2026 Executive Board Election

J. Daniel Jenkins is Professor of Music Theory and Associate Dean of Graduate Studies, Public Music, and Experiential Learning at the University of South Carolina. He holds a Ph.D. from the Eastman School of Music, an M.M. from the University of Louisville, and a B.M. from the University of Kentucky. He is editor of Schoenberg’s Program Notes and Analyses (2016) and The Oxford Handbook of Public Music Theory (forthcoming). His articles and reviews appear in Music Theory Online and Intégral among other publications. In addition to his research on twentieth-century art music, Jenkins has been an advocate for increased awareness of public music theory. His own efforts in public music theory include teaching at Lee Correctional Facility in Bishopville, SC, and the Lourie Center in Columbia, SC. A dedicated pedagogue, Jenkins has served on the editorial boards of The Journal of Music Theory Pedagogy and Engaging Students, and received teaching awards from the Eastman School of Music, the University of Rochester, and the University of South Carolina. He also enjoys performing as a countertenor. 
Jenkins has been a member of SMT since 1999 and has presented several papers at the annual meeting. He served five years on the Committee on Race and Ethnicity (formerly the Committee on Diversity), including three years as chair (2013–2018). During that time, he was part of the lead team of the Music Theory Outreach Project. Jenkins’s additional service to SMT includes being member of the Demographics and Diversity Task Force (2017–2018), member of Task Force on Diversity (2018–2019), member of the 2019 Program Committee, chair of the 2020 Program Committee, member of the Committee on Workshop Programs (2019–2020), member of the Annual Meeting Ad Hoc Committee (2019–2021, serving the final year as chair), co-chair of the Autographs and Archival Documents Interest Group (2021–2023), Member-at-Large (2022–2025), and is currently the editor of SMT-V. In 2020, he received the SMT Volunteer of the Year Award jointly with Brian Moseley. 

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 she has received university-wide graduate and undergraduate teaching awards. She is the Contract Enforcement officer for FSU’s chapter of the United Faculty of Florida (2015–present). Prior to joining FSU in 2002, she was on the faculties of Lawrence University, the University of Iowa, and Northwestern University. She has served SMT as Vice President (2018–2019) and Secretary (2005–2008), led a Graduate Student Workshop (2022), volunteers as a mentor for the Committee on Race and Ethnicity, and has served on numerous standing and ad hoc committees: the Committee on Workshop Programs (2023–2024; chair 2024), the Accessibility Committee (now the Committee on Disability and Accessibility, 2018–2019), the Publications Subventions Committee (now the Subventions Committee, chair 2018–2019), the Interest Group Task Force (2018), the Meeting Response Ad Hoc Committee (chair 2018), the Archives Policy Committee (2017), the Executive Director Transition Advisory Committee (chair 2017), the Professional Development Committee (2012–2014; chair 2013–2014), and the Committee on the Status of Women (now the Committee on Feminist Issues and Gender Equity, 2001–2002). She has served Music Theory Southeast as President (2008–2010) and on the Nominations Committee (2014, 2021; chair 2021) and the Program Committee (2007–2010, 2019; chair 2008); she previously served Music Theory Midwest as Treasurer (2001–2003), as Representative for Area III (1999–2001), and on the Program Committee (1998). She is actively involved with the Advanced Placement program in Music Theory through the Educational Testing Service (ETS), currently in the role of Question Leader and Consultant for the Advanced Placement Test in Music Theory. 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 journals such as Music Theory Online, the Journal of Music Theory Pedagogy, and Applied Cognitive Psychology; she has contributed chapters to The Routledge Companion to Music Theory Pedagogy and various College Board publications geared towards AP Music Theory teachers. The tenth edition of Music for Sight Singing (Pearson), co-authored with Robert W. Ottman, was released in 2018. 

