Eric Saylor (through 2020)
Professor of Music History, Drake University
Eric Saylor is Professor of Music History at Drake University. He is the author of English Pastoral Music: From Arcadia to Utopia (University of Illinois Press, 2017) and co-editor of The Sea in the British Musical Imagination (with Christopher Scheer; The Boydell Press, 2015) and Blackness in Opera (with Naomi André and Karen Bryan, 2012). A specialist in British music of the late nineteenth and early twentieth centuries, his work has been published in The Cambridge Companion to Ralph Vaughan Williams, the Journal of the Royal Musical Association, The Musical Quarterly, Musik-Konzepte, The Musical Times, the Grove Dictionary of American Music (2nd ed,) and Oxford Bibliographies Online. He has served as the President of NABSMA since 2016.
Linda Austern (through 2019)
Associate Professor and Coordinator of Musicology, Northwestern University
Linda Austern is Associate Professor and Coordinator of Musicology with affiliation in Comparative Literary Studies and Gender & Sexuality Studies at Northwestern University. She has published over thirty articles in peer-reviewed journals and collections of essays, a monograph on music in the late Elizabethan and early Jacobean private theaters, and edited or co-edited four collections of essays on topics ranging from music and the five senses to psalms in the early modern world. Her work on British music mostly focuses on the late sixteenth- through mid-seventeenth centuries, but has ranged from the late fifteenth century through classic rock music. She has served previously in NABMSA as a member of the conference Program Committee (2101 and 2016), Board (2010-12), and Diana McVeagh Prize Committee (2015).
Therese Ellsworth (through 2019)
Independent Scholar, Washington, DC
Therese Ellsworth earned a Ph.D. from the University of Cincinnati Conservatory of Music for which she wrote a dissertation “The Piano Concerto in London Concert Life between 1801 and 1850.” Her research interests focus on nineteenth-century London concert life, in particular women pianists. She is the co-editor with Susan Wollenberg of The Piano in Nineteenth-Century British Culture (Ashgate: 2007). Other publications include book chapters in The Loder Family: Musicians in Nineteenth-Century Bath, ed. Nicholas Temperely (Boydell: 2016); Jan Dussek (1760-1812): A Bohemian Composer ‘en voyage’ through Europe, ed. R. Illiano and R.H. Stewart-MacDonald (Ut Orpheus: 2012); and Instrumental Music and the Industrial Revolution, ed. by R. Illiano and L. Sala (Ut Orpheus: 2010). She has presented papers at conferences in North America and Europe. She is currently an independent scholar living in Washington, DC.
Michelle Meinhart (through 2019)
Lecturer, Trinity Laban Conservatoire of Music and Dance in London
Michelle Meinhart is a Lecturer at Trinity Laban Conservatoire of Music and Dance in London. Currently she is completing a monograph titled Music, Healing, and Memory in the English Country House, 1914-1919 and is doing further work on the relation of music and trauma in cultures of care giving in Britain during the First World War. In 2016-17 she was a Fulbright scholar in the Department of Music and Centre for Nineteenth-Century Studies at Durham University and from 2013 to 2017 was assistant professor at Martin Methodist College in Tennessee. She received a PhD in musicology in 2013 from the College-Conservatory of Music at the University of Cincinnati. In addition to Fulbright, her research has been funded by grants from the National Endowment for the Humanities, American Association of University Women, Music and Letters Trust, English Speaking Union, and Presser Foundation. In 2014, she was a fellow at the National Endowment for the Humanities research institute, “World War I and the Arts: Sound, Vision, Psyche.” Her work has been published in The Journal of Musicological Research, The Journal for the Society of Musicology in Ireland, and various edited collections. In 2017 at Durham, she organized two conferences: “A ‘Great Divide’ or a Longer Nineteenth Century? Music, Britain, and the First World War” and “Conflict, Healing, and the Arts in the Long Nineteenth Century,” from which she is deriving two edited volumes. She is also co-editing a special issue on music and trauma for Nineteenth-Century Music Review.
Board of Directors
Christina Baade (through 2019)
Christina Baade is associate professor in the Department of Communication Studies and Multimedia at McMaster University (Hamilton, Ontario), where she is also affiliated with the program in Gender Studies and Feminist Research and holds the honorary title of University Scholar. Her research attends to how broadcasting (especially radio) has intersected with musicking and cultural meaning, with particular attention to gender, race, class, nationality, and sexuality. This work has manifested in publications that include Victory Through Harmony: The BBC and Popular Music in World War II (Oxford, 2012), which won awards including NABMSA’s biennial Diana McVeagh Prize, and an essay collection, coedited with James Deaville, Music and the Broadcast Experience: Performance, Production, and Audiences (Oxford, 2016). Current projects include Bigger than the Beatles? Vera Lynn’s Postwar Career and the Problems of Popular Music History, funded by an Insight Grant from Canada’s Social Sciences and Humanities Research Council. Christina has been active in service to the International Association for the Study of Popular Music–Canada Chapter, American Musicological Society, and Society for American Music, including her work as book review editor for Journal of the Society for American Music. She is honoured to have this opportunity to give back to NABMSA.
