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Pianist-mathematician Elaine Chew was born in Buffalo, NY, raised in Singapore, and lives in London. A virtuoso pianist and frequent keynote speaker, Elaine often integrates lab-grown compositions and real-time scientific visualisations of music/physiology in her presentations. She has (co-)created avant garde compositions and improvisions; her arrhythmia music won an Unexpected Oscar for Best Original Music (BBC World Service). ARTE, BBC, Der Spiegel, LA Philharmonic, Le Monde have featured her work. Elaine studied piano (LTCL, FTCL), music performance/computational mathematics (BAS Stanford), operations research (SM, PhD MIT). She founded/directs the Music Theranostics Lab at King’s College London, where she researches music-heart interactions.
(≤150 words)
Pianist-mathematician Elaine Chew was born in Buffalo, NY, raised in Singapore, and resides in London, after living in the US and France. A virtuoso pianist and frequent keynote speaker, Elaine often integrates lab-grown compositions and real-time scientific visualisations of music structures and performer-listener physiology in her presentations. She has (co-)created avant garde compositions/improvisions; her arrhythmia music won an Unexpected Oscar for Best Original Music (BBC World Service). Her work has been featured by ARTE, BBC, Der Spiegel, LA Philharmonic, Le Monde. She serves/has served on the advisory board of Computer Music Journal and scientific councils of IRCAM, MIT, and Georgia Tech. Elaine studied piano (LTCL, FTCL), music performance and computational mathematics (BAS Stanford) and operations research (SM, PhD MIT). She founded the Music Theranostics Lab at King’s College London, where she researches music-heart interactions. Her research has been recognised by the ERC, PECASE, NSF, Harvard Radcliffe Institute, and Falling Walls.
Biography : Music
“Whether dispatching chordal thunder, sprinting through scintillating virtuoso runs with sparkling fingerwork, or whispering tender poetry, she embraced all with panache, entertaining aplomb and an acute sense of wit, revealing herself as a real minx, coy but full of flair” (Straits Times)
“Obviously, the piano is responsive in her hands, those of an intelligent soloist at work, … She plays with a spontaneous quality, a kind of knowing nonchalance which fits so well into the teasing nature of this music. I thought this made the performance decidedly… sexy” (Flying Inkpot).
