The Society for Music Analysis appoints officers to look after the Society’s administration and finances, and to lead on matters of Equality and Diversity. The Society’s official documents, including its Equality and Diversity Mission statement, can be read here. Profiles of Society officers are given below.

Equality and Diversity Officer: Anne Hyland


Anne Hyland is Lecturer in Music Analysis at the University of Manchester and Critical Forum Editor for Music Analysis. She completed her PhD at King’s College, University of Cambridge in 2010, and subsequently held lecturing appointments at Trinity College, Dublin (2011–12) and Royal Holloway, University of London (2012–14). Her research interests range across the analysis, reception history, and editing of Schubert’s instrumental music; the history and theory of form (especially sonata and variation forms); musical temporality; the Viennese string quartet, and intersections between music historiography and analysis. She has published in Music Analysis (2009 – awarded the journal’s 25th Anniversary Prize), Music Theory Spectrum (2016), Rethinking Schubert (OUP, 2016), Schubert’s Late Music: History, Theory Style (CUP, 2016), and The String Quartet: from the Private to the Public Sphere (Brepols, 2016). She is the recipient of a British Academy/Leverhulme Trust Research Grant for a project investigating the performance and publication of string quartets in the first three decades of the nineteenth century in Vienna, and she is currently writing a monograph on Schubert’s String Quartets for Cambridge University Press.

Widening Participation & Outreach Officer: James Olsen 


James is College Teaching Associate in music at St Catharine’s College, Cambridge. He completed his PhD at Royal Holloway, University of London, where he was supervised by Professor Nicholas Cook. His research interests include the theory and analysis of music from the eighteenth century to the present, the application of philosophical hermeneutics to music, critical theory, and music education. He is also a composer, and his works have been performed by, amongst others, the London Symphony Orchestra, the London Sinfonietta, the Philharmonia Orchestra and Deutsches Symphonie-Orchester Berlin. Three commercial recordings of his music have been released. He has a strong interest in music education, and is the founder of Olsen Verlag, a social enterprise whose purpose is to bring Western art music to wider audiences.

Executive Officer: Ross Edwards


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 atonalityCalling 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.

Ross oversees the financial affairs of the society.

Administrator: James Savage-Hanford


James was awarded his PhD from Royal Holloway, University of London (where he was the recipient of a fully-funded IMR-Reid Scholarship), in 2020, with a thesis on George Enescu’s late chamber works. His current research focuses on modernist aesthetics and national identity (particularly in the context of Polish and Romanian twentieth-century repertoire), as well as on questions relating to embodiment and the phenomenology of listening. His debut article, on aesthetic enchantment in Enescu, is forthcoming in the Journal of the Royal Musical Association, and he is also the founder and co-curator of the Polish Music Since 1900 Research Network. He has taught numerous modules in music history, analysis, and musicianship at Royal Holloway and at the University of Oxford.
Away from academia, James is also a professional tenor, and has worked with ensembles and companies such as the BBC Singers, Academy of Ancient Music, Opera Holland Park, Grange Park Opera, and the Estonian National Symphony Orchestra. James oversees the administration of the society.