Táhirih Motazedian (Ph.D. in Music Theory from Yale University, 2016; B.S. in Geophysics from University of Oregon, 2004) is an Associate Professor of Music at Vassar College, where she has taught since 2017.  Her book, Key Constellations: Interpreting Tonality in Film (University of California Press, 2023) explores how key and pitch relationships in film soundtracks tell a story, and it was awarded the SMT Emerging Scholar Book Award. Her research interests center around film music, nineteenth- and twentieth-century chromaticism, and she has recently begun delving into popular music as well.  She has published articles and chapters on a wide range of topics, including Sergei Eisenstein’s Soviet production of Wagner’s Die Walküre, the “heartstring schema” in film and nineteenth-century music, Holst’s Planets, Tchaikovsky’s Swan Lake in the film Black Swan, Shostakovich’s second violin concerto, and (forthcoming) plagal half cadences in pop/rock music.  She presents actively at the annual conferences of SMT, AMS, MaMI (Music and the Moving Image), NECMT, and MTSNYS, as well as giving numerous invited lectures at universities, symposiums, and forums.  She currently serves as associate editor of the SMT-V journal and is about to begin her term as vice president of MTSNYS.  In the past, she has served as a member of the SMT Information Technology Committee (for thirteen years) and an editorial assistant for MTO; she has served on program committees for MTSNYS (chair) and MaMI, as vice chair for the SMT Film Music Interest Group, and as a board member for MTSNYS and the Arizona Friends of Chamber Music.  Before her career in music theory Táhirih was a planetary scientist at NASA, where she served as the Downlink Operations Lead for the HiRISE camera onboard the Mars Reconnaissance Orbiter.

Scott Murphy has taught music theory at the University of Kansas (KU) since 2001, holding a PhD in Music Theory from the Eastman School of Music of the University of Rochester, and MM degrees in both Musicology and Music Composition and BM degrees in both Music Theory and Music Composition from KU. His research on a wide variety of topics within Western music theories and repertoire has led to three publication awards from the Society for Music Theory: the Emerging Scholar Award in 2009, the Outstanding Multi-Author Publication Award in 2019, and an Outstanding Publication Award in 2024. He has served the Society for Music Theory in multiple capacities: as Chair of the Nominating Committee (2025), as Chair of the Committee on Workshop Programs (2022), as a Graduate Student Workshop Leader (2020), as the founding editor of SMT-V: Videocast Journal of the Society for Music Theory (2014–17), on the program committee (2013), and on the editorial board for Music Theory Online (2007–08). He has also served as a SMT conference proposal mentor and session chair, as well as a peer reviewer for Spectrum and MTO, on multiple occasions. He is a past president of Music Theory Midwest (2011–13). While he has not served as a treasurer for a professional society before, he admits a fondness for spreadsheets, is eager to learn, and is not too proud to ask for guidance.

Alan Dodson (Ph.D., Music, and M.Mus., Piano Performance, University of Western Ontario, 2003 and 1997; B.Mus., Mount Allison University, 1995) is an Associate Professor of Music Theory at Mount Allison University, where he has taught since 2019. Previously he was an Assistant Professor (2005–12) and Associate Professor (2012–19) at the University of British Columbia, where he twice served as Interim Chair of the Music Theory division and helped establish the UBC Rhythm Research Cluster. His research interests fall at the intersection of music theory and performance and include the analysis of rhythm and meter in recorded music, as well as the study of archival documents from Schenker’s teaching studio. His publications have appeared in Music Theory Online, Music Theory Spectrum, Music Analysis, the Journal of Music Theory, the Cambridge Companion to Rhythm, and Schenker Documents Online, among other venues. Dodson is the recipient of the 2023 SMT Diversity Course Design Award for “Meter and Timing Across Cultures,” as well as a grant from Mount Allison University to develop summer research projects related to the course in collaboration with (mostly) undergraduate students. This work led to co-authored presentations at the Analytical Approaches to World Music conference in Bologna (June 2024) and the AMS-SMT conference in Minneapolis (November 2025), the latter on birdsong. Dodson has served the SMT as a member of the Accessibility Committee (2013–15), the Program Committee (2016), and the SMT-40 Dissertation Fellowships Committee (2023–25; Chair, 2024–25); as Liaison to Grove Music (2016–25); and as a member of the Editorial Board of Music Theory Spectrum (2018–21). He has also served the West Coast Conference of Music Theory and Analysis as Chair of the Program and Local Arrangements Committees for the 2006 and 2019 conferences in Vancouver, and he has served on the Editorial Boards of Intégral and Intersections: Canadian Journal of Music.

