Covid has been tough on dancers. They need to touch and get close. Finding a distancing solution is not easy.
The choreographer Christophe Garcia has found a solution for his ensemble, La Parenthèse, in a hotel in Angers.
Watch.
He missed an opportunity to call it Look Back in Angers.
Welcome to the 104th work in the Slipped Disc/Idagio Beethoven Edition
Sonata for Piano No. 32 in C minor op. 111 (1821-22)
Beethoven wrote the last of his sonatas in just two movements, breaking yet another taboo. His assistant Anton Schindler claimed he gave up on a third movement because he was running late with the ninth symphony, a story not many believe though it’s the kind of remark the composer might have tossed out to deflect further questions.
When a Berlin publisher complained the manuscript was one section short and asked if the rondo-finale had got lost in the post, Beethoven responded with a barrage of grievances about misprints and short payments for his last edition. By this time in his life, into his fifties and in constant pain, the composer was disinclined to take backchat from anyone, no matter how much he needed their support.
So just two movements and an average length of around 25-30 minutes, although some intepreters take almost that long on the second movement alone such are the relativities of time in this most flexible and open-ended of last-word masterpieces. The slowest pianist is probably the Russian Anatol Ugorski, taking 11 minutes on the first movement and 27 on the second, in its way a remarkable and inimitable feat. You can pop out to the kitchen and make a cup of tea between one note and the next. How the pianist maintains a line at such extreme length is a marvel to behold.
The second movement also contains what some claimed to be the birth of jazz. At around three minutes in, Beethoven rocks the melody unevenly from side to side in what can only be described as syncopation. Boogie-woogie might be even more accurate. Not every pianist is happy with this description. The Hungarian pianist Andras Schiff has dismissed it as close to sacrilege. but even a German traditionalist like Wilhelm Backhaus finds it impossible to suppress the jazzy nature of this theme. Edwin Fischer, in a performance of otherwise massive assurance, seems to be using all of strength and intelligence in this passage to stop the rhythm running off his rails.
While it is highly unlikely that Beethoven was familiar with the musical idioms of African-Americans, the rhythmic variegation tells us that he had left Viennese tradition and expectations so far behind him that anything was possible in his last works, even atonality. Beethoven himself considered the work ‘not very difficult’ but pianists were long daunted by such incalculable markings as 12/32 and the new-fangled metronome that the composer recommended only served to confuse them further.
In his great novel of ideas, Doctor Faustus, Thomas Mann depicts a town organist, somewhere in Germany, giving a lecture on the opus 111 and its enigmatic conclusion. He sat on his revolving stool… and in a few words brought to an end his lecture on why Beethoven had not written a third movement to op. 111. We only needed, he said, to hear the piece to answer the question ourselves. A third movement? A new approach? A return after this parting – impossible!
This is not a work for a young artist to attempt. Ivo Pogorelich, who recorded it for Deutsche Grammophon at the age of 23, received such derisive reviews that he retreated into a shell of defensiveness that characterised the rest of his career. You can judge for yourselves how it sounds – after repeated listenings I still find it peculiar and immature. Harold Schonberg reported that at a 1985 Carnegie Hall recital he took a world-record 31 minutes and 31 seconds to get through the work. Pogorelich insisted that he was only doing what Beethoven wanted.
By contrast, the Canadian pianist Angela Hewitt waited until she was past 60 before attempting this summit. Next morning she broadcast the outcome on social media: ‘It’s done! I performed Beethoven’s Op. 111 in public for the first time last night at a friend’s barn in Devon for 65 people. On a Bosendorfer. Very intimate. I got all choked up just talking about it at the beginning of the concert…..let alone playing it. Now I have the rest of my life to try to play it better, but I’ve done it and that gives a lot of personal satisfaction.’
In assessing 150 recordings of this work, I shall limit myself to the most thoughtful interpretations. Fischer and Backhaus come instantly into contention. Friedrich Gulda joins them with an ethereal serenity that is almost a summation of the complete 32 sonatas.
But how easy it is for even the most accomplished artists to fall short at the last hurdle. Clara Haskil, more of a Mozartian than a Beethoven specialist, sounds as if her shoelaces have come undone on the pedals; I mention her only to show how easy it is for the most accomplished of pianists to stumble over Beethoven’s trickery with speeds and expression.
