Christina Bashford (through 31 December 2021)
Christina Bashford is Associate Professor of Musicology at the University of Illinois and a historian of musical life in nineteenth- and early twentieth-century Britain. Born and educated in the UK, she spent the first part of her career there, then moved to the US in 2005. She is the author of The Pursuit of High Culture: John Ella and Chamber Music in Victorian London (Boydell, 2007), a book that explores the sacralization of classical music through the lens of a jobbing musician with astute business instincts who rose to become the leader of an internationally famous concert institution. She has also published numerous book chapters and journal articles on related topics. Her study of the function and cultural significance of music-making in the Ballykinlar internment camp during the Anglo-Irish conflict of 1919-21 appeared in the centennial-prize issue of Music and Letters (May 2019). She has co-edited three books: Music and British Culture, 1785-1914: Essays in Honour of Cyril Ehrlich (with Leanne Langley; Oxford Univeristy Press, 2000); The Idea of Art Music in a Commercial World, 1800-1930 (with Roberta Montemorra Marvin; Boydell, 2016); and Over Here, Over There: Transatlantic Conversations on the Music of World War I (with William Brooks and Gayle Sherwood Magee; University of Illinois Press, 2019). Her current writing project, a book on violin culture in Britain, c.1870-1930, is supported by an NEH Fellowship. A Fellow of the Royal Historical Society, Christina has served as President of the Midwest Victorian Studies Association and was the host of NABMSA’s 2012 conference in Urbana-Champaign.
Christopher Scheer (through 31 December 2022)
Christopher Scheer is 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.
Ruth Eldredge Thomas (through 31 December 2022)
Ruth Eldredge Thomas is a PhD candidate at Durham University. A recovering early music addict, she is writing a dissertation on Hubert Parry’s relationship to the reception of JS Bach. An organist by training, she is currently general editor of the Complete Organ Works of C. Hubert H. Parry, forthcoming 2021 from Wayne Leupold Publishers (Durham, NC). She is particularly interested in issues of race and equity in historiography and musicological practice. After working in the live classical music industry for a decade, in 2015 she began a private consultancy to advocate for research initiatives that combine science, technology, and creative fields, and to equalize access to technology career pathways to underrepresented populations. She is currently an advisor to five National Science Foundation-funded projects that specialize in building research initiatives focused on broadening participation and creative methods in STEM education pathways. A native of Denver, Colorado, Ruth completed a BM and MM in Organ Performance at Brigham Young University, and an MSt in Musicology at the University of Oxford (Lady Margaret Hall).
Amanda Eubanks Winkler (through 31 December 2021)
Amanda Eubanks Winkler is Chair of the Department of Art and Music Histories and Professor of Music History and Cultures at Syracuse University. Her publications include the books O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage (Indiana University Press, 2006) and Music, Dance, and Drama in Early Modern English Schools (Cambridge University Press, 2020); two editions of Restoration-era theatre music; and, with Linda Austern and Candace Bailey, an essay collection Beyond Boundaries: Rethinking Music Circulation in Early Modern England (Indiana University Press, 2017). Since 2017, she has been the Co-Investigator with Richard Schoch on Performing Restoration Shakespeare, funded by the Arts & Humanities Research Council, UK. Schoch and Eubanks Winkler are currently writing Shakespeare in the Theatre: Sir William Davenant and the Duke’s Company (Bloomsbury/Arden Shakespeare).
Rachel Cowgill (through 31 December 2022)
Rachel Cowgill is Professor of Musicology at the University of York (UK) and specialises in British music and musical cultures; opera studies; Mozart; music, gender and sexuality; and music, commemoration and ritual. With Byron Adams and Peter Holman she co-edits the book series Music in Britain, 1600-2000 for Boydell & Brewer, which currently numbers around thirty volumes; informally she also coordinates the biennial international conference on Music in Nineteenth-Century Britain. Rachel is contributing co-editor of the collections Europe, Empire and Spectacle in Nineteenth-Century British Music (2006), Music in the British Provinces, 1690–1914 (2007), Art & Ideology in European Opera (2010) and The Arts of the Prima Donna in the Long Nineteenth Century (2012). Her volume Music and Ideas of the North, co-edited with Derek Scott, is forthcoming with Routledge. Among current projects are a study of John Foulds and Maud MacCarthy’s A World Requiem, and music in First-World-War London nightclubs.
