President: Julian Horton
Julian Horton is Professor of Music and Head of Department at Durham University. He has been Lecturer, Senior Lecturer, Associate Professor and Head of the School of Music at University College Dublin, and has also taught analysis at King’s College, London. Julian completed his undergraduate and doctoral degrees at Trinity College, Cambridge, where he held a Junior Research Fellowship from 1996–2000.
His research focuses on nineteenth-century instrumental music, with special interests in the analysis and reception of sonata forms, the theory of tonality, the symphony, and the piano concerto. His monograph Bruckner’s Symphonies: Analysis, Reception and Cultural Politics is published by Cambridge University Press (2004). He is editor of The Cambridge Companion to the Symphony (2013), and a contributor to The Cambridge Companion to Bruckner and The Cambridge Companion to Vaughan Williams. Publications in peer-reviewed journals include articles in Musical Quarterly, Music and Letters, and Music Analysis. In 2012, his article ‘John Field and the Alternative History of Concerto First-Movement Form’ was awarded the Westrup Prize, the annual outstanding publication award of the Music and Letters Trust. Forthcoming publications include Rethinking Schubert, published by Oxford University Press and co-edited with Lorraine Byrne-Bodley, and a monograph on Brahms’ Piano Concerto No. 2.
Julian has been Critical Forum Editor of Music Analysis and serves on the advisory boards for Nineteenth-Century Music Review, Analysis in Context and Music Theory and Analysis. He is also a founder member of the Society for Musicology in Ireland, and served two terms as a member of the Society’s Council. In 2009 he was awarded an Irish Research Council for the Humanities and Social Sciences Research Fellowship for work on the nineteenth-century piano concerto; he has subsequently been Principal Investigator for a Marie Curie Framework-Programme 7 Research Fellowship, investigating the reception of Brahms’ music.
Julian is also a composer, and (in his non-existent spare time) a keen amateur jazz guitarist.
Kenneth Smith is a senior lecturer in music at the University of Liverpool. He completed his PhD at Durham University in 2009 and subsequently held teaching fellowships at Durham and Keele. Whilst his research is analytical in focus, other areas of interest include: 19th- and 20th-century music and philosophy, semiotics, psychoanalysis and aesthetic theory. His monograph, Skryabin, Philosophy and the Music of Desire (2013), is an interdisciplinary study of Skryabin’s harmonic system and its roots in Russian culture and philosophy. Kenneth works broadly with neo-Riemannian theory and his current book project is entitled Desire in Chromatic Harmony: A Psychodynamic Exploration of Fin de Siècle Tonality. Kenneth also publishes on popular music and is co-editing Expanded Approaches to Analyzing Popular Music (Routledge).
Shay Loya is a Lecturer in Music at City, University of London. He received his PhD at King’s College London in 2006, and previously lectured at the University in Durham (2007-8 as CETL Teaching Fellow and 2011-12). His research interests include Liszt, Hungarian-Gypsy music, analysing musical transculturation, and other critical and aesthetic issues in music of the long nineteenth century. He has presented numerous papers in international conferences and his main publications include Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition (University of Rochester Press, 2011), and the article ‘Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert’, Journal of the American Musicological Society, 69.2 (2016): 409–67. He is currently working on Liszt’s late works and developing music analysis modules at City.
David Bretherton studied piano at Chetham’s School of Music and Guildhall School of Music and Drama, before completing bachelor’s and master’s degrees at the University of Reading with Jonathan Dunsby. He later studied for a doctorate at the University of Oxford with Suzannah Clark, writing a thesis entitled ‘The Poetics of Schubert’s Song-Forms’ that examined how Schubert combined elements of the previously distinct traditional Lied and dramatic ballad so as to create more sophisticated and expressive song-forms. As well as music theory and analysis, Schubert, and song, his research interests include computational and digital musicology. David has been at the University of Southampton since November 2007, initially as a Research Fellow attached first to the musicSpace and MusicNet music and e-science research projects, and more recently to Schenker Documents Online, before being appointed as a Lecturer in October 2013.