Alfred Brendel is ponderous in the opening movement, and sombre in the second, never quite illuminating the sonata as he has done so often through his cycle. Daniel Barenboim gets slower and slower as if the work wears on, as if he imagines Beethoven is running out of energy (which the 9th symphony assures us he isn’t). Arthur Schnabel is both heavy-handed and a bit scatty, less authoritative than his finest efforts. That said, I am seduced all over again by his rocking rhythms in the finale. Claudio Arrau‘s fourth and last recording is wondrously humane.
And what of Emil Gilels? This is one of three sonatas in the cycle that he left to last and never recorded, we know not why. His arch-rival Sviatoslav Richter weighed in with three recordings, marked by coolness and detachment. Of the Russians, Maria Yudina is the one who penetrates most fully and sympathetically into Beethoven’s last sonata.
Ronald Brautigam demands to be heard on a tintinnabulating early instrument and Fazil Say has a take on some phrases that is all his own. Among very latest releases, I am hugely impressed by Filippo Gorini and Pina Napolitano. (I haven’t yet heard Angela Hewitt).
But my listening is coloured by time and place, by the year of Covid and all its mortal losses and future uncertainties. To hear the notes of Beethoven’s last piano sonata as music is all but silenced in public places is to enter the darkness with Beethoven and to emerge, like him, with a message of faith and continuity. Mitsuko Uchida achieves an ethereal closure that resembles an act of transmission, as if Beethoven had not laid down his pen at the end of opus 111 but handed it, full of ink, to Schubert.
by Ruben Greenberg, exclusive to Slipped Disc
There are two excellent reasons why our retirement home was named after Rossini. Rossini’s country house originally stood on the grounds of this residence and was donated by the great man in order to establish a retirement home for impoverished retired artists. The second reason is that Rossini himself retired at the age of around 36 and remained so for the last forty years of his life. He thereforeknew more than anybody what it was like to be retired. Alas, none of us here are 36 years old, but rather of an age closer to Rossini’s when he died.
There is little left of Rossini’s country house, but his office has been preserved exactly as it was at the time of the composer. In our auditorium, which is in constant use, you see, through a large picture window, another room: Rossini’s office, perfectly preserved with his
furniture and decor and we get the feeling that the genial old composer is sitting at his desk watching over us as we perform in his
ministering presence. His critical eye inspires us to do our best.
After the war, the home was taken over by the nuns, who turned half of it into a convent. There are still a few kindly nuns looking after us; a half dozen or so. Nuns are becoming extinct, whereas the world will never be lacking in starving artists of all ages. I would say most of my fellow residents are former professional musicians. However, we also have retired actors, down-and-out writers,even ex-circus performers. It hurts to see an old lady hobbling down the corridors and imagine that she once walked the tightrope. The tremulous old man you see struggling to cut his meat at the dinner table was once a famous knife thrower. What do we all have in common? -the fact that we’re old and poor. We almost all had rather obscure, modest artistic careers, but a few people here are ex-stars now down on their luck. Gambling, drinking, unsuccessful marriages and fizzled-out careers are various factors that have got them into this dead-end job which is called retirement.
Yet let it not be said that I am painting a dark picture of our penultimate destination. We have great fun here and the Rossini home is a veritable beehive of artistic activity: concerts, plays, you name it. True enough, some of our wind players have lost their chops; some of our singers are vibratos in search of a voice. Some of our string players sound scratchy, some of our actors forget their lines and our juggler breaks a few window panes with his stray balls and once even broke a spectator’s nose, but we are still capable of moving performances and we get people from the neighborhood coming in to watch us; even a few members of the younger generation. We like to think that contrary to chartered accountants or bank clerks, we artists are ageless. Father time has caught up with us, but we live with him in relatively good harmony under the same roof.
The members of the different guilds that make up our community tend to stick to their own kind. The actors ham it up; are theatrical in
their display of emotion. The circus performers have the gypsy in their soul: knock back inferior-quality wine at the dinner table and break out in song. We Classical musicians interact constantly and fight over the length of notes, tempos, all sorts of musical matters.
