Erica E. Bisesi was born in Gorizia (Italy). She completed a Ph.D. in Mathematics and Physics at Udine University in 2007. She had contributed to several large-scale research projects (theoretical astrophysics, experimental elementary particle physics, physics education). She also taught acoustics and psychoacoustics at the Udine Conservatory from 2004 to 2006.

Her career as a systematic musicologist began in 2007, first at the Department of Speech, Music and Hearing at KTH, Stockholm, and then in several projects on the psychology of music, psychoacoustics, expressive music performance, music theory and analysis and music information retrieval at the Universities of Lugano (CSI), Bologna, Como (Conservatory), Milano, Padua, Udine, Graz (KFU, KUG), Western Sydney and Montreal. In October 2009, Erica was awarded a Lise Meitner postdoctoral fellowship for a two-year project entitled Measuring and modeling expression in piano performance by FWF Austria. In December 2011, FWF funded her three-year Stand-Alone project Expression, emotion and imagery in music performance. She presented the results of her research in conferences, lectures and lecture-recitals at leading institutes in Austria, Canada, Croatia, Cyprus, Finland, Germany, Greece, Hungary, India, Israel, Italy, Portugal, Serbia, Slovakia, Slovenia, South Korea, Spain, Sweden, Switzerland, UK, and the United States.

Her career as a pianist began at the age of five, and she completed a M.A. Degree in Piano Performance at Trieste Conservatory in 1996. Over the following ten years, she studied with the conductor Francesco Mander, the pianists Bruno Canino in Milan, Aquiles Delle Vigne in Salzburg, Florence and Rome, Vladimir Krpan in Zagreb, Anna Kravtchenko in Rovereto, and Andreas Woyke in Graz. She now performs as a soloist and in chamber music ensembles in Austria, Italy and abroad. Erica is currently a senior postdoctoral researcher at the Centre for Systematic Musicology at the University of Graz, where she is lecturer on psychoacoustics and music cognition. Her research lies mainly in the area of computational musicology, music performance, expression and emotion, and music theory and analysis. In her research, she primarily investigates the perception and performance of her concert repertoire.