Orit Hilewicz (Ph.D., Music Theory, Columbia University, 2017; M.A., Music Theory, University of Washington, 2011; B.A., Piano, University of Washington, 2008) is an Assistant Professor of Music Theory at the Jacobs School of Music in Indiana University, Bloomington, where she's taught since 2022. She previously held a position as Assistant Professor of Music Theory at Eastman School of Music in the University of Rochester (2017–21). Her research explores intertextuality, metaphor, and agency in post-tonal music, with particular attention to cross-modal interactions among music, visual and literary works, and film and media art. Her publications appear in Music Theory Online, Music Analysis, Perspectives of New Music, and SMT-V, among other journals. She has presented at the annual meetings of the Society for Music Theory, the American Musicological Society, the Society for Music Analysis, and the International Musicological Society, among others. Her research and teaching have been supported with fellowships and grants by the University of Rochester Humanities Center, the Andrew W. Mellon Foundation Central New York Humanities Corridor, and the Jacobs Junior Faculty Summer Fellowship. She has served SMT as a member of the Program Committee (2025), the Publication Awards Committee for Articles (2023–24), and the Committee on Workshop Programs (2017–18). Outside of SMT, she served as co-editor of Theory and Practice (2018–20) and assistant editor of Perspectives of New Music (2010–11). She serves on the editorial boards of SMT-Pod (2025–28) and Perspectives of New Music (since 2022), and she has served on the editorial boards of Music Theory Spectrum (2020–23) and Current Musicology (2011–17). In Music Theory Midwest, she serves as Area II Representative (2024–26), and she has served on the Conference Program Committee (2023). 

Toru Momii (he/him) is Assistant Professor of Music at Harvard University and a faculty affiliate of the Reischauer Institute of Japanese Studies. He specializes in issues of musical interculturality in post-war Japan, the racial and colonial politics of U.S./Canadian music theory, Asian/American performance, and popular music. His current book project, Performing Musical Interculturality and the Politics of Japaneseness explores how post-war Japanese and diasporic Japanese musicians have responded to dominant racialized and gendered narratives of Japaneseness through performance. His writing appears or is forthcoming in Music Theory Online, Music Theory Spectrum, Journal of Music Theory, Journal of Musicologial Research, and Circuit. His article “A Transformational Approach to Gesture in Shō Performance” (2020) was awarded the Outstanding Publication Award from the Society for Music Theory. His research has been recognized by the SMT-40 Dissertation Fellowship from the Society for Music Theory (SMT) and the Junior Fellowship in Japan Studies from the Weatherhead East Asian Institute.

Toru is co-founder of the Engaged Music Theory Working Group, which develops resources on the intersections between music theory and issues of cultural politics. He currently serves as a faculty affiliate of Project Spectrum, a coalition of graduate students of color committed to addressing issues of diversity, equity, and inclusion in music studies. He is a past member of the SMT’s Committee on Race and Ethnicity and is currently serving on the Council of the American Musicological Society and the SMT’s Publication Awards Committee.

Toru holds a Ph.D. in music theory from Columbia University, an M.A. in music theory from McGill University, and a B.A. in music and economics from Vassar College (Phi Beta Kappa).

Christopher Segall (PhD, Music Theory, CUNY Graduate Center, 2013; BMus, Music Theory, University of Toronto, 2006; ARCT, Piano Performance, Royal Conservatory of Music, 2003) is Associate Professor of Music Theory at the College-Conservatory of Music, University of Cincinnati, where he has taught since 2013. His research on late-Soviet composition, Russian music theory, twelve-tone technique, and formal function appears in the Journal of Music Theory, Journal of Musicology, Music and Politics, Music Theory Online, Music Theory and Analysis, Theoria, Intégral, and Theory and Practice. He is co-editor of Analytical Approaches to 20th-Century Russian Music: Tonality, Modernism, Serialism (Routledge, 2021). He has served on SMT’s Fundraising and Development Committee (Chair, 2023–26), Dissertation Fellowship Committee (Chair, 2021–22; Member, 2020–21), Professional Development Committee (Member, 2016–19), and Russian Music Theory Interest Group (Chair, 2016–19). He is a former President of Music Theory Midwest (2023–25). Currently, Christopher is active in the Scholars for Social Responsibility Interest Group, and he is co-editor of Theory and Practice.