But we always make up, even after we feel somebody has scandalously held a fermata too long or a violinist’s high register is infuriatingly flat. When my fellow musicians give me a hard time, I threaten to run away and join the circus: to eat at the other end of the dining-room where the circus clowns and lion tamers hang out. As for the writers, they tend to be solitary and sullen and end up setting all of their stories and novels in a retirement home as that is the only raw material they have at their disposal these days. A circus bird trainer advised me to stay away from them: “they seem half out of it, but they’re actually very observant and if you’re not careful, they’ll steal your soul. Everything you do or say, they can use against you,” he warned me.
There is, needless to say, a regular turnover among the residents of the Rossini Home. New residents walk in through the front door.
Departing residents are discreetly carried out the back way. Little had prepared us to welcome our illustrious new-comer: the famous-or
notorious, depending on how you look at it- music critic Anton Beziers. It appears Beziers wasn’t really his last name. He was
Bulgarian and Beziers was the first town that he set foot in when he arrived in France so he decided to adopt that nice-sounding French
name with its musical vowel sounds. How had Beziers sunk so low as to become a resident of a charity institution specializing in housing
elderly welfare recipients? It’s a long story that I will try to condense.
Beziers was for a long time the most feared music critic in the country. He once boasted that it gave him a thrill to know that he could walk into a concert hall five minutes before a performance and make the orchestra, soloist, conductor…even audience shake in their boots. He had such a large following in his newspaper and was so vehement and viper-tongued in his criticism that he had the ability to make or break a career. Power corrupts and Beziers was no exception to this hard rule. I once found myself sitting behind him at a concert at which he nodded off after the first few bars and snored his way through a whole Bruckner symphony, his snoring almost covering up the characteristic Bruckner tremolos. The next day there was a very critical review of the concert by him in the newspaper in which he analytically criticized the conductor’s poor choice of tempos and sloppy accentuation. He added that the horns were continually out of tune and cracked several notes.
Beziers had a wife that fancied herself a singer, though actually she sang about as well as a kangaroo. His wife, Benita, was half Beziers’ age and was the apple of his eye. He promoted her career by offering to give the clients of major agencies good reviews if the latter agreed to handle her. Conductors, and opera houses that employed her were also given good reviews in exchange. So how did such a powerful critic end up in our poorhouse? What happened was that he made a major false move that brought his career to a close.
He wrote a scathing review of a symphony concert: the orchestra had no sense of style in Beethoven’s Fourth and Sixth symphony. The pianist, Dimitry Strapontinsky was heavy-handed in Brahms’ First piano concerto.. The ensemble was not together. But this time Beziers got
caught with his pants down. The concert he reviewed had never taken place. It had been cancelled because of a transport strike. This
incident put an ignominious end to Beziers’ long rein as our country’s leading music critic.. His wife left him shortly after this incident because he was no longer of any use to her and she shacked up with the director of a minor opera house that cast her in small parts
and guaranteed the continuation of her singing career.
So here was Beziers among us, shabbily dressed and older and
squatter than I remembered him. The circus clowns and lion tamers
were totally unaware he ever existed, but my fellow Classical
musicians had bitter memories of him, though most us of were far too
insignificant as performers in the past to even merit his scathing
reviews. He seldom visited the minor concert venues in which our
careers had taken place. By virtue of what was he a new resident here?
He wasn’t a musician, wasn’t an actor and wasn’t a magician, though
granted, he did write a review of a concert that never took place.
Some might argue that this requires at least as many magical powers as
pulling a rabbit out of a hat. He was with us officially passing
himself off as a retired writer.
Beziers attended our little concerts. If the Amadeus String
Quartet didn’t get his seal of approval, there was little chance we
would. He was present at a performance we gave of Schubert’s Trout
Quintet and just sat there at the end with his hands on his lap, an
ugly scowl on his face, and didn’t applaud. Two days later, our
favorite soprano sang the operetta aria “poussez, poussez
l’escarpolette” and Beziers walked out of the room in the middle of
her song. Some of us were tempted to ask that he be banned from
attending any more of our concerts, -to let our knife-thrower
suffering from Parkinson’s disease practice his act on him or to
firmly press a pillow against his fat face during the night and make
it appear as though he had died peacefully in his sleep. but I asked
that he be allowed to go on living because my big project was to
figure out what made this ex-influential man tick. I have always
taken a keen interest in what makes people tick, what makes artists
tick, what makes music tick. On the other hand, now that time is
running out for me, what makes a clock tick leaves me cold.