Jenny Doctor (through 2018)
Jenny Doctor was awarded a Fulbright Grant to the UK in 1989 and remained there for over 20 years. Whenever time permits, she continues to rummage around the BBC archives. This has led her to write The BBC and Ultra-Modern Music, 1922–36 (Cambridge University Press, 1999); with Nicholas Kenyon and David Wright, she co-edited The Proms: A Social History (Thames & Hudson, 2007); with Nicky Losseff, she co-edited Silence, Music, Silent Music (Ashgate, 2007); with Björn Heile and Peter Elsdon, she recently co-edited Watching Jazz: Encounters with Jazz Performance on Screen (Oxford University Press, 2016); and she has written a number of articles focusing on interactions between the BBC and British composers, including Edward Elgar, Ralph Vaughan Williams, Benjamin Britten, Grace Williams, and Elizabeth Maconchy. She worked for a time as the Director of the Britten-Pears Library in Aldeburgh, and later was a Reader in Music at the University of York. In her current position at Syracuse University, as Associate Professor in the S. I. Newhouse School of Public Communications and as Director of the Belfer Audio Archive, Jenny’s research focuses on British radio and music history, audio preservation and sound recording archives, and music on American radio.
K. Dawn Grapes (through 2017)
K. Dawn Grapes holds a Ph.D. in Historical Musicology from the University of Colorado at Boulder and degrees in flute performance from Western Michigan University and Colorado State University. Specialty areas include the music of Early Modern England, 19th and 20th century American Music, and musical theology. She has presented papers at national conferences of the College Music Society, the National Flute Association, the Midwest Conference on British Studies, at regional conferences of the American Musicological Society and most recently at the 2014 NABMSA conference in Las Vegas. Past awards include a 2010 Ogilivy Travel Fellowship from the Boulder Center for British and Irish Studies for research studies in Oxford and London. Before joining the faculty at Colorado State, she taught at the University of Colorado at Boulder, Front Range Community College and Southern Utah University.
Kate Guthrie (through 2020)
Kate Guthrie is a Lecturer in the Department of Music at the University of Bristol. At present, she is researching a book that will explore some of the initiatives that developed in Britain between the 1920s and 1960s to promote elite musical culture to a wider audience. This project is the current focus of her broader interests in the social, political and cultural history of music in mid-twentieth-century Britain. Prior to coming to Bristol, Kate undertook her British Academy-funded postdoctoral research at the University of Southampton and her PhD at King’s College London, supported by a grant from the Arts and Humanities Research Council. She also holds a BA and MPhil from the University of Cambridge. Her publications include award-winning articles in the Journal of the Royal Musical Association and Music & Letters, and she is co-founder of the Music and the Middlebrow Network.
Imani Mosley (student member – through 2019)
Imani Mosley is currently a PhD candidate in Musicology at Duke University. After receiving two Masters degrees from Peabody Conservatory (Bassoon Performance/Musicology), she began PhD work at Columbia where she received a Master of Arts in Musicology before attending Duke. She is a Britten scholar, also specializing in contemporary opera, feminist and queer theory, reception history, and British and American music from 1890 to 1945. She has presented papers throughout the United States and the United Kingdom. Her dissertation focuses on the reception history of men, male voice, and performance alongside British social and queer history in Britten’s postwar operas.
Danielle Ward-Griffin (through 2020)
Danielle Ward-Griffin is an Assistant Professor of Music History at Christopher Newport University in Virginia. Her research examines issues of mediatization and place in twentieth-century opera, focusing specifically on television, the BBC and the operas of Benjamin Britten. Her work has appeared or is forthcoming in Cambridge Opera Journal, Opera Quarterly, Rethinking Britten, Benjamin Britten Studies and the Journal of the American Musicological Society. She has presented her work at national and international conferences in the US, Canada and the UK, and was awarded the 2010 Temperley Prize for the Best Student Paper at the Biennial Conference of the North American British Music Studies Association. She previously served as the secretary of NABMSA.
2018-2020 NABMSA Review Committee:
Ryan Ross (chair)
2018-2020 Newsletter Blog committee:
Erica Siegel (chair)
2018-2020 Development Committee:
Christina Fuhrmann (chair)
2018-2020 Membership Committee:
Donna Parsons (chair)
22018-2020 Nominations Committee:
Aidan Thomson (chair)
2018-2020 Diana McVeagh & Ruth Solie Prize Committee:
Anthony Barone (chair)
2018-2020 Temperley Prize Committee
Vicki Stroeher (chair)
2018 Conference Program Committee:
Michelle Meinhart (chair)
Ann van Allen-Russell
2018 Local Arrangements Committee: