Vice-President. Gretchen Horlacher (Ph.D. and M.Phil., Music Theory, Yale University, 1990 and 1986; B.A. cum laude, College Scholar program, Cornell University, 1984) is Professor of Music and Assistant to the Dean for Research and Administration at Indiana University-Bloomington, where she has been teaching since 1995. She previously held positions at the University of California at Santa Barbara and the University of California at Riverside. Her research interests include the music of Stravinsky, theories of rhythm and meter, musical minimalism, and music and dance. She is author of Building Blocks: Repetition and Continuity in the Music of Igor Stravinsky (Oxford University Press, 2011) and co-editor of The Rite of Spring at 100 (Indiana University Press, 2017), for which she received the Ruth A. Solie award from AMS. Her articles have appeared in Music Theory Spectrum, Music Theory Online, the Journal of Music Theory, Intégral, and Mitteilungen der Paul Sacher Stiftung. She delivered a keynote speech at the 2017 Annual Meeting of the SMT and has given many guest lectures in the US and recently in Brazil and China; she will deliver a keynote speech at the West Coast Conference of Music Theory and Analysis this May. She has served SMT as an Editorial Board Member of Music Theory Online (2016–2019), a member of the Executive Board (2011–2013), as Leader of the SMT Graduate Workshop Program in 2010, as Program Chair (2008), as a board member of Music Theory Spectrum (2006–2008), as Secretary (2000–2004), and as a member of the Committee on the Status of Women, where she began the conference guide program in 2004. She has received two SMT Publications Subventions awards (2009 and 2015) and currently serves on the SMT Archives Committee.

Member at large. Anna Gawboy (Ph.D., Music Theory, Yale University, 2010; M.M., Music Theory, University of Oklahoma, 2001; B.A., Piano Performance, The College of St. Scholastica, 1998) is Associate Professor of Music Theory at The Ohio State University, where she has taught since 2010. Her work explores the intersection of music theory, cultural history, and intermedia, with a special focus on visualized music. She collaborated with lighting designer Justin Townsend to create a reconstruction of Alexander Scriabin’s color symphony Prometheus, Poem of Fire for the Yale Symphony Orchestra (2010) which was later adapted for performances by the Cape Cod Symphony Orchestra (2012) and the Utah State University Symphony Orchestra (2013). In 2015, she advised an international team of artists and musicians on the production of Scriabin in the Himalayas, a tribute held at Thikse Monastery in Ladakh, India in commemoration of the 100th anniversary of the composer’s death. She collaborated with Alex Oliszewski to create a live visual accompaniment to Carl Orff’s Carmina Burana at The Ohio State University in 2018. She will revisit her work on Prometheus for a new performance with the Royal Concertgebouw Orchestra. Her articles have appeared in Journal of Music Theory, Music Theory Online, Papers of the International Concertina Association, Journal of Musicological Research, and Journal of Music Theory Pedagogy. She gave the keynote addresses at Enchanted Modernities: Theosophy and the Arts in the Modern World (University of Amsterdam, 2013); Pedagogy Into Practice: Teaching Music Theory in the Twenty-First Century (Lee University, 2017); and Oklahoma Music Theory Roundtable (University of Oklahoma, 2017). She is the author of nearly two hundred pedagogical videos in music theory, including tutorials accompanying A Concise Introduction to Tonal Harmony by Joseph Straus and Poundie Burstein. She was associate editor of SMT-V, the first videocast journal in music, as well as co-founding editor of Engaging Students: Essays in Music Pedagogy. She currently serves on the editorial boards of Theory and Practice and Journal of Music Theory Pedagogy. She was a member of the SMT Diversity Committee (2010–2013) and is local arrangements chair for the 2019 annual meeting of the SMT in Columbus, Ohio.

Member at large. Jennifer Iverson (Ph.D., University of Texas at Austin, 2009; M.M., University of Northern Iowa, 2003; B.S., University of Wisconsin-LaCrosse, 2001) is an Assistant Professor of Music and the Humanities at the University of Chicago, where she has taught since 2016. She previously taught at the University of Iowa and was an external faculty fellow at the Stanford Humanities Center in 2015–2016. Her research interests include electronic music, avant-gardism, sound studies, and disability studies. Her book, Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde, is published by Oxford University Press (2019). Her articles have appeared or are forthcoming in Music Theory Spectrum, Journal of the American Musicological Society, twentieth-century music, Music Theory Online, Music Analysis, Tempo, Contemporary Music Review, Mitteilungen der Paul Sacher Stiftung, and the Journal of Interdisciplinary Voice Studies. Essays have appeared or are forthcoming in edited collections, including Sounding Off (Lerner and Straus, eds.), Oxford Handbook of Music and Disability Studies (Howe, Jensen-Moulton, Lerner, and Straus, eds.), the Routledge Companion to Music Theory Pedagogy (Van Handel, ed.), and the Cambridge Companion to Serialism (Iddon, ed.). She has served Music Theory Midwest (MTMW) several times as session chair, Executive Board representative (2011–2013), and Program Committee chair (2016). She has served the SMT as a member of the Accessibility Committee (2011–2015), as the chair of the Disability and Music Interest Group (2013–2015), as session chair (2013, 2016), on the Editorial Board for Music Theory Spectrum (2014–2016), as a member of the Nominating Committee (2018), and as a member of the Program Committee (2019).