Beziers would sit alone at his table in the dining hall for meals.
“Do you mind if I join you?” I politely asked him one evening. He
made an unfriendly gesture which obliquely meant: “go ahead..seeing as
there is nothing I can do to prevent you from doing so.” “So how do
you like it here?” I asked him. “You mean how do I like being among
the living dead?” he asked. I thought it best not to pursue the
conversation and we finished our meal in silence. But I would not be
daunted. I would try again some other time. With some people, it
takes all the the ability of a safecracker to unlock the door that
stands between them and the outside world; the skill of a safecracker
or a stick of dynamite.
A few days later, I walked past his table and surprisingly he
indicated a chair that was already half pulled out, as though
fatalistically resigning himself to inviting me to join him for
dinner. I sat down and a sudden inspiration made me go for broke.
“What have the last ten years been like?” I asked him. “Why the last
ten?” he asked. “Why not the last 70?” Point blank I replied: “the
last ten; the last ten since your downfall?” He was taken aback but
didn’t recoil. I was emboldened. “What have you done these last ten
years?” He answered in a very matter- of -fact way: “I wrote a book
on Beethoven’s 16 String Quartets: the most important piece of work I
ever produced. No publisher accepted it because of my rotten
reputation. I suppose they reckoned I had never actually heard these
string quartets. I had a nest egg that kept me going for ten years,
but its amount wasn’t infinite. The money ran out and I have ended up
in the poorhouse. In other words,here.” I thought to myself: “that
will do for today. I’ll gnaw away at him, but piano, piano and
ritendendo”. We finished our meal in silence, but a rapport had been
struck up, albeit small.
*****
From then on, I would sometimes have dinner with Beziers. Not too
often because the gloom that emanated from the man was liable to get
me down. He spoke about himself a little more openly as time went by.
On the other hand, he took absolutely no interest in me. This didn’t
upset me in the slightest. As I am a double-bass player, I am used to
people taking no notice of me. One thing I couldn’t understand was
why Beziers chose to live out his remaining years in a retirement home
for artists. Given his negative attitude and his participation in our
activities which was close to nil, he could have just as well lived in
a home for retired rabbis or retired vacuum- cleaner salesmen. Rather
than condemn the obviously unhappy man, I sincerely wanted to help
him. I’m no psychiatrist, but I had carefully observed members of
their profession in movies and television series so I knew how they go
about treating problem cases.
We were once chatting about a Bottesini double-bass concerto.
Beziers was what he was, but nobody could deny his impressive
encyclopedic knowledge of music. Suddenly I changed the subject: from
the impersonal to the highly personal. “You know, Beziers, you won’t
ever be leaving this place except to go you know where. This home is
the exit lounge of life for all of us. Don’t you think it would be in
the interest of all concerned to make the best of your stay here?”
Beziers was caught off guard by my remark. His lips trembled, he
tried to mutter something, but nothing came out. We finished our meal
in silence.
****
One day, we were rehearsing a little-known Hindemith quintet for violin, trumpet, clarinet, double-bass and piano. For some reason,
Beziers was curious and attended our rehearsal, something he had never done before no matter how bored he was. In the corridor, I asked him why. “I knew Hindemith personally,” he answered. ” I took a few composition lessons from him. He’s seldom played in this country…
His music is considered too Teutonic. You’re not playing his quintet so badly.” “What?!!” I thought. “-a compliment?! That isn’t at all
like him. Is Beziers going soft?!” That was part of my psychological tactic: to make him go soft. The next day, Marie-Claudette our lovely
violinist, stopped in the middle of our rehearsal: her nagging tendinitis had come back. We had other violinists at our disposal, but nobody that didn’t have an aversion to Hindemith. Marie-Claudette turned to Beziers who was sitting at the back of the hall. “Monsieur Beziers,” she said addressing herself to him. “I’ve heard that you were once a fine violinist. Would you consent to replacing me? We really would like the performance of this piece to come off.” I saw Beziers’ lower lip tremble, as it always did on the rare occasions when his armour was chinked. “may I borrow your violin for a couple of weeks?” he asked with a shaky voice. “…I’m not promising anything….”
