nella Provincia di Lucca, Lucca 2006.

James Dashow has had commissions, awards and grants from the Bourges International Festival of Experimental Music, the Guggenheim Memorial Foundation, Linz Ars Electronica Festival, the Fromm Foundation, the Biennale di Venezia, the USA National Endowment for the Arts, RAI (Italian National Radio), the American Academy and Institute of Arts and Letters, the Rockefeller Foundation, Il Cantiere Internazionale d'Arte (Montepulciano, Italy), the Koussevitzky Foundation, Prague Musica Nova, and the Harvard Musical Association of Boston. 
In 2000, he was awarded the prestigious Prix Magistere at the 30th Festival International de Musique et d'Art Sonore Electroacoustiques in Bourges. 
A pioneer in the field of computer music, Dashow was one of the founders of the Centro di Sonologia Computazionale at the University of Padova, where he composed the first works of computer music in Italy, and has taught at MIT, Princeton University, the Centro para la Difusion di Musica Contemporanea in Madrid and the Musica Viva Festival in Lisbon; he lectures and conducts master-classes extensively in the U.S. and Europe, most recently for the Conservatorio di Musica Benedetto Marcello 
in Venezia (december, 2004) where he taught an intensive series of workshop/master classes in digital sound synthesis techniques applied in particular to compositional practices, and to various aspects of the spatialization of sound.
He served as the first vice-president of the International Computer Music Association, and was for many years the producer of the radio program "Il Forum Internazionale di Musica Contemporanea" for Italian National Radio. 
He has written theoretical and analytical articles for Perspectives of New Music, the Computer Music Journal, La Musica, and Interface. 
He was the subject of an extended interview published in the Computer Music Journal (Summer, 2003). 
He is the author of the MUSIC30 language for digital sound synthesis. His music has been recorded on WERGO (Mainz), Capstone Records (New York), Neuma (Boston), RCA-BMG (Roma), ProViva (Munich), Scarlatti Classica (Roma), CRI (New York), BVHAAST (Amsterdam) and Pan (Roma).

Juraj Duris, graduated at the Slovak Technical University in 1978 and since then he has been working at the Experimental Studio of Radio Bratislava. He achieved his music and composition education through private studies. He participated in creation of several electroacoustic compositions and produced a number of his own projects. He participates in several intermedia activities and computer art projects in Slovakia and outside. He was working at Experimental Studio of Radio Bratislava as Programme adviser and specialist for electroacoustic and computer music. 
Member of jury 1991 - 2003 Concorso Internazionale <<Luigi Russolo>> in Varese, Italy, - member of jury Musica Nova - 1995 - 2005 Prague, - member of jury IREM (International Rostrum of Electroacoustic - UNESCO - Helsinki 94, Amsterdam 96, Roma 2004, - member of jury SPACE 96 – Stockholm, - member of ARS Austica workgroup EBU 2000 - 2005, (European Broadcasting Union)
He is director of Experimental Studio of Slovak Radio, chairman of CECM Bratislava (Centre for Electroacoustic and Computer Music Bratislava) and teacher on Academy of Arts in Bratiskava.
1985 - prize for electroacoustic composition - 3rd prize Varese, Italy
1987 - prize for electroacoustic composition - 1rd prize Varese, Italy,
1988 - Grant from Internationales Musikinstitut Darmstadt, 34. Internationale Ferienkurse fuer Neue Music - BRD, in zusammenarbeit mit der Universitt von Kalifornien in San Diego
- prize - Recomended electroacoustic composition by - Int. Rostrum of El. Music Stockholm, Sweden
1990 - Installation "Color space" in Glasgow Green during the ICMC International Computer Conference Glasgow 1990
- SISEA (The Second International Symposia on Electronic Art) Groningen, Holland
1991 - Computer and Art Festival 91, Rassegna Internazionale di Musica, Video, Danza e Nuove Tecnologie, Padova, Italy
- 91 Hammerschlag, Ein Intermediales Symposia, Austria
- Musei Civici di Villa Mirabello, Varese, Italy
- Exhibition in Theseus Tempel, Wien, Austria
1992 - Gallery Sypka, Brno, Moravia
- Hammerschlag, Gallery M+, Bratislava
- His video project "PORTRAIT" has been selected by GRAM for inclusion in Electronic Dictionary which covers 80th. Universite du Quebec Montreal, Canada
1993 - Symposia: Laser Artwork, Symbiosis Art and Technology, Mojmirovce,Slovakia, Memmingen, Germany
1994 - Grant from ICCM International Center of Culture Management 94 Salzburg, Austria
- Main prize in video category - project "PORTRAIT" - International competition MUSICA NOVA '94 - Prague)
- 1991 - 2005 Member of jury 1991 - 2003 Concorso Internazionale <<Luigi Russolo>> in Varese, Italy, - member of jury Musica Nova - 1995 - 2005 Prague, - member of jury IREM (International Rostrum of Electroacoustic - UNESCO - Helsinki 94, Amsterdam 96, Roma 2004, - member of jury SPACE 96 Stockholm, - member of ARS Austica workgroup EBU 2000 - 2005, (European Broadcasting Union)

