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: Becky Thumpston
Becky works as Teaching Associate at the University of Nottingham. Her research focuses on theories of agency and embodiment, and British music of the twentieth and twenty-first centuries. Becky completed her PhD ‘Agency in twentieth-century British cello music’ at Keele University in 2015, and worked from 2016-19 as Research Associate at the Royal Northern College of Music. She is co-editor (with Nicholas Reyland) of Music, Analysis, and the Body: Experiments, Explorations, and Embodiments (Leuven: Peeters, 2018) and has published on agency in the music of Britten, Elgar and Simon Holt. She is currently working on her first monograph, Agency, Embodiment and the Twentieth-Century Cello. Becky oversees the administration of the Society.