2024 Executive Board Election

Judith Lochhead (Ph.D., Music Theory; M.A., Music Theory; M.A. Music History, Stony Brook University, 1982, 1978, 1976; B.A., Music with a concentration in clarinet performance, UCLA, 1974) is Professor of Critical Music Studies at Stony Brook University, where she has been teaching since 1985. She previously held a position at Bates College. Lochhead is a scholar of music of the present from analytical, theoretical, historical, and critical perspectives. Her articles have appeared in such journals as Music Theory Spectrum, Journal of the American Musicological Society, Music Theory Online, Women and Music, Theory and Practice, Twentieth-Century Music, Zeitschrift der Gesellschaft für Musiktheorie, and in several edited collections. Lochhead published Reconceiving Structure (Routledge 2014) and is a co-editor of three edited collections. Some recent publications include “Multiplicities, Truth, Ethics: A Queering Analysis of Chaya Czernowin’s Anea Crystal,” Queer Music Theory, ed. Lee (Oxford 2023), and “Timbre Realities: A Phenomenological Study of Liza Lim’s Extinction Events and Dawn Chorus.” Oxford Handbook of the Phenomenology of Music, eds, Steege, Wiskus, De Souza (Oxford 2023). Current and forthcoming research includes: co-editor of the collection The Aesthetics of Absence: Music of the New Millenium and “Gubaidulina’s Canonic Machines,” for Oxford Handbook of Variation and Motivic Development, ed. Swinkin (Oxford). For SMT, Lochhead served on Committee on the Status of Women (Member, 1986–89; Chair, 1989–92 and 2017–20), Board of Directors (2003-6), Awards Committee (1996, 1997), and Diversity Coordinating Committee (Chair 2019–20).

Stephen Rodgers (Ph.D., Music Theory, Yale University, 2005; B.A., Music and English, Lawrence University, 1998) is Edmund A. Cykler Chair in Music and Professor of Music Theory and Musicianship at the University of Oregon, where he has been teaching since 2005. His research focuses on the relationship between music and text in songs from the 19th century to the present day, especially songs by underrepresented composers. His book The Songs of Clara Schumann was published in 2023 as a part of Cambridge University Press’s Music in Context series, and his edited collection The Songs of Fanny Hensel appeared with Oxford University Press in 2021. He has also published a monograph about Hector Berlioz (Form, Program, and Metaphor in the Music of Berlioz, Cambridge University Press, 2009). His publications have appeared in journals such as Music Theory Spectrum, Music Theory Online, SMT-V, SMT-Pod, Music Analysis, Music Theory and Analysis, and the Journal of Musicological Research, as well as in many edited collections. Rodgers’s work is guided by a desire to reach communities that extend beyond academia. He is a founding member of the Women’s Song Forum, an online forum devoted to women’s voices in song and geared toward a broad audience. He has collaborated with the Hampsong Foundation, a non-profit created by baritone Thomas Hampson that promotes intercultural dialogue and understanding through song. He is active as a tenor and frequently performs lecture-recitals for specialists and non-specialists alike. He also hosts a website devoted to marginalized composers called Art Song Augmented and a podcast about poetry and song called Resounding Verse. Rodgers has served SMT in a variety of roles—as chair of the Program Committee and moderator of the plenary session on public music theory (2023), as Associate Editor of Music Theory Online (2014–2017), and as a member of Music Theory Spectrum’s editorial board (2018–2021).

Mitchell Ohriner (Ph.D. and M.M., Music Theory, Indiana University, 2011 and 2007; B.M., Composition, University of Colorado at Boulder, 2004) is an Associate Professor of music theory at the University of Denver, where he has taught since 16. Previously, he was an Assistant Professor of Music Theory at Shenandoah University from 2010–16 and a Lecturer in Music Theory at Washington University in Saint Louis from 2010–11. At DU, he teaches the second year of the core sequence, seminars on modal counterpoint, music theory pedagogy, rhythm and meter, and popular music analysis, and non-major courses on hip-hop and the psychology of music preference. His monograph, Flow: The Rhythmic Voice in Rap Music (Oxford University Press, 2019) received the Wallace Berry Book Award in 2022 and his “article Grouping Hierarchy and Trajectories of Pacing in Performances of Chopin's Mazurkas” (Music Theory Online, 2012) received the Emerging Scholar Award in 2013. Other writings can be found in Music Theory Online, Empirical Musicology Review, The Journal of New Music Research, Indiana Theory Review, and several edited handbooks and multi-author collections. His article “Antifocal Anaphoras in Hip-Hop Delivery” is forthcoming in Music Theory Spectrum. In service to the profession, he has held numerous roles for Music Theory Online including Editor-in-Chief from 2020–22, Associate Editor from 2019–20, and Editorial Board Member from 2016–19. He is a perennial participant in the program committees of the Rocky Mountain Society for Music Theory and the (national) Society for Music Perception and Cognition, as well as the Proposal Advising Program of the SMT Committee on the Status of Women. He would bring to the position of Secretary his love of note-taking as a means of staying engaged in meetings, his 80-word-per-minute typing rate, and his continuous commitment to a pristine inbox.

