Eric Saylor (through 1 January 2020)
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.
Christopher Scheer (through 1 January 2021)
Christopher Scheer is the associate professor of musicology at Utah State University. 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. Scheer’s research is focused on late nineteenth- and early twentieth-century British musical culture, and he is also working on a monograph on the composer Gustav Holst for the Ashgate Interdisciplinary Opera Series. His recent article, which considers the role of Theosophy in the formation of Holst’s aesthetic ideals, has just been published in the Journal of Victorian Culture. In addition, his chapter in The Legacy of Richard Wagner (published by Brepols) considers the place of Theosophy in British and American Wagner reception.
Therese Ellsworth (through 1 January 2021)
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 1 January 2020)
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 1 January 2020)
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.
Ashley A. Greathouse (student member—through 1 January 2021)
Ashley A. Greathouse is a Ph.D. candidate in musicology at the University of Cincinnati’s College-Conservatory of Music, with research interests in eighteenth-century music, rock, and heavy metal. Her dissertation topic considers music as a vehicle for social emulation in the pleasure gardens of eighteenth-century London. She holds a B.M. in music education from Colorado State University and a M.M. in music theory from the University of Cincinnati. She currently serves as the Student Representative on the board of the Society for Eighteenth-Century Music and is a board member (and past president) of the Cincinnati Contra Dancers. Ashley is a soprano and an active instrumental performer on bassoon, clarinet, harp, and piano.
Kate Guthrie (through 1 January 2021)
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.
Emily Hoyler (through 1 January 2022)
Emily Hoyler is an Adjunct Assistant Professor at the School of the Art Institute of Chicago (SAIC), where she serves as the Liberal Arts Music Coordinator and teaches courses in music, writing, and history. She holds a PhD in musicology from Northwestern University and an MA in musicology from Tufts University. Her research interests include BBC broadcasting and the popular press in interwar Britain, domestic music-making in Victorian fiction, and RCA’s traveling lecture-demonstrations of the music synthesizer in the late 1950s. She has presented her work at conferences for the American Musicological Society, International Musicological Society, North American British Music Studies Association, College Music Society, Music in Nineteenth-Century Britain, and Music and the Moving Image. Recently, her work has been supported by SAIC’s Roger Brown Residency Fellowship and the Karen and Jim Frank Excellence in Teaching Award. She has previously served as a member of NABMSA’s Committee for Early-Career Scholars.
Stacey Jocoy (through 1 January 2022)
Stacey Jocoy is Associate Professor of Musicology at Texas Tech University. Her research focuses on intersections between politics, popular devotional forms, staged music, and vernacular song of the fifteenth through eighteenth centuries. She is currently finishing a critical edition of one of the most influential texts in early modern music pedagogy: John Playford’s Introduction to the Skill of Musick (Ashgate Press Series: Music Theory in Britain, 1500-1700). Other publications include “Henry Lawes and the Mirthful Music of Robert Herrick’s Hesperides,” in the forthcoming companion to the Complete Works of Robert Herrick (edited by Thomas Cain, Oxford University Press) and “Criminal or Cavalier: Macheath’s Dilemma in The Beggar’s Opera,” in Visions and Realities: Perspectives of the Eighteenth Century in the Arts, Literature, and Politics (edited by Gloria Eive, Cambridge Scholars Press). Other recent and forthcoming publications appear in the Journal of Seventeenth-Century Music, ECCB: Eighteenth-Century Current Bibliography, Eighteenth Century Theory and Interpretation, Literature Compass, and Musik in Geschichte und Gegenwart.
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:
Kevin Salfen (chair)
2018-2020 Development Committee:
Justin Vickers (chair)
2018-2020 Membership Committee:
Amanda Eubanks Winkler (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)
2020 Conference Program Committee:
Dawn Grapes (chair)
2020 Local Arrangements Committee:
Justin Vickers (chair)