From that day on, every time I passed Bezier’s room I would hear
him practicing like mad: hours a day. At first he sounded awful: like
a pig squealing; an unmusical pig at that. But his playing got better
by the day at an amazing pace. Why had this man wasted his time as a
critic when he obviously had so much talent as a performer? I would
try to find that out later. Three weeks after “going back to the
woodshed” Bezier declared: “I’m …I’m ready…” in a voice that
sounded more like that of a timid schoolgirl than that of the
thick-skinned potentate he had been.
We began rehearsing the Hindemith. As the violinist of the quintet
and the one that had the biggest part, it was only natural that
Beziers should be the leader of the group. And what a fine leader he
was: perceptive, patient, encouraging and not allowing anything to get
by him. He heard every little thing, every nuance, had an incredible
ear for harmony and for the architecture of a piece. His violin
playing had perhaps known better days, but he was well on the way to
recovering the old splendor of his musicianship. I personally was
having perhaps the finest musical experience I had had at the Rossini
Home. Beziers’ personality underwent a totally unexpected change. He
became friendlier, warmer. He asked that we call him Anton. This was
like General Charles de Gaulle asking people to call him Charlie!
Beziers now sat at the dinner table not only with me, but with other
residents, sometimes even laughing and telling jokes. A date was set
for our little concert.
Then, all of a sudden, Bezier grew gloomy again. He was as anxious
about our insignificant little concert as if he were about to make his
debut at Carnegie Hall. He became testy during rehearsals: hard on
the rest of us and even harder on himself. I decided to have a little
talk with him. “This is exactly how it went before I switched to a
career as a critic,” he admitted to me. “Stage- fright paralyzed me,
made my life miserable. As a critic, I didn’t have to experience the
horrors of performance anxiety. I made other people anxious, which
was unconsciously a form of getting my revenge. Then came the
hobnobbing with rich and famous musicians, politicians, people of high
society…people I had never had access to when I was but a mere
obscure chamber and orchestral musician. It went to my head and I was
so madly in love with my wife that I would stop at nothing to further
her career.” “But that’s all over,” I said soothingly to him.
“There’s no doubt you love music and have a tremendous talent for it.
For the first time you can simply partake of the enjoyment of it
without any unhealthy ulterior motives.” He listened and was
convinced by the intellectual honesty of my arguments, but he was not
coping with his feelings of misery and fear.
The afternoon of the concert, Beziers walked onto the stage on
wobbly knees, sweating profusely and his hands shaking. I had
experienced performing anxiety in the past, but nothing like what
Beziers was obviously going through. At least I had always been able
to hide behind my double-bass. Nevertheless, Beziers began to play.
The first few bars he played were weak, almost apologetic, but then
for some reason the ice suddenly broke. Not only was he playing as
well as he did during rehearsals; he was playing far better and with
fantastic inspiration. The nuns, circus performers, musicians,
writers and actors plus a few neighbors that were in our audience
were swept away by our playing, as Bezier carried us to new heights.
Thunderous applause followed our performance and we played the last
Hindemith piece of his quintet again as an encore. This was Beziers’
shining hour and I was proud of him and proud of myself: of the work I
had done on him. A lesser man would have given up on him after five
minutes, I thought , congratulating myself. Beziers from then on
became an active member of our community and somewhat like a
professor emeritus for us string players. Every rehearsal with him
was like a fine master class, a free one into the bargain.
He even wrote a musical play that enabled our circus performers,
actors and musicians to join forces and it was so successful we
organized performances of it in other retirement homes. Its title:
Rossini’s Retirement Party.
The pictures in this article are real; the rest is not.
Would you ever have identified this as being by a late 20th century Russian composer?
I love you, Alfred Schnittke.
From the Lebrecht Album of the Week:
In the latter years of the Soviet Union, a composer could be cast out by the system and still sustained by it. Alfred Schnittke, when his symphonies were removed from performance, was given commissions to write music for the film industry by the Composers Union chief Tikhon Krennikov, the very apparatchik who had ordered the ban on his symphonies.
Nikolai Kapustin, who wrote disapproved jazz scores, was for much of his career the resident pianist of the main symphony orchestra of Moscow Radio, an ensemble which occasionally agreed to perform his non-socialist works, only to refuse at the last moment. This two-faced Janus of a state bred an extraordinary resilience and versatility in its composer citizens….
Read on here.
And here.
In French here.
Spanish here.
Czech here.
