This year's election will take place June 1–June 22, 2021.
Following are the names and bios of the candidates.
Candidates for Vice President
University of Michigan
Áine Heneghan (Ph.D., and B.A. Moderatorship with Gold Medal, Music, University of Dublin, Trinity College, 2006 and 2000) is Associate Professor of Music Theory at the University of Michigan. In 2019 she was Visiting Professor at the University of Music and Performing Arts Vienna. Her research, which is grounded in close analytical engagement with primary sources, focuses on the music and writings of the Second Viennese School as well as on 18th- and 19th-century Irish traditional music collections. Current projects include a philological study of the language of music theory as expressed in the writings of Arnold Schoenberg, and a corpus study of Irish traditional dance music using computational analysis. She has given numerous conference presentations at regional, national, and international conferences, including the SMT, AMS, IMS, EuroMAC, SMA, and RMA; and her articles and reviews have appeared in Music Theory Spectrum, Journal of Music Theory, Perspectives of New Music, Journal of the Arnold Schönberg Center, Music Theory & Analysis, Theory and Practice, Music Analysis, Journal of the Society for Musicology in Ireland, and Notes, as well as in several edited collections, most recently in The Routledge Companion to Music Theory Pedagogy and forthcoming in Trends in World Music Analysis (Routledge). Her research has been supported by fellowships from the Irish Research Council, both the Austrian and German Academic Exchange Services, the American Association of University Women, and, currently, the Institute for Advanced Study in Princeton. While a student in Dublin, she received the SMT International Travel Grant (2003 and 2004); she has since served the Society as a member of the Professional Development Committee (2004–2006), Committee for the Status of Women (2007–2009), Editorial Board for Music Theory Spectrum (2009–2011), Executive Board (2013–2015), and Publications Committee (2014–2015), and as Reviews Editor of Music Theory Spectrum (2017–2019). She has also served as co-chair of the SMT Autographs and Archival Documents Interest Group (2018–2019), chair of the Program Committee for Music Theory Midwest (2019), and member of the Editorial Boards for Music & Politics and Analytical Approaches to World Music. At the 2021 SMT Annual Meeting, she will lead a Peer Learning Program workshop.
University of Colorado Boulder
Yonatan Malin is Associate Professor at the University of Colorado Boulder. He is author of Songs in Motion: Rhythm and Meter in the German Lied (Oxford University Press, 2010) along with articles and chapters in Music Theory Spectrum,Music Analysis, Analytical Approaches to World Music, Yuval Online, Expressive Intersections in Brahms edited by Heather Platt and Peter Smith (Indiana University Press, 2012), and The Songs of Fanny Hensel edited by Stephen Rodgers (Oxford University Press, 2021). Malin’s research areas include rhythm and meter, music and text, the German Lied, ethnography and analysis, and Jewish music. He participated in the Archive Transformed Residency at CU Boulder with the klezmer fiddler Alicia Svigals and jazz pianist Uli Geissendoerfer in 2018 and 2019.
Malin served as editor of MTO from 2010 to 2014. Within SMT, he has served on the Publications Committee (2011–14), the Executive Board (2016–19), as chair of the Task Force on Diversity (2018–19), chair of the Work and Family InterestGroup (2017–20), member of the Climate Task Force (2020–21), and chair of the Annual Meeting Ad Hoc Committee (2020–21). He also served on the Program Committees for Music Theory Midwest (2002–03) and the New England Conference of MusicTheorists (2006–07), and as Treasurer for the New England Conference of Music Theorists (2011–12). He has chaired the Music Theory Department at CU Boulder (2015–18) and is currently member of a task force to evaluate and revise thecore theory and aural skills curriculum.
Candidates for Member-at-Large
University of Texas at Austin
Chelsea Burns (Ph.D. and M.A., Theory and History of Music, University of Chicago, 2016 and 2014; B.M., Piano Performance, University of North Carolina–Greensboro, 2003) is Assistant Professor of Music Theory at the University of Texas at Austin, where she has taught since 2019. Prior to arriving at UT, she was Assistant Professor of Music Theory at the Eastman School of Music (2017–2019) and Preceptor of Music at Harvard University (2016–2017). Her research interests include Latin American modernist concert music as well as country, bluegrass, and old-time musics. She is especially interested in the ways that contexts—economic, political, technological—affect analytical interpretation in critical ways. Her work touches on issues of postcoloniality, race, instrumental technologies, expressions of privilege and class in concert and popular musics, and shifting curricular needs in the undergraduate theory core, among others. Her articles have appeared or are forthcoming in Music Theory Online, Music Theory Spectrum, Journal of Popular Music Studies, and Journal of Music Theory Pedagogy. She has presented at annual conferences for SMT, AMS, SEM, SAM (Society for American Music), IASPM-US (International Society for the Study of Popular Music, US Chapter), and LASA (Latin American Studies Association). She has served MTSNYS as program committee member (2017–2018) and board member (2018–2020). She has served SAM as chair (2020–2022) and member (2018–2020) of the Judith McCulloh Fellowship Committee, as well as chairing the Latin American and Latinx Interest group (2017–2021). She has served SMT as a member of the Development Committee (2014–2016), on the Editorial Board for Music Theory Spectrum (2018–2021), as session chair (2019, 2020), and as a faculty mentor for the Committee on Race and Ethnicity (2020–2021).
