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.
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 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.
Ross oversees the financial affairs of the society.
Administrator: James Savage-Hanford
James completed his PhD at Royal Holloway, University of London (where he was also IMR-Reid Scholar), in 2019, under the supervision of Professor Julian Johnson. His thesis (‘Memory, Enchantment, Dream: The Later Chamber Works of George Enescu’), explored Enescu’s engagement with several important aesthetic categories. Specifically, his research investigated ways in which Enescu’s music might encapsulate and re-construct various mnemonic modes (both within a broader structural and temporal context, and more locally in terms of the experiential effects of remembering); how it employs ‘strategies of enchantment’ (including drawing on a childlike way of ‘seeing’ the world) as a means of counteracting the common understanding of modernity as heralding a ‘decline in mystery’; and the ways in which it might evoke a ‘dream-logic’ and thereby conform with the aesthetic notion that music might itself represent a mode of dreamlike translation. Throughout, his thesis endeavoured to draw these strands together through a broader consideration of questions relating to musical modernism, embodiment, and a phenomenology of listening. While at Royal Holloway, James assisted on core undergraduate courses in Theory and Analysis, Historical Musicology, and Practical Musicianship, and was also the administrator for the Institute of Musical Research from 2015–2018. He is also a professional tenor (and has worked with companies and ensembles such as the Academy of Ancient Music, Opera Holland Park, Grange Park Opera, and the Estonian National Symphony Orchestra), and is a published translator of several articles and books (from Polish to English), with clients including the Adam Mickiewicz Institute and Warsaw-based publishers Rosikon Press. James oversees the administration of the society.