The trustees of the Society for Music Analysis manage the affairs of the charitable incorporated organisation (CIO), and for that purpose may exercise all the powers of the CIO. Trustees take on different roles within the Society, including responsibility for areas including outreach, communications and events. Profiles of the individual trustees are given below.
Genevieve is a Post-Doctoral Research Fellow at the University of Surrey and will be joining the University of Bristol as a Lecturer in Music in January 2022. Her research focuses on intertextuality in 19th- and 20th-Century music, specifically the works of Richard Wagner and Gustav Mahler. In January 2020 she was awarded the Wagner Society Young Lecturer’s Prize for her research on Wagner’s Parsifal, and she has had her work published in both British and European academic journals. She is Deputy Director of the Institute of Austrian and German Music Research, Leader of the Gustav Mahler Research Centre Postgraduate Forum, Team Lead for the Equality, Diversity, and Inclusion in Music Studies Network, and an Affiliate of the Black Opera Research Network. Alongside her research and teaching she works as an EDI activist and is passionate about speaking out on issues of race and representation in Music Higher Education.
Esther is a Senior Research Fellow in Music at King’s College, London, where she is co-authoring a book on Howard Skempton. She has been Vice-Chair of Governors of the Trinity Laban Conservatoire of Music for eight years, and a Director of the City of London Festival, and now works with violinist Michael Bochmann on various projects for the charity Water City Music. She has studied the piano with Guy Jonson, Susan Bradshaw and Thalia Myers. Esther started her working life as an academic musician and pianist, completing a doctorate on Mozart’s music, publishing music theory articles in JRMA, Music Analysis, and elsewhere, and teaching music at Oxford University, but took a twenty-year career break from music to go into the City as a lawyer, whilst always retaining her musical interests to which she has now returned.
Oliver Chandler is College Lecturer in Music at Keble College, University of Oxford; he previously held the post of associate lecturer at Anglia Ruskin University, where he is still a Ph.D. supervisor. His research interests include the music of Edward Elgar and Humphrey Searle, as well as more general questions about the elastic limits of tonality. His work has been published in Music & Letters (in press), Music Theory Online, Gamut, and Journal for the Society of Musicology in Ireland. He was awarded the SMA’s graduate-student prize in 2017. Oliver is also a keen guitarist. He was awarded the guitar-departmental performance prize during his master’s studies at Trinity Laban, Conservatoire of Music and Dance, and the Alice Dougherty Prize for the best final year recital at Royal Holloway.
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.
Nicole Grimes is Associate Professor of Music at the University of California, Irvine. Her books include Brahms’s Elegies: The Poetics of Loss in Nineteenth-Century German Culture (CUP, 2019, paperback 2021), Rethinking Hanslick: Music, Formalism, and Expression (co-edited with Siobhán Donovan and Wolfgang Marx, Boydell & Brewer, 2012), and Mendelssohn Perspectives (co-edited with Angela Mace, Ashgate, 2011). She has published widely on the music of Brahms, Clara Schumann, Robert Schumann, Schoenberg, Liszt, Wolfgang Rihm, and Donnacha Dennehy. Her current research is focused on the formal analysis of the music of women composers in the nineteenth century, with a particular emphasis on Emilie Mayer (1812–1883) and Clara Schumann (1819–1896).
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.
Sarah is currently a College Lecturer in music history and theory at Magdalen College, University of Oxford, and an Associate Lecturer at Oxford Brookes University. She has previously convened modules on Schenkerian theory at University of Nottingham and taught at Royal Holloway and several Oxford colleges. Music theory and analysis is also central to her research, which places a critical focus on form in the nineteenth and early twentieth centuries. Her doctoral thesis examined the history of analytical approaches to Jean Sibelius’s music to reformulate the accepted view of the composer as an early modernist. Her prize-winning TAGS essay on Sibelius’s ‘Worker’s March’ – an application of the theoretical models developed in her thesis – was published in the April 2020 SMA Newsletter.