John Yannelli, composer of chamber, orchestral and mixed ensemble pieces, works in both traditional and experimental styles of music. His special interests are in the development of electronic music, improvisation and composing for theater, dance and film. He has written for and conducted ensembles ranging from solo flute to full orchestra with jazz/rock band. 
Some of his more unusual combinations have been; Music for stones, where the entire ensemble played stones of varying sizes and shapes; and Water Percussion, in which the ensemble performed on tubs filled with water. 
Mr. Yannelli has a diverse catalog including works for mixed ensemble, chorus, orchestra, unaccompanied solo and various mixed media productions. He has created hundreds of scores for modern dance and has composed music and designed sound for over fifty theater productions. He founded the Electronic Music Studio at Thomas Jefferson College and joined the music faculty there in 1976. In addition to his work with electronic music, he developed a collaborative program for musicians, dancers and actors to create work through improvisation. It was there that he first introduced conducting with gestures, as a means of leading a group of performers to create a work spontaneously. He toured nationally as composer/accompanist with the professional theater company United Stage, and he conceived of and introduced the use of live electronic music in the productions. 
John Yannelli was born in Philadelphia and studied at Grand Valley University, The University of Michigan, Sarah Lawrence College and New York University. His teachers include Robert Schectman, William Doppmann, George Balch Wilson, Leslie Bassett and Meyer Kupferman. 
He joined the music faculty at Sarah Lawrence College in 1983 and is the Director of Electronic Music. He currently teaches for the Music, Dance and Theater Programs where he continues to explore and develop techniques for interdisciplinary collaboration. He has served as Director of the Music Program for two terms and has directed the Sarah Lawrence College Chamber Improvisation Ensemble since 1993. He is also an adjunct professor at Queensborough Community College, City University of New York. 
In addition to composing and teaching, Mr. Yannelli is an active record producer/engineer, having worked on projects for such record labels as Serenus, Grenidilla, CRI, Nonsuch and Atlantic. In 1983 he co-founded Soundspells Productions, a record/publishing company in which he produced and published countless recordings and scores before retiring ten years later. 
Mr. Yannelli's music has been performed in major U.S., European and Russian cities, the Kennedy Center, and throughout the New York metropolitan area including a concert at Carnegie Recital Hall devoted entirely to his music, which received critical acclaim. 
Recent works and commissions include Solo Flight 11 for violin, Muted Fantasy for Piano and Cello, Grazed by a Comet for Disklaver, percussion and live electronics, Suite for Organ, Concerto for Electric Guitar and Entangled for Bass clarinet, guitar, keyboard and electronics for the Interensemble Computer Music Festival in Padua, Rome, NYU and Sarah Lawrence College in the fall of 2005. 
John Yannelli's music is published by Soundspells Productions and John Yannelli Music (ASCAP).