University of Toronto
Daphne Tan (Ph.D., Music Theory, Eastman School of Music, 2013; M.A., Music Theory, McGill University, 2007; B.Mus., Clarinet Performance and Music Theory, McGill University, 2005) is Assistant Professor of Music Theory at the University of Toronto, where she has taught since 2017. She previously held positions at Indiana University Bloomington (2013–2017) and at the Oberlin College Conservatory (2012–2013). Her research explores questions about music and the mind, with methodologies and perspectives from the history of music theory and cognitive science. Her articles on Ernst Kurth have appeared in Music Theory Spectrum, the Journal of Music Theory, and Theoria, andher translation and commentary of Kurth’s final monograph, Musikpsychologie (with Christoph Neidhöfer) is forthcoming (Routledge). A recent project supported by the Canadian Social Sciences and Humanities Research Council (SSHRC) examines the interplay of music theory and Western esotericism in the writings of Viktor Zuckerkandl, aspects of which will appear in the forthcoming Oxford Handbook of Public Music Theory (Jenkins, ed.). With collaborators, Tanhas conducted empirical research on music and emotion, expressive performance, diatonic modes, harmonic function, and formal functions. This work can be read in Music Perception (2013, 2017, in press), Musicae Scientiae, Psychology of Music, and the Journal of Interdisciplinary Music Studies. She has also published reviews in Music Theory Online and the Journal of Music Theory Pedagogy. Tan is completing a second term as Treasurer of Music Theory Midwest (MTMW, 2017–2019, 2019–2021), having served as Area Representative (2014–2016), a member of the Komar Award Committee (2014), and as session chair (2014, 2015, 2019, 2020). She has also served the Music Theory Society of New York State (MTSNYS) as a member of the Program Committee (2019), session chair (2018), and on the Editorial Board of Theory and Practice (2016–2019). Tan has served the SMT as a member of the Committee on Diversity (2014–2016), as an invited panelist on sessions sponsored by the Committee on Diversity (2017) and the Professional Development Committee (2017, 2021), as a Mentor through the Committee on Race and Ethnicity mentorship program (2019–present), and on the Editorial Boards of SMT-V (2017–2019) and Music Theory Spectrum (2020–2023).
Kyle Adams is Associate Professor of Music Theory and chair of the music theory department in the Jacobs School of Music at Indiana University. He has published articles on the analysis of hip-hop music and on sixteenth-century music. His work on rap music involves the interaction of words and music in hip-hop, as well as questions of authorship and musical meaning. In sixteenth-century music, his work has focused on the development of tonal structure. His work has appeared in Theoria, Music Theory Online, Music Theory Spectrum, Journal of Music Theory, Intégral, Race and Justice, and the Cambridge Companion to Hip-Hop. Prof. Adams has presented his research at the annual meetings of the Society for Music Theory and Music Theory Midwest, and has given invited papers at several institutions in the United States and in Europe. In the 2019–20 academic year, Prof. Adams served as the faculty director of the interdisciplinary Global Popular Music team, supported both by Indiana University and by a grant from the Mellon Foundation.
Prof. Adams holds a Ph.D. in music theory from the Graduate Center of the City University of New York. His dissertation explored chromatic music from the late sixteenth century through the early eighteenth century. In addition, he holds degreesin piano from the Mannes College of Music. His piano teachers have included Josef Raieff, Vlado Perlemuter, and Harold Brown. Prior to joining the faculty at the Jacobs School, he taught courses in music theory, ear training, and keyboard skills at Mannes, as well as at Queens College and Hunter College.
Edward Klorman teaches music theory at McGill University, where he is Associate Professor and Canada Research Chair (Tier II) in Musical Analysis and Performance. He has served the Society and the profession through a variety of roles, including as co-chair of the Performance and Analysis Interest Group (2015–20) and as a founding member of the LGBTQ+ Committee. He has served as a mentor for the Committee on Race and Ethnicity and for the Queer Resources Group. He has also served on the editorial boards of Music Theory Online, the Journal of Music Theory Pedagogy, and Music Theory Spectrum. Outside of music theory, he also served two terms on the executive board of the American Viola Society, including roles as chair of the By-Laws, Strategic Planning, and Nominations committees. His first book, Mozart’s Music of Friends: Social Interplay in the Chamber Works, examines historical, analytical, and performance perspectives in eighteenth-century chamber music. He is currently at work on a book on J. S. Bach’s six cello suites.