Voting begins Saturday, April 1, at 9:00 am EDT and ends on Saturday, April 22, at 9:00 pm EDT.
Candidates for Vice President
Candidates for At-Large Executive Board
Daniel Harrison (Ph.D., Yale University, 1986; B.A., Stanford University, 1981) is the Allen Forte Professor of Music Theory at Yale University, where he has been teaching since 2003. Currently Chair of the Theater Studies Program, he was Chair of the Department of Music, 2008–13. Prior to 2003, he was a faculty member in the University of Rochester’s College Music Department as well as its Eastman School of Music. His most recent book is Pieces of Tradition: An Analysis of Contemporary Tonal Music (Oxford, 2016). For Harmonic Function in Chromatic Music: A Renewed Dualist Theory and An Account of its Precedents (Chicago, 1994), he received the SMT Emerging Scholar Award in 1995. Other articles and reviews have appeared in, among other venues, Music Theory Spectrum, Music Theory Online, the Journal of Music Theory, and Music Analysis. Noted work on the music of The Beach Boys has appeared in Understanding Rock (Oxford 1997) and Good Vibrations: Critical Perspectives on the Music of Brian Wilson and the Beach Boys (Michigan, 2016). He has served as editor of Music Theory Spectrum (vols. 23–25) and the Journal of Music Theory (vol. 50.1, 53–55), where he continues as Associate Editor. He was a six-time Fellow of the Mannes Institute for the Advanced Study of Music Theory. He has served on (and subsequently chaired) the SMT Publications Committee, as well as the Publications Awards Committee, and was a member of SMT’s first ad-hoc Networking Committee. He has never held an elected office in the society.
Nancy Rogers (Ph.D., Music Theory, Eastman School of Music, University of Rochester, 2000; M.M., Music Theory, University of Michigan, 1989; B.M., Music Theory and Composition, Northwestern University, 1987; B.A., Linguistics, Northwestern University, 1987) is Professor of Music Theory at Florida State University, where in 2013 she received the Florida State University Undergraduate Teaching Award. Prior to joining FSU in 2002, she served on the faculties of Lawrence University, the University of Iowa, and Northwestern University. She is a Mellon Fellow in the Humanities. With research interests including music cognition and its pedagogical implications, she regularly presents papers at meetings of the SMT and of other national, international, and regional societies. Her articles have appeared in Music Theory Online, the Journal of Music Theory Pedagogy, Intégral, Em Pauta, and elsewhere. The ninth edition of Music for Sight Singing (Pearson), co-authored with Robert W. Ottman, was released in 2013. She has twice been a Fellow of the Mannes Institute for Advanced Studies in Music Theory (Chromaticism, 2006; Music and Mind, 2009). She is actively involved with the Advanced Placement program in Music Theory through the Educational Testing Service (ETS), currently serving as a Question Leader and Consultant for the Advanced Placement Test in Music Theory; she was previously a Reviewer for the Educational Policy Improvement Center (EPIC). She has served SMT as Secretary (2005–2008), as a member of the Professional Development Committee (2012–2014; chair 2013–2014), as a member of the Committee on the Status of Women (2001–2003), and as a member of the Committee on Archives Policy (2017–2018). She has served Music Theory Southeast as President (2008–2010) and as a member of the Program Committee (2007–2008; chair 2008); she has served Music Theory Midwest as Treasurer (2001–2003), as Representative for Area III (1999–2001), and as a member of the Program Committee (1998).
Inessa Bazayev (Ph.D., Music Theory, CUNY Graduate Center, 2009; B.A./M.A., Music Theory, Queens College, CUNY, 2004; B.A., English Literature, Queens College, CUNY, 2004; Certificate, Classical Piano Performance, Manhattan School of Music, 1999) is Associate Professor of Music Theory, Theory Area Coordinator, and the Ogden Honors College Faculty Fellow at the Louisiana State University, where she has been teaching since 2009. Her previous teaching appointments include Oberlin Conservatory (2008–2009) and the City College of New York (2005–2008). Her research focuses on Russian and Soviet music, Russian Futurism, Prokofiev, the history of Russian music theory, voice leading in twentieth-century music, and theory pedagogy. Her articles and reviews on these and other topics have appeared in Music Theory Spectrum, the Dutch Journal of Music Theory, Music Theory Online, and Theoria, among others. She organized a special issue of Music Theory Online, titled “Perspectives on Russian Twentieth-Century Theory” (2014). She is also a digital media author of the online assessment supplement for A Concise Introduction to Tonal Harmony by L. Poundie Burstein and Joseph N. Straus (W.W. Norton, 2016). She was the director of the International Symposium on Prokofiev and the Russian Tradition (25–27 February 2016, LSU), which celebrated the 125th anniversary of Prokofiev’s birth and was attended by Prokofiev’s grandson—composer Gabriel Prokofiev (UK)—as well as representatives from the Russian Ministry of Culture, and scholars from a dozen countries. She was subsequently invited by the Russian Ministry of Culture to give a lecture at the Prokofiev Festival (The Hermitage Museum, St. Petersburg, Russia, 1–3 December 2017). Bazayev is currently working on several projects, including editing a bilingual volume on Prokofiev’s music (The Glinka Museum, forthcoming in 2018), and co-editing a volume entitled Analytical Approaches to Soviet Music. She is the recipient of a number of prestigious teaching and research awards from LSU, including the Rising Faculty Research Award (2015), Paula G. Manship Professorship for Excellence in Music (2013–2014), Tiger Foundation Undergraduate Teaching Award (2014), and Summer Research Stipend (2011). She is an active member of the Society for Music Theory, in which she currently serves on the Accessibility Committee (2015–2017) and liaison to the Networking Committee (2015–2017). She founded and served as chair of the Russian Music Theory Interest Group (2013–2016), and she was coordinator of the proposal and article mentoring programs for the Committee on the Status of Women (2010–12) and the local arrangements chair for SMT’s annual meeting in New Orleans (2012).