Sarah is keen to support and represent early-career and postgraduate music theorists and aims to promote the continuing growth of the community. She has a particular interest in contributing to writing groups, workshops, and training events as well as developing online learning material.
Ian Pace is Senior Lecturer in Music and Head of Performance at City, University of London, having previously held positions at the University of Southampton and Dartington College of Arts. His areas of academic expertise include nineteenth-century performance practice, comparative performance studies, issues of music and society (with particular reference to the Frankfurt School), contemporary performance practice and issues, music and culture under fascism, modernist music and its institutions, in particular in Germany, critical musicology, and music historiography. He co-edited and was a major contributor to the volume Uncommon Ground: The Music of Michael Finnissy, published by Ashgate in 1998, and authored the monograph Michael Finnissy’s The History of Photography in Sound: A Study of Sources, Techniques and Interpretation, published by Divine Art in 2013. He has also published many articles in Music and Letters, Contemporary Music Review, TEMPO, The Musical Times, The Liszt Society Journal, International Piano, Musiktexte, Musik & Ästhetik, The Open Space Magazine, as well as contributing many book chapters to edited volumes. The collection Critical Perspectives on Michael Finnissy: Bright Futures, Dark Pasts, co-edited with Nigel McBride, will appear from Routledge in April 2019, volumes on Writing on Contemporary Musicians and Writing about Contemporary Artists in Theory and Practice, from Routledge and Palgrave Macmillan respectively, both co-edited with Christopher Wiley, will appear in early 2020, and Rethinking Contemporary Musicologies: The Limits of Interdisciplinarity and the Dangers of Deskilling, co-edited with Peter Tregear, will appear from Routledge in 2020. Other forthcoming publications include monographs on music in Weimar and post-war Germany, a book on Brahms Performance Practice for Routledge, and a history of specialist musical education in Britain.
Mark is Senior Deputy Head at Queen Anne’s School in Caversham, Berkshire – an independent boarding and day school for girls aged 11-18, and is responsible for the operational management of the school on a day to day basis. He also teaches A Level Music, where many of his pupils go onto university to read Music. He successfully completed an MMus in Theory and Analysis at King’s College, London, supervised by Arnold Whittall and Christopher Wintle; further research continued at Cardiff University. He has written several books and articles associated with A Level Music and organises conferences and symposiums for schools across the country: live and remote. He has extensive experience of examination work having been Deputy Chief Examiner for Music of the International Baccalaureate for a number of years. Analytical interests focus on Schenkerian theory, music of the Second Viennese School, contemporary American music and assessing the importance of musical literacy as pupils make the transition from school to university. He is also an experiencd school inspector.
Christopher is Lecturer in Music Analysis at Newcastle University. He completed his PhD at Royal Holloway, University of London, in 2015 and has held academic positions at the University of Bristol and Anglia Ruskin University. His research focuses on theory of form and its application to nineteenth- and twentieth-century instrumental music, especially theNordic symphony. His PhD made a reassessment of Schubert’s sonata-form practice through a critical engagement with Sonata Theory in conjunction with ideas drawn from Lacanian psychoanalysis. He has published articles in the International Journal of Žižek Studies, the Danish Yearbook of Musicology, and Music Analysis. As well as historical musicology and analysis, Christopher has wider teaching interests in performance, counterpoint and harmony, orchestration, and conducting.
Daniel is Assistant Professor in Music Analysis at Durham University. He received his PhD in Music from Harvard University and was a Junior Research Fellow at University of Oxford. His research interests include tuning and temperament and the global history of musical science, as well as analysis of nineteenth- and twentieth-century music. His book project traces the colonial histories of pitch studies in nineteenth-century Japan, West Africa, North India, and the Indigenous Americas, and examines how the systems developed within these contexts for quantifying and quantizing musical sounds laid the groundwork for today’s digital systems for managing musical data. He is the founder of NIFTY (New Instruments for Theory), an open-access database of digital and DIY instruments designed to diversify theoretical research and pedagogy. Daniel has also published on ancient music theory and early modern enharmonicism, and is active as a performer of contemporary experimental and improvised music. He was elected as Trustee in 2021.