From ORF Salzburg:
The start of the imprisonment of former Mozarteum Rector Siegfried Mauser has been delayed. The 65-year-old’s lawyer has asked for a stay of sentence, arguing that his client is for health reasons not fit to undergo detention. Mauser, who had been sentenced to two years and nine months in prison in Munich for sexual assault in three cases, was due to begin his sentence in a prison near Salzburg at the end of July, but according to court spokesman Peter Egger, an expert has now been commissioned to examine Mauser’s alleged incapacity.
Much fuss was made the other day of Lisette Oropesa being called back for an encore by the Madrid audience in Traviata.
There were shouts of ‘bis’ from all over the house.
But now it appears that someone distributed these cards beforehand all over the Teatro Real.
The text reads: ′We are a group of Lisette fans, we ask for an encore at the end of the Addio del passato. Lisette deserves it.’
The singer would have been unawares, but Madrid is buzzing with theories as to who organised this.
UPDATE:
Just to be precise:
1. Ms. Oropesa became a Spanish citizen some months ago.
2. These cards were distributed before the show on July 25 while the encore happened on July 28, after a 3-minute ovation (and no cards😊).— Estefanía Alvarez (@eaescotet) July 31, 2020
Within hours of Snape Maltings and the Wigmore Hall announcing resumption plans for September, the prime minister has said that easing, which was due to start to tomorrow, has been postponed until 15 August at the soonest.
This includes casinos, bowling alleys, theatres and concerts, all of which had arranged careful social distancing.
The reason is a rise of Covid cases in England to the highest level since May – some 4,200 new infections a day.
London’s Wigmore Hall plans to re-open to the public from 13 September, it was announced this morning.
Some 60 concerts will be open to audiences of up to 56 attenders.
All concerts will be live streamed.
Artists include: Igor Levit, Sabine Devieilhe, Mahan Esfahani, Marianne Crebassa, Gerald Finley, Julia Fischer, Sir Andras Schiff, Leonidas Kavakos, the Arditti Quartet and the Nash Ensemble.
When Google/Youtube told the Danish rights agency that it was cutting royalty payments by 75 percent, the Danes refused a new deal.
As a consequence, Google is today taking down every copyright-protected Danish composer from its platform.
Who’s next?
Report here.
The analytical methodology of the Viennese scholar Heinrich Schenker (1868-1935) has dominated academic musicology for so long that it is hardly possible to open a Beethoven score without thinking of his theories. Schenker, a decendant of Talmudists, is a powerful mind, always good to challenge. But the storm that has grippped US musicology this month has very little to do with his ideas.
It started with a lecture by the inflammatory Philip Ewell, a New York campaigner for ‘decolonising’ the music curriculum. Ewell gave a talk titled ‘Music Theory’s White Racial Frame‘ at the Society for Music Theory (SMT) Annual Meeting in November 2019 and debate has exploded since then with 100 pages of responses to Ewell’s lecture in the Journal of Schenkerian Studies.
All this would be worth little more than a raised eyebrow were it not for the odious undercurrents. Schenker was unarguably a supremacist when discussing European music. He was also xenophobe. These views are integral to the history and evolutuon of musicology and have been thoroughly exposed in many serious investigations such as….
There was nothing new in Ewell’s attempted assassination, but his tone struck a different chord, provoking one of the journal’s editors, Timothy Jackson of the University of North Texas, to accuse Ewell of having an antisemitic agenda. ‘Ewell’s denunciation of Schenker and Schenkerians may be seen as part and parcel of the much broader current of Black anti-Semitism… including the pattern of violence against Jews, the obnoxious lyrics of some hip hop songs, etc.’
Ewell’s supporters rallied with this letter of support to the SMT: … The journal’s violation of academic standards of peer review, its singling out of Prof. Ewell while denying him a chance to respond, and the language of many of its essays constitute anti-Black racism. These actions provide further evidence of the structural force of white supremacy in our discipline. While this episode is the most recent, and perhaps the most illustrative, the treatment Prof. Ewell received from the Journal of Schenkerian Studies is only the latest instance of systemic racism that marginalized Society members have faced for many years.