Jack Boss (Ph.D. and M.Phil., Music Theory, Yale University, 1991 and 1987; M.Mus. and B.Mus. cum laude, Music Composition, Ohio State University, 1981 and 1979) is Professor of Music Theory and Composition and Chair of the Music Theory Area at the University of Oregon, where he has been teaching since 1995. Previously he taught at Brigham Young University, Ball State University, and Yale University. His research interests include motivic and harmonic/set-class relations, musical form, text-painting, and large-scale coherence in Schoenberg’s music primarily, but also in the music of Beethoven, Mahler, Bernard Rands, and Freddie Mercury. His book, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea, was published by Cambridge University Press in 2014; in 2015, it received the Wallace Berry Award from the SMT. He is under contract with Cambridge University Press to write a companion volume on Schoenberg’s atonal music, to be published in late 2018 or 2019. His articles may be found in the Journal of Music Theory, Music Theory Spectrum, Perspectives of New Music, Music Theory Online, Intégral, Gamut, and Konturen. He has co-edited three collections of analytical essays originating as West Coast Conference of Music Theory and Analysis papers for Cambridge Scholars Publishing: Musical Currents from the Left Coast (2008), Analyzing the Music of Living Composers (and Others) (2013), and Form and Process in Music, 1300–2014: An Analytic Sampler (2016). He has also given many scholarly presentations throughout the U.S., and in England, Ireland and Belgium, on different aspects of Schoenberg’s music and theory. He has served on the SMT’s Publication Subventions (2015–16), Nominating (2011–12), and Professional Development (1995–2000) Committees, and was reviews editor for Music Theory Online from 2001–2006. He was reviews editor, associate editor, and editor-in-chief of the Journal of Music Theory from 1989 to 1991, and served on the editorial board for the Journal of Music Theory Pedagogy from 2005–2010. He frequently serves as a peer reviewer for book publishers as well as journals. He has been president of the West Coast Conference of Music Theory and Analysis since 2003, and has helped determine their programs for numerous meetings. He has also served on program and arrangements committees for the Rocky Mountain Society for Music Theory.
Philip Ewell (Ph.D., Music Theory, Yale University, 2001; M.A., Cello Performance, Queens College, CUNY, 1991; B.A., Music, Stanford University, 1989) is an Associate Professor and Director of Graduate Studies at Hunter College, CUNY, where he has taught since 2009. He is also on the music theory faculty at the CUNY Graduate Center. He previously held positions at the University of Tennessee–Knoxville and North Central College. His research specialties include Russian music and music theory, 20th- and 21st-century music, pitch-class set theory, modal theory, and Russian rap and hiphop. He has writings published in Music Theory Online, Music and Politics, Journal of Schenkerian Studies, and Popular Music, among other journals. His “Rethinking Octatonicism: Views from Stravinsky’s Homeland” (Music Theory Online 18.4) won the CUNY-wide Feliks Gross Award in 2012. He was the founding editor of Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic, and he has served as member (2004–2007) and chair (2007–2010) of the Committee on Diversity of the Society for Music Theory. He has twice been a recipient of an SMT subvention grant for publication, and he currently serves as Vice President of the Music Theory Society of New York State. In addition to U.S. appearances, he has given papers at national and international conferences in Belgium, Costa Rica, Germany, Greece, Ireland, Italy, Japan, the Netherlands, Russia, and the United Kingdom. Recent research focuses on Russian interpretations of the music of Stravinsky and Webern, as well as modal-tonal analyses of the music of Chopin. Much of this research has entailed archival work in Russia, most significantly at the Glinka Museum of Musical Culture in Moscow. He has also generally worked with the voluminous writings of brother and sister Yuri Kholopov and Valentina Kholopova, and has presented their concepts at conferences and in English translation. His most recent writings in the field of popular-music studies examine Russian rap and hip-hop. As cellist, he performs both classical and contemporary music, playing either his acoustic cellos or his five-string electric cello.
Julian Hook (Ph.D, music theory, Indiana University, 2002; M.M., piano, Indiana University, 1997; prior degrees in mathematics and architecture) is Associate Professor of Music Theory at the Indiana University Jacobs School of Music, where he has been on the faculty since 2003, serving as chair of the music theory department in 2012–16. He taught previously at Penn State University (2000–03). His research interests include mathematical approaches to music theory, including transformational theory, scale theory, and geometric theory. His 2002 article “Uniform Triadic Transformations,” published in the Journal of Music Theory, received the Emerging Scholar Award of the Society for Music Theory in 2005. Other publications appear in Music Theory Spectrum, Music Theory Online, Perspectives of New Music, Oxford Handbooks Online, the Journal of Mathematics and Music, Science, and elsewhere. He is a contributor to the forthcoming Norton Guide to Teaching Music Theory and is working on a book, Exploring Musical Spaces, under contract with Oxford University Press. He was the winner of a Sabbatical Fellowship from the American Philosophical Society in 2010–11. He served as Reviews Editor of the Journal of Mathematics and Music in 2007–12 and as President of Music Theory Midwest in 2009–11. He has previously served SMT in several capacities: on the Music Theory Online editorial board (2003–05); on the Publication Awards Committee (2006–08, chair in 2008); on the Program Committee (2011); as the leader of a Graduate Student Workshop (2011); and on the Committee on Workshop Programs (2014–15, chair in 2015).