The voting period for 2014 has now passed.
President-Elect
Dora A. Hanninen
Judy Lochhead
Treasurer
Jan Miyake
Joti Rockwell
Executive Board Members-at-Large
Suzannah Clark
Scott Murphy
Steven Rings
Matthew Santa
Candidate Biographies
President-Elect
Dora A. Hanninen (Ph.D. and M.A., Music Theory, Eastman School of Music, University of Rochester, 1996 and 1988; B.A., Music, University of Virginia, 1983) is Associate Professor of Music Theory and Chair of the Theory/Composition Division at the University of Maryland School of Music. Her research interests range from broad questions in the theory and philosophy of music analysis, such as the nature and interpretation of repetition, segmentation, and association and categorization; to analysis of individual works with a focus on twentieth-century and contemporary music, including that by Babbitt, Cage, Feldman, Morris, Nancarrow, Riley, Swift, Webern, and Wolpe. Her book, A Theory of Music Analysis: On Segmentation and Associative Organization, was published by the University of Rochester Press in 2012. In 2010, she received SMT’s Outstanding Publication Award for “Associative Sets, Categories, and Music Analysis.” Her articles and reviews appear in the Journal of Music Theory, Music Theory Spectrum, Open Space Magazine, Perspectives of New Music, Theory and Practice, and twentieth-century music. She has presented her work at numerous annual meetings of SMT, including an invited paper on the 2012 plenary session; as well as at international and regional meetings sponsored by the Biennial International Conference on Twentieth-Century Music, the Music Theory Society of the Mid-Atlantic (MTSMA), the Music Theory Society of New York State, the New England Conference of Music Theorists, Music Theory Midwest, the Stefan Wolpe Society, the Music & Nature Symposium, and the New Music Festival at Bowling Green State University. She was a fellow at the Mannes Institute in 2002, 2003, and 2007. Her service to SMT includes terms on the its Executive Board (2008–2010), Program Committee (2005), and Sustainability Committee (2008–2010). She has served as MTSMA’s Vice-President (2013–2015), as Program Chair (2010), as a member of its Program Committee (2007, 2009, 2011, 2013), and as a Member-at-Large of its Executive Committee (2005–2007). She has been a member of the editorial boards of Intégral, the Journal of Music Theory, Music Theory Online, Music Theory Spectrum, and Theory and Practice.
Judy Lochhead (Ph.D., Music Theory, Stony Brook University, 1982; M.A., Music Theory and M.A., Music History, Stony Brook University, 1978 and 1976; B.A., Music, UCLA, 1974) is Professor of Music at Stony Brook University, where she has been teaching since 1985. Lochhead’s research focuses on the most recent musical practices in North America and Europe, with particular emphasis on music of the western classical tradition. Her work builds upon concepts and methodologies of post-phenomenology and cultural theory. At Stony Brook University, those interests manifest in her involvement with interdisciplinary research groups focused on applied aesthetics and embodied cognition. Lochhead has published articles in several journals, including Music Theory Spectrum, The Journal of the American Musicological Society, Music Theory Online, American Music, Women and Music, Perspectives of New Music, Contemporary Music Review, Indiana Theory Review, Intégral, In Theory Only, Journal of Musicology, and others. She also has articles in edited collections, and has written numerous reviews, CD notes, and program notes. Along with Joseph Auner, Lochhead edited Postmodern Music/Postmodern Thought (Routledge, 2001), and her current book project is Reconceiving Structure: Recent Music/Music Analysis. Forthcoming articles include “‘Difference Inhabits Repetition’: Sofia Gubaidulina’s Second String Quartet” and “Chaotic Mappings.” For SMT, Lochhead has served as Chair (1989–1992) and member (1993) of the Committee on the Status of Women; Chair (2014) and member (2013) of the Program Committee; Member-at-large of the Executive Board (2004–2006); and Chair (1997) and member (1996, 2007) of the Awards Committee. Lochhead has also held service positions for the American Musicological Society, the Music Theory Society of New York State, and the Society for American Music.