We applaud the recent statement of the Executive Board of the Society for Music Theory. To aid the Executive Board in their aim to “determine further actions,” we the undersigned advocate for the following:
Not since Stalin’s time have we seen such an orgy of self-criticism. I append the list of signatories from all over the world, practically the entire discipline of music theory, signing like sheep to self-slaughter. Here goes:
Rosa Abrahams, Ursinus College
Ruard Absaroka, University of Salzburg
Stefanie Acevedo, University of Dayton
Byron Adams, UC Riverside
George Adams, University of Chicago
Kyle Adams, Jacobs School of Music, Indiana University
Aisha Ahmad-Post, Colorado Springs, CO
Brian Alegant, Oberlin College Conservatory
Makulumy Alexander-Hills, Columbia University
Michael Allemana, University of Chicago
Emily Ruth Allen, Florida State University
Penrose Allphin, University of Massachusetts, Amherst
Andreas R. Amado, University of Texas Rio Grande Valley
Matt Ambrosio, Lawrence University
Drake Andersen, Vassar College
Clovis de Andre, Faculdade Cantareira (S√£o Paulo, Brazil)
Christopher Antila, RILM (Répertoire International de Littérature Musicale)
Spencer Arias, Michigan State University
Sean Atkinson, Texas Christian University
Robin Attas, Queen’s University
Jacqueline Avila, University of Tennessee
William R. Ayers, University of Central Florida
Andrew Aziz, San Diego State University
Ben Baker, Eastman School of Music
David John Baker, London, UK
Michael Baker, University of Kentucky
Sara Bakker, Utah State University
Twila Bakker, Edmonton, Alberta
Ellen Bakulina, University of North Texas
Lara Safinaz Balikci, McGill University
Marcos Balter, University of California, San Diego
Alyssa Barna, University of Minnesota
Jessica Barnett, SUNY Fredonia
Matthew Barnson, SUNY Stony Brook
Daniel Barolsky, Beloit College
Christopher Bartlette, Binghamton University
Samantha Bassler, New York University, Steinhardt Dept of Music and Performing Arts Professions
Eliot Bates, The Graduate Center, CUNY
Inessa Bazayev, Louisiana State University
Melinda Beasi, Easthampton, MA
Richard Beaudoin, Dartmouth College
Jennifer Beavers, University of Texas at San Antonio
Adam Behan, University of Cambridge
Owen Belcher, University of Missouri Kansas City
Matthew Bell, Tallahassee, FL
Vincent Pérez Benítez, Penn State University
Lauren Bennati, University of Wisconsin-Milwaukee
Michael Bennett, Graduate student, Stony Brook University
William Bennett, Harvard University
Zachary Bernstein, Eastman School of Music, University of Rochester
David Carson Berry, University of Cincinnati, College-Conservatory of Music
Michael Berry, University of Washington
Nilanjana Bhattacharjya, Arizona State University
Nicole Biamonte, McGill University
Ian Biddle, Newcastle University, UK
Benjamin Bierman, John Jay College, CUNY
Stefanie Bilidas, University of Texas at Austin
Sebastian Bisciglia, University of Toronto
Wendelin Bitzan, Robert Schumann Hochschule Düsseldorf, Germany
Nicolas Bizub, University of Cincinnati College-Conservatory of Music
Damian Blättler, Rice University
Andrew Blake, Eastman School of Music, University of Rochester
Chandler Blount, Florida State University
Michael S. Boerner, Stony Brook University
Breighan Boeskool, Granger, IN
Jacob Bohan, Charlotte, North Carolina
Christine Boone, University of North Carolina Asheville
David Borgo, UC San Diego
Mauro Botelho, Davidson College
Beau Bothwell, Kalamazoo College
Janet Bourne, University of California, Santa Barbara
Sara Bowden, Northwestern University
Lynette Bowring, Yale University
Douglas Boyce, George Washington University
Clifton Boyd, Yale University
Michael Boyd, Chatham University
Antares Boyle, Portland State University
Matthew Boyle, University of Alabama
Andre Bregegere, William Paterson University
David Bretherton, University of Southampton
Amelia Brey, The Juilliard School
Seth Brodsky, University of Chicago
Christopher Brody, University of Louisville
Per Broman, Bowling Green State University
Erin M. Brooks, State University of New York-Potsdam
Eliza Brown, DePauw University
Jenine Brown, Peabody Conservatory of the Johns Hopkins Univ.