Stewart Duncan (through 31 December 2023)
Student Member: Stewart Duncan is a Ph.D. candidate in musicology at the Indiana University Jacobs School of Music, with research interests in music and politics in the early twentieth century, specifically concerning choral music, nationalism, and amateur performance. His dissertation examines the close relationship between choral music and politics in England in the 1930s, from public protest to government-sponsored diplomacy. He holds a B.A. in music history from William Jewell College in Liberty, MO. As a composer, he has written music that has been published, commissioned, and performed in the United States, England, Scotland, and Austria.
Emily Hoyler (through 31 December 2021)
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 31 December 2021)
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.
Roberta Montemorra Marvin (31 December 2022)
Roberta Montemorra Marvin is Professor of Musicology and former Chair in the Department of Music and Dance at the University of Massachusetts Amherst, as well as adjunct Professor of International Studies and former co-director of the Opera Studies Forum at the University of Iowa. She has published on several topics related to Italian opera in Victorian Britain, including opera burlesques, visual images of prima donnas, issues of censorship, and critical reception. Author of The Politics of Verdi’s “Cantica” (2014) and Verdi the Student – Verdi the Teacher (2010, awarded the Premio Internazionale Giuseppe Verdi), she has been the recipient of numerous fellowships from the National Endowment for the Humanities, the American Philosophical Society, the Fulbright program, the Bogliasco Foundation, and the Howard Foundation. Co-editor of seven books, including most recently Music in World War II: Coping with Wartime in Europe and the United States (co-edited with Christina Baade and Pamela Potter, forthcoming) and The Idea of Art Music in a Commercial World, 1800-1930 (co-edited with Christina Bashford, 2016), she is also sole editor of the Cambridge Verdi Encyclopedia (2013). She serves as Associate General Editor for the critical edition of Verdi’s works published by the University of Chicago Press / Casa Ricordi and book series editor for Ashgate Interdisciplinary Studies in Opera.
Vanessa L. Rogers (31 December 2023)
Vanessa L. Rogers is Associate Professor of Music History at Rhodes College, where she teaches music history and literature courses and is a faculty affiliate of the Gender and Sexuality Studies program. Her primary area of research is 18th-century and early 19th-century English stage music, and she has published on the subjects of Henry Fielding’s ballad operas, French theatrical influences on London repertory, and iconography and orchestral seating in English theatres in the Georgian era. With Berta Joncus and Zak Ozmo she has also published a critical edition of Isaac Bickerstaff’s Love in a Village (OPERA / Bärenreiter, 2020). Her current focus is a book on comic opera in eighteenth-century Britain (in preparation).
Rebecca Thumpston (31 December 2023)
Rebecca Thumpston is a Teaching Associate at the University of Nottingham, UK. She completed her PhD examining agency in twentieth-century British cello music at Keele University, and she holds a BA and MA from the University of York. At present, Rebecca is researching a book exploring the pioneering life and career of British cellist Beatrice Harrison. Rebecca is the editor, with Nicholas Reyland, of Music, Analysis, and the Body: Experiments, Explorations, and Embodiments (Peeters, 2018) and she has published on agency in the music of Elgar, Britten, and Simon Holt. She has also published, with Barbara L. Kelly, on “Maintaining the Entente Cordiale: Musicological Collaboration between the United Kingdom and France” (Revue de musicologie, 103/2, 2017). Prior to coming to Nottingham, Rebecca was a Research Associate at the Royal Northern College of Music.
NABMSA Review Committee:
Michelle Meinhart (chair)
Blog/Social Media Committee:
Imani Mosley (chair)
Justin Vickers (chair)
Ann Van Allen Russell
Jennifer Oates (chair)
Elizabeth Morgan (chair)
Byron Adams Travel Grant Committee:
Vicki Stroeher (chair)
Diana McVeagh Prize & Ruth Solie Prize Committee:
Dorothy DeVal (chair)
Supporting NABMSA Scholars Committee (ad-hoc working group):
Roberta Montemorra Marvin (chair)
Symposium Planning Committee:
Amanda Eubanks Winkler (board liaison)
Temperley Prize Committee (2020):
Deborah Heckert (chair)