2018 Candidate Bios: Treasurer

Jocelyn Neal (Ph.D. and M.A., Music Theory, Eastman School of Music, 2002 and 1995; B.A., Music, Rice University, 1993) is Bowman and Gordon Gray Distinguished Term Professor of Music and Associate Chair of the Music Department at the University of North Carolina at Chapel Hill, where she has been teaching since 1999. She holds an ajunct appointment in the Department of American Studies. Her research interests include rhythm and meter, American popular music, music and dance, and country music. She is the author of The Songs of Jimmie Rodgers: A Legacy in Country Music (Indiana University Press, 2009, which received the ASCAP Deems Taylor prize and a certificate of merit from ARSC), Country Music U.S.A. (third revised edition, co-authored with Bill C. Malone, University of Texas Press, 2010), and Country Music: A Cultural and Stylstic History (Oxford University Press, 2012; second edition summer 2018). Her articles and book chapters have appeared in numerous publications including Music Theory Spectrum, Musical Quarterly, College Music Symposium, The Oxford Handbook of Country Music (Travis Stimeling, ed., Oxford University Press, 2017), and Country Boys and Redneck Women: New Essays in Gender and Country Music (McCusker and Pecknold, eds., University of Mississippi Press, 2016). She has presented research at conferences including the Society for Music Theory, Society for American Music, International Country Music Conference, and the International Association for the Study of Popular Music. She serves as a series editor for the University of Michigan’s Tracking Pop book series, and was co-editor of the peer-reviewed interdisciplinary journal Southern Cultures (2009–2014). She served on the editorial board for Music Theory Spectrum (2006–2009) and is currently on the MTO board (2015–2018). She chaired the Program Committee for SMT 2012 (joint with AMS and SEM), led an SMT graduate student workshop (2014), and chaired the Popular Music Interest Group. She also serves on the Advanced Placement Music Theory Instructional Design Team (appointed by the College Board), and served on the AP Music Theory Test Development Committee (2014–2018). Her administrative projects include directing the UNC Bluegrass Initiative, for which she hired faculty, designed new courses, instituted a bluegrass band within the music department, and organized a national conference, The UNC Bluegrass Summit (2016).

John Roeder (Ph.D., Yale University, 1984; A.B. magna cum laude in Music, Harvard College, 1979) is Professor of Music at the University of British Columbia, where he has been teaching since 1985. His work has been honored with a UBC Teaching Prize, a Killam Research Prize, and an SMT Outstanding Publication Award. He has provided leadership to the UBC School of Music as Acting Director, Associate Director, and Coordinator of the Theory Division, and to the interdisciplinary InterPARES 2 project, for which he directed research into strategies for preserving digital information. He has served on the editorial boards of Perspectives of New Music, Music Theory Spectrum, and the Journal of Music Theory. For SMT, he has chaired the Publications Committee (1996–1998), the Committee on Workshop Programs (2013–2014), and the SMT-40 Dissertation Fellowship Committee (2017–2018). In 2003 he conducted a Workshop at the Mannes Institute for Advanced Studies in Music Theory on “Transformational Approaches to Contemporary Music,” and in 2008 he led a seminar on “Analyzing Contemporary Music” for the SMT Graduate Student Workshop Program. Grants from the Social Sciences and Humanities Research Council of Canada have supported his study of “Transformation in Contemporary Art Music,” “Periodicity in Music,” and “Approaches to the Analysis of Musical Time.” He researches rhythm, musical transformations, mathematical and computational approaches, issues of semiosis and representation, and the analysis of contemporary art music and world music. Recent publications include analytical essays on music of Bartók, Carter, and Saariaho, on transformation in post-tonal music, and the Oxford collection of essays Analytical and Cross-Cultural Studies in World Music (Oxford, 2011), which he co-edited with Michael Tenzer. His essay “Formative Processes of Durational Projection in ‘Free Rhythm’ World Music” will be appearing shortly in Thought and Play in Musical Rhythm: Asian, African, and Euro-American Perspectives (Oxford, 2018), and other current projects include essays on Adès’s operas, a composition by Chen Yi, and cyclic world music.