Treasurer
Jan Miyake (Ph.D., Music Theory, City University of New York, Graduate Center, 2004; B.M., Performance with a concentration in viola, Oberlin Conservatory, 1996; B.A., Mathematics, Oberlin College, 1996) is Associate Professor of Music Theory and Associate Dean for Academic Affairs at Oberlin College Conservatory, where she has been teaching since 2002. Her research interests include formal functions, sonata theory, Schenkerian analysis, Haydn’s monothematic works, Hindemith’s viola compositions, Indonesia’s musics, and pedagogy. She remains an active violist and is an intermediate banjo player. Her research has appeared in the Journal of Schenkerian Research, Theory and Practice, and Essays from the Fourth International Schenker Symposium. Miyake currently serves on the editorial board of Music Theory Online and the Journal of Music Theory Pedagogy Online. She is active presenting her work at national and international conferences, including those of the Society for Music Theory, the 2014 joint meeting of the Haydn Society of North America and the Society for Eighteenth-Century Music, and the upcoming EuroMac 2014 conference in Leuven, Belgium. Miyake is the author and creator of a popular pedagogy blog (teaching-matters.net) that focuses on various pedagogical topics, with particular attention paid to revealing the messy and intensive work that can go into creating and evaluating new activities. In addition to service to the Music Theory Society of New York State (Board of Directors, 2001–2003; Program Committee, 2001) and Music Theory Midwest (Program Committee, 2010), she has served the Society for Music Theory on the Professional Development Committee (2009–2011), the Ad-Hoc Committee on Demographics (2009–2010), the Program Committee (2012), and is the current administrator of the Performance and Analysis Interest Group listserv.
Joti Rockwell (Ph.D., History and Theory of Music, University of Chicago, 2007; B.S., Physics and Music, Haverford College, 1997) is Associate Professor of Music at Pomona College, where he has taught since 2007. He previously taught at George Washington University and at Columbia College in Chicago. His research interests include American roots music, mathematical music theory, popular music, rhythm, genre, and analysis. He has published in the Journal of Music Theory, Music Theory Online, the Journal of Popular Music Studies, Ethnomusicology, and Popular Music, and he has work forthcoming in the second edition of the Grove Dictionary of American Music. He has presented at regional, national, and international conferences dedicated to music theory, popular music, ethnomusicology, traditional music, American music, and popular music. He performs roots music, bluegrass, and contemporary concert music on the acoustic guitar, mandolin, and banjo, and he has been performing as part of Pomona College’s Balinese gamelan since 2008. In 2012, he received the college’s Wig Distinguished Professor Award for Excellence in Teaching. He was program chair for the West Coast Conference of Music Theory and Analysis in 2009, and he served on the program committee for the SMT national conference in 2010. He previously served as chair of SMT’s Popular Music Interest Group, and he is currently on the editorial board of Music Theory Online.
Executive Board Member-at-Large
Suzannah Clark (Ph.D. and M.F.A, Musicology, Princeton University, 1997 and 1993; M.M., Historical Musicology, King’s College London, 1991; A.K.C., B.M. with First Class, Music Theory & Analysis and Historical Musicology, King’s College London, 1990) is Professor of Music at Harvard University, where she has taught since 2008. She previously taught at the University of Oxford, as a Fellow of Merton College, and at the University of Reading. Her research interests include the songs and instrumental music of Franz Schubert, neo-Riemannian and Schenkerian theories, history of tonal theory, and medieval vernacular music. Her articles and reviews have appeared in Music Analysis, 19th-Century Music, the Journal of the Royal Musical Association, Nineteenth-Century Music Review, Music & Letters, Schubert durch die Brille, Early Music, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, Plainsong and Medieval Music, and French Studies. Her research has been supported by the National Humanities Center, the British Academy, and the Arts and Humanities Research Council (UK). Her book Analyzing Schubert appeared with Cambridge University Press in 2011. Her current book project is Quirks in Tonality: Aspects in the History of Tonal Spaces, for which she has been awarded fellowships from the American Council of Learned Societies and the Institute for Advanced Study for the 2014–2015 academic year. In addition to serving on the Program Committee of the New England Conference of Music Theorists (2012), she has served on the Publication Awards Committee for SMT (2010–2012, serving as Chair in 2012) and was a member of the Editorial Boards of Music Theory Spectrum (2007–2009) and Music Analysis (2000–2008). She is currently on the Advisory Panel of Music Analysis (appointed 2008) and is the Review Editor of the Journal of the American Musicological Society (appointed 2013).