Chris Dromey is Associate Professor in Music at Middlesex University, where he teaches theory, analysis and business. A synopsis of his book on The Pierrot Ensembles: Chronicle and Catalogue, 1912-2012 (Plumbago, 2013) is available to read here. He has written on Benjamin Britten (Ashgate), Alexander Zemlinsky (Middlesex UP) and Peter Maxwell Davies (Routledge), and advanced some of his book’s themes in more recent publications on neomodernism hierarchical organisation in music. Chris is currently co-editing a volume for Routledge on The Classical Music Industry. Before Middlesex, he taught at the Open University, the Royal Opera House (Thomas Adès’s The Tempest), Birkbeck College, University of London (twentieth-century music), and King’s College London (music analysis). An active organist and pianist, Chris also writes for the London Chamber Music Society and convenes Middlesex’s Concerts and Colloquia, a Tuesday evening series open to the public featuring musicologists, executives, performers and composers (proposals from potential speakers are always welcome). Chris oversees Membership for the SMA.
Treasurer: Kirstie Hewlett
Kirstie is a Research Assistant in the Cultural and Policy Institutes at King’s College London, working on an analysis of impact case studies from REF 2014 to identify the nature of research impact in the creative and cultural sector. She is also the Project Support Officer on the EU-funded THOR project, a contributor to the Schenker Documents Online project, and works on various media projects, including a forthcoming series of podcasts for the Royal Musical Association.
Kirstie completed her PhD in 2015 at the University of Southampton, which was funded by the Arts and Humanities Research Council in conjunction with the Schenker Documents Online project. Her doctoral thesis, ‘Heinrich Schenker and the Radio’, was a study of early radio broadcasting in Vienna and Schenker’s experiences as a listener; in the later stages of this research, she wrote and produced a documentary for BBC Radio 4 about Schenker’s listening habits entitled Learning to Listen, which was broadcast in August 2014. She has published in Music Analysis, and also holds a master’s degree in film composition from Bournemouth University.
Kirstie oversees the financial affairs and administration of the society.
Rebecca is a PhD candidate in musicology at Royal Holloway, University of London where she studies under the supervision of Prof. J. P. E. Harper-Scott. Her thesis focuses on philosophical, analytical, and psychoanalytic conceptions of subjectivity in Mahler’s musical modernism, where she hopes to develop an analytical response to aesthetic issues of subjectivity using the intersections between Lacanian Psychoanalysis and Sonata Theory. Her wider research aims to comment on concerns within cross-cultural reactions to the advent of modernism (specifically in the Nordic compared to Austro-Germanic regions) as well as to critique concepts of interdisciplinarity within music analysis. She has recently presented papers across the UK and Europe on a variety of topics, including intertextuality in the reception history of Mahler’s symphonic works, a philosophical and analytical critique of the ideology of musical organicism, and an analysis of the concept of modernism as a narrative, formal category in the works of Swedish composer Kurt Atterberg. Her research aims to afford equal weight to analytical methods (specifically Sonata Theory, Schenkerian analysis, and Neo-Riemannian theory), and philosophical thought (Adornian, Hegelian, Žižekian, and Lacanian) and as such she is keen to nurture the links between Critical Theory and Music Analysis throughout her time as student representative for the SMA.
Ross is currently reading for a PhD in music theory and analysis at the University of Liverpool under the supervision of Dr Kenneth Smith and Professor Michael Spitzer. His thesis, Modulation in a New Key: Towards a Generalised Theory of Post-Tonal Modulation, attempts to carve out a new formula for post-tonal modulation, focussing in particular on a dynamic repertoire of early-twentieth-century, post-Wagnerian works that problematise the conceptual boundary between tonality and so-called atonality. Calling upon music theory, contemporary analysis, and philosophy, this research centres on a model of tonal motion and meaning that attempts to tie together several music-theoretical threads (running from neo-Riemannian Funktionstheorie and broader Energeticist conceptions of harmonic form), and sit them within the context of the musical landscapes of the twentieth century. His interests therefore concern the historico-philosophical narratives surrounding tonality and modernism, and the literature’s more pervasive metaphors regarding tonal space, musical forces, and structural hearing.
During his time as an undergraduate (2012), Masters student (2013), and currently a third-year doctoral candidate (2015-16)—Ross has lectured in music analysis, theory, aesthetics, and philosophy, served as a student representative on several boards and committees, and assisted in the publication of several scholarly books.