Matthew Brown, Eastman School of Music
Michael Bruschi, Yale University
Michael Buchler, Florida State University
Carl Burdick, University of Cincinnati
Samantha Burgess, Ohio State University
Geoffrey Burleson, Hunter College-CUNY
L. Poundie Burstein, CUNY
Patricia Burt, University of Delaware
Mark J. Butler, Northwestern University
David Byrne, University of Manitoba
Thomas Cabaniss, The Juilliard School, New York, NY
Ian Calhoun, University of North Texas
Andrea Calilhanna, Western Sydney University, MARCS Institute for Brain, Behaviour and Development
Michael Callahan, Michigan State University
Lee Cannon-Brown, Harvard University
Ellon D Carpenter, Arizona State University, Emerita
Daphne GA Carr, NYU FAS Music
Carolyn Carrier, Philadelphia, PA
James Carroll, Springfield, MA
Rebecca Carroll, Rutgers University
Daniel Carsello, Temple University
Antonio Cascelli, Maynooth University
James P Cassaro, University of Pittsburgh
Zosha Di Castri, Columbia University
Devin Chaloux, New Hampshire
Samuel Chan, New York University
Varun Chandrasekhar, The University of Minnesota
Dustin Chau, University of Chicago
Damian Cheek, University of Arkansas – Fort Smith
Timothy K. Chenette, Utah State University
William Cheng, Dartmouth College
Adrian P. Childs, University of Georgia
Matt Chiu, Eastman School of Music
Hiroaki Cho, Brown University
Andrew Chung, University of North Texas
Amy Cimini, UC San Diego
Alice Clark, Loyola University New Orleans
Timothy Clarkson, Sydney Conservatorium of Music, Sydney University DMA candidate
Seth Cluett, Columbia University
Jacob A. Cohen, Oberlin College
Christa Cole, Indiana University
Carla Colletti, Webster University
Adam Collins, University of Montana
Henri Colombat, McGill University
John Combs, Florida State University
Jade Conlee, Yale University
Corrina Connor, Victoria University of Wellington, New Zealand
Karen M. Cook, University of Hartford
Robert C. Cook, Louisville CO (University of Iowa, emeritus)
Margaret Cormier, McGill University
Evan Cortens, Mount Royal University
Nicole Cosme, Yale University
Alyssa Cottle, Harvard University
Benjamin Court, UCLA
Alexander Cowan, Harvard University
Arnie Cox, Oberlin College & Conservatory
Maxe Crandall, Stanford University
Stephen A. Crist, Emory University
Alejandro Cueto, University of Texas at Austin
Nick Curry, Harvard Law School
David Damschroder, University of Minnesota
Joe Davies, University of Oxford
Angharad Davis, Yale University
Stacey Davis, University of Texas at San Antonio
Hannah Davis-Abraham, University of Toronto
Laina Dawes, Columbia University
Greg Decker, Bowling Green State University (Ohio)
Kyle DeCoste, Columbia University
Rob Deemer, State University of New York at Fredonia
Galen DeGraf, Columbia University
Tomoko Deguchi, Winthrop University
Jay Derderian, Composer – Portland, Oregon
Johanna Devaney, Brooklyn College and CUNY Graduate Center
Dana DeVlieger, University of Delaware
David Dewar, University of Bristol, UK
Emily DeWoolfson, Temple University
Thomas Dickinson, South Carolina Governor’s School for the Arts and Humanities
Brittni Leigh Dixon, Florida State University
Benjamin Dobbs, Furman University
Julia Doe, Columbia University
James Donaldson, McGill University
Sahara Donna, University of North Texas
Luka Douridas, RILM (Répertoire International de Littérature Musicale)
Eric Drott, University of Texas at Austin
Aleksandra (Sasha) Drozzina, Toronto, ON
Daniel Nicolae Dubei, New York City, NY
Michéle Duguay, The Graduate Center, CUNY
Ben Duinker, University of Toronto
Philip Duker, University of Delaware
Melissa Dunphy, Rutgers University
Jonathan Dunsby, Eastman School of Music
Jacques Dupuis, Brandeis University
Michael Ebie, Michigan State University
Ryan Ebright, Bowling Green State University
Lindsey Eckenroth, Brooklyn College, CUNY
Ethan Edl, Yale University
Laura Emmery, Emory University
Neal Endicott, Michigan State University
Christopher Endrinal, Florida Gulf Coast University