Scott Murphy (Ph.D., Music Theory, Eastman School of Music, 2004; M.M., Music Composition, M.M. Music History, University of Kansas, 1997; B.M., Music Composition, University of Kansas, 1994) is Associate Professor of Music at the University of Kansas, where he has been teaching since 2001. His published topics are varied, encompassing music inside and outside of the canon, and from the eighteenth (Haydn) through the twentieth (Ives, Bartók, Penderecki) and twenty-first centuries (Goldenthal et al.). However, two focal points have emerged in his research: new approaches to Brahms’s metrical practice, and film music theory and analysis. His articles have appeared in Intégral, the Journal of Music Theory, Music Analysis, Music Theory Online, Perspectives of New Music, twentieth-century music, and in the books Oxford Handbook of Film Music Studies, Terror Tracks, and The Music of Fantasy Cinema. In 2009, his article “On Metre in the Rondo of Brahms’s Op. 25” won SMT’s Emerging Scholar Award. His article “Scoring Loss in Some Recent Popular Film and Television” is forthcoming in Music Theory Spectrum, and his review of Richard Cohn’s Audacious Harmony is forthcoming in the Journal of Music Theory. He is currently editing a volume of essays on temporal issues in Brahms. He regularly presents papers at meetings of the SMT and of international and regional societies. He currently serves on the editorial board of Intégral, and has served on the editorial boards of Music Theory Online and the Journal of Film Music. He has most recently served SMT as a member of the Program Committee (2013). He has also served Music Theory Midwest in many capacities, most recently as its president (2011–2013).
Steven Rings (Ph.D., M.Phil., and M.A., Music Theory, Yale University, 2006, 2004, and 2002; M.A., Music Theory and B.M. Music Performance, University of Minnesota, 2001 and 1995) is Associate Professor of Music and the Humanities at the University of Chicago, where he has taught since 2005. Rings’s research focuses on transformational theory, phenomenology, popular music, and questions of music and meaning. His book Tonality and Transformation (Oxford, 2011) won the Emerging Scholar Award from the Society for Music Theory in 2012. Rings has also published in the Journal of the American Musicological Society, the Journal of Music Theory, Music Theory Online, 19th-Century Music, Indiana Theory Review, the Journal of Schenkerian Studies, Opera Quarterly, and Notes, in addition to contributing chapters to the edited volumes Regards sur la tonalité (ed. Gonnard, Delatour, 2013), Expressive Intersections in Brahms (ed. Platt and Smith, Indiana University Press, 2012), and The Oxford Handbook of Neo-Riemannian Music Theories (ed. Gollin and Rehding, Oxford, 2011). Rings’s current book project, A Foreign Sound to Your Ear, addresses Bob Dylan’s live performance practice. In addition to his publications, Rings has presented papers and keynote addresses throughout the United States and in Europe. He served on the faculty of the Mannes Institute for Advanced Studies in Music Theory in 2010 and was a Fellow at the Institute in 2006, 2009, and 2011. In July 2014 Rings will become series editor for Oxford Studies in Music Theory. During the 2013–2014 academic year he has been a Fellow at the Franke Institute for the Humanities; his previous academic leave (in 2009–2010) was funded by the Whiting Foundation’s Faculty Award for Excellence in Teaching, the only such award offered that year at the University of Chicago. Before becoming a music theorist, Rings was active as a classical guitarist, performing in the U.S. and in Portugal, where he was Professor of Guitar at a conservatory in the Azores. Rings is actively involved in disability advocacy—especially related to autism—and is President of the Board for City Elementary, a therapeutic school in Chicago.
Matthew Santa (Ph.D. and M.Phil., Music Theory, City University of New York, 1999 and 1998; B.M., Music Composition, Louisiana State University, 1993) is Professor of Music Theory and Chair of the Music Theory and Composition Area at the Texas Tech University School of Music. Santa taught music theory at Queens College and Hunter College in New York before joining the faculty at Texas Tech University in 1999. He has presented papers on post-tonal analysis, diatonic set theory, parsimonious voice leading, and popular music throughout the United States as well as in Canada and England, participating in the annual meetings of the Society for Music Theory, the College Music Society, the Music Theory Society of New York State, the New England Conference of Music Theorists, Music Theory Midwest, the Texas Society for Music Theory, the South Central Society for Music Theory, and the Second Biennial International Conference on Twentieth-Century Music at Goldsmiths College (University of London). Santa’s articles have been published in the journals Theory and Practice, Music Theory Spectrum, Music Analysis, the Annual Review of Jazz Studies, and the Journal of Music Theory Pedagogy. He collaborated with Lisa Garner Santa and Thomas Hughes to write Flute/Theory Workout (Mel Bay, 2003), a series of technical exercises for the flute with MIDI accompaniment that the teaching of music fundamentals at the same time. His recent textbook publication, Hearing Form: Musical Analysis With and Without the Score (Routledge, 2010) is the first book on musical forms to come with a workbook and anthology accompanied by sound recordings. His works as a composer are published by Conners Publications and his song cycle, From Noon to Starry Night, was recorded by Lisa Garner Santa and Lora Deahl on their debut CD of the same name (24 Keys, 2004).