Eric Saylor (through 2018)
Associate Professor of Music History, Drake University
Eric Saylor is associate professor of music history at Drake University, and a specialist in English music of the late nineteenth and early twentieth centuries. His research on figures such as Vaughan Williams, Delius, and Elgar has been published in a variety of journals, including Musical Quarterly, the Journal of the Royal Musical Association, Musik-Konzepte, and The Musical Times. He is also the editor of the Vaughan Williams entry for Oxford Bibliographies Online, and contributed the chapter “Music for Stage and Film” to The Cambridge Companion to Vaughan Williams (2013). He has co-edited and contributed to two essay collections: Blackness in Opera, with Naomi André and Karen Bryan (Illinois: 2012) and The Sea in the British Musical Imagination, with Christopher Scheer (Boydell: 2015). He is currently completing a monograph entitled Most Mysterious Beauty: English Pastoral Music, 1900–1955, which is under contract with the University of Illinois Press. He has served previously in NABMSA as Secretary (2006–09), Conference Local Arrangements Chair (2010), Board Member (2010–12), Chair of the Newsletter Committee and Interim Editor (2010–12), and as member and Chair of the Diana McVeagh Prize Committee.
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.
Danielle Ward-Griffin (through 2018)
Assistant Professor of Music History, Christopher Newport University
Danielle Ward-Griffin is an Assistant Professor of Music History and the Jean B. Falk Professor of Music at Christopher Newport University in Virginia. Her research examines issues of mediatization and place in twentieth-century opera, focusing specifically on the operas of Benjamin Britten. She has published in Cambridge Opera Journal, Opera Quarterly and in the edited collection, Rethinking Britten. She also has a chapter forthcoming in another Britten anthology. Her scholarship has been supported by the MacMillan Center for International Studies, the Paul Mellon Center for British Art and the Faculty Development Fund at Christopher Newport University. 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.
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.
Alison Mero (through 2017)
Alison Mero is a Ph.D. candidate in musicology at Indiana University. She will defend her dissertation “The Quest for National Musical Identity: English Opera and the Press, 1834-1849” in December. Her chapter “The Climate for Opera in London, 1834-1865,” will be published in 2015 in The Loder Family: Musicians in Nineteenth-Century Bath, edited by Nicholas Temperley. She has been a member of NABMSA since 2004 and has served on the Newsletter Committee and the Blog Committee. Her research interests include opera, opera production, national identity, and Victorian music culture.
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.
Christopher Scheer (through 2018)
Christopher Scheer is the associate professor of musicology at Utah State University in Logan, Utah. Scheer’s research is focused on late nineteenth- and early twentieth-century British musical culture. In 2009 he was a Leverhulme International Visiting Fellow at Liverpool Hope University where he spearheaded the organization of a colloquium on Theosophy and the Arts, out of which developed the Leverhulme sponsored network, “Enchanted Modernities: Theosophy and the Arts, 1875-1960,” in which he has played an integral part as organizer, artistic director, and curator. The network has led to a number of outcomes, including a hybrid exhibition catalogue/edited book connected to the network sponsored exhibition “Enchanted Modernities: Mysticism, Landscape, and the American West,” for which he was lead curator. This will be forthcoming from Fulgur Press. He is co-editor, with Eric Saylor, of The Sea and the British Musical Imagination published by Boydell, and his article, which considers the role of Theosophy in the formation of Holst’s aesthetic ideals, was recently published in the Journal of Victorian Culture. He is also working on a monograph on the composer Gustav Holst for the Ashgate Interdisciplinary Opera Series.
2016-2017 NABMSA Review Committee:
Dawn Grapes (chair)
2016-2017: Newsletter Blog committee:
Alison Mero (chair)
2016-2017 Development Committee:
Christina Fuhrmann (chair)
2016-2017 Membership Committee:
Joice Waterhouse Gibson (chair)
2016-2017 Nominations Committee:
Bethany Cencer (chair)
Ann van Allen-Russell
2016-2017 Diana McVeagh Book Prize Committee:
Brooks Kuykendall (chair)
2016-2017 Temperley Prize Committee
Philip Rupprecht (chair)
Dorothy de Val
2018 Conference Program Committee:
Michelle Meinhart (chair)
Ann van Allen-Russell
2018 Local Arrangements Committee:
Christopher Scheer (chair)