Cara Stroud, she/her, (Ph.D., Music Theory, Florida State University, 2016; M.M. and B.M. Music Theory, University of North Texas, 2012 and 2009) is Assistant Professor of Music Theory at Michigan State University, where she has been teaching since 2016. She previously held teaching positions at Oklahoma State University, Florida State University, and University of North Texas. Her research interests focus on issues of form and musical meaning in recent music, including narrativity, intertextuality, the tarantella topic, nostalgia, form in Top-40 pop music, and revising the music theory curriculum. Her articles and reviews have appeared in Music Theory Spectrum, Engaging Students: Essays in Music Theory Pedagogy, and Music Theory Online. Her publications also appear in the edited collections Twentieth- and Twenty-First-Century Song Cycles (Sly and Callahan, eds., Routledge, 2020), and Black Composers in the Music Theory Classroom (Hoag, ed., Routledge, 2023). She enthusiastically presents papers at meetings of the SMT and of international and regional societies, and works closely with her students at MSU pursuing the same. She has served SMT as a member of the Publication Awards Committee (2023–2024). She is currently a member of the Editorial Board for Theory and Practice (2023–2026), and has served on the Editorial Board for SMT-V (2019–2022). For Music Theory Midwest, she has also served on the Executive Board (2021–2023), on the Nominations Committee (2019), and as a member of the Komar Committee (2018 and 2023).

Jonathan De Souza (Ph.D., History and Theory of Music, University of Chicago, 2013; M.Mus., Theory and Analysis, Royal Holloway, University of London, 2006; B.Mus., Theory and Composition, University of Western Ontario, 2005) is Associate Professor of Music Theory and Director of the Collaborative Specialization in Music Cognition at the University of Western Ontario (UWO), where he has taught since 2013. He is also an Associate Member of UWO’s Brain and Mind Institute and a Core Member of its Centre for Theory and Criticism. His research examines musical organization and embodied performance in various styles, combining music theory, cognitive science, and phenomenology. His articles and reviews have appeared in journals such as the Journal of Music Theory, Music Theory Spectrum, Music Theory Online, Music Perception, Musicae Scientiae, Empirical Musicology Review, Current Musicology, and the Journal of the American Musicological Society. His book Music at Hand: Instruments, Bodies, and Cognition (Oxford University Press, 2017) received an SMT Emerging Scholar Award in 2020, and his article on George Garzone’s Triadic Chromatic Approach (Music Theory Spectrum, 2022) received the SMT Jazz Interest Group’s Award for Excellence in Jazz Scholarship in 2023. His research has been supported by the Social Sciences and Humanities Research Council of Canada and the Mellon Foundation. He has served as SMT-V’s Associate Editor (2020–2023) and on its Editorial Board (2017–2020), and as a member of the SMT Publication Awards Committee (2024). For Music Theory Midwest, he served as Local Arrangements Chair (2018), Komar Award Committee Member (2020), and Treasurer (2021–2023).

Julie Pedneault-Deslauriers (Ph.D. and M.A., Music Theory, McGill University, 2010 and 2003; B.Mus., University of Ottawa, 2000) is Associate Professor of Music Theory at the University of Ottawa, where she has been teaching since 2009. Her research interests include theories of musical form, the music of Clara Schumann, the history of music theory, and the late tonal and atonal works of Schoenberg, Berg, and Webern. She has published articles in Music Theory Spectrum, the Journal of the American Musicological Society, Music Theory and Analysis, Music Theory Online, Intégral, the Journal of Musicology, and elsewhere. She co-edited the volume Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (with Steven Vande Moortele and Nathan John Martin; University of Rochester Press, 2015). She is currently working on a Cambridge Handbook on Clara Schumann’s Piano Concerto (forthcoming with Cambridge University Press.) Her research on Clara Schumann is supported by a grant from the Social Sciences and Humanities Research Council of Canada. She has presented papers at meetings of the SMT, the AMS, and other international conferences, and given guest lectures in North America and Europe. In 2016, she was awarded the Emerging Scholar Prize from the Société québécoise de recherche en musique. In 2018–2023, she collaborated with the National Arts Center Orchestra (Ottawa, Canada) on designing four double-CDs of music by Brahms and the Schumanns. She regularly gives pre-concert talks for the Ottawa Symphony and the National Arts Center Orchestra. She has served on and chaired both the MTSNYS Program Committee and the AMS Thomas Hampson Fund Committee (2016–2017 and 2019–2021). In addition, she has served the SMT on the Committee on Disability and Accessibility (2012–2014), on the editorial board for Music Theory Spectrum (2015–1018), and on the Publications Committee (2020–2024). She is currently an outgoing Associate Editor for Music Theory Spectrum (2020–2024).

René Rusch (M.A. and Ph.D., Music Theory, University of Michigan, 2003 and 2007; B.M. Performance, Lawrence University, 2000) is Associate Professor of Music at the University of Michigan. Prior to joining the faculty at the University of Michigan, she taught at McGill University (2007–15), where she received the Schulich School of Music Teaching Award (2014). In addition to specializing in Schubert studies, her research interests include late-eighteenth and nineteenth-century music, theories of chromaticism and musical form, jazz theory and analysis, literary theory, and philosophy. Her articles appear in the Journal of Music Theory, Journal of the Society for Musicology in Ireland, Music Analysis, and Music Theory Online. She recently published her book, Schubert’s Instrumental Music and Poetics of Interpretation , with Indiana University Press (2023). She has presented her research at refereed conferences, including the annual meetings of the SMT, the European Music Analysis Conference, and the Society for Music Analysis Conference, and has been invited to share her work with students and colleagues at universities. She has served on the editorial boards of Engaging Students: Essays in Music Pedagogy (2017, 2018), Intégral(2013–), Music Theory Online(2014–17), and SMT-V(2022–), and has also served as an associate editor (2018–19), co-editor (2019–20), and editor in chief (2020) of Music Theory Online. Past commitments have also included serving as a member of the program committee of the SMT (2017) and Music Theory Midwest (2007, 2022; chair in 2024), Area I Representative of MTMW (2017–19), awards committee member of the SMT Jazz Interest Group (2012–14; chair in 2015), and a conference guide at the annual meetings of the SMT (2010, 2011, 2012, 2017, 2018).

Olga Sánchez-Kisielewska (Ph.D. and M.A., Music Theory and Cognition, Northwestern University, 2018 and 2011; M.A., Music History and Theory, Universidad de La Rioja, 2010; B.M. in Clarinet, Real Conservatorio de Música de Madrid, 2002) is Associate Instructional Professor of Music at the University of Chicago, where she has been teaching since 2017. Her research interests include the long eighteenth-century, musical meaning, and music theory pedagogy. She has published articles and reviews in Music Theory Spectrum, Music Theory and Analysis, The Journal of Music Theory Pedagogy, and Theory and Practice, and contributed chapters to several collected volumes such as The Heroic in Music (Boydell and Brewer, 2022) and Singing in Signs: New Semiotic Explorations of Opera (Oxford, 2020). Her research and teaching have been recognized with the Janel M. Mueller Award for Excellence in Pedagogy (University of Chicago, 2020), the Patricia Carpenter Emerging Scholar Award (Music Theory Society of New York State, 2016), and the Otto Mayer-Serra Award (Center for Iberian and Latin American Music, 2014). She has served SMT as a member of the Editorial Board of Music Theory Online (2021–2024), Program Committee (2023), and Student Presentation Award Committee (2021–2022), as well as a poster mentor (2022 and 2023), and conference guide (2019). She has also served in different capacities for Music Theory Midwest, the Society for Eighteenth-Century Music, and the Mozart Society of America. She is a member of the Editorial Board of Eighteenth-Century Music (2024–2026) and founding Associate Editor of Súmula: Revista de Teoría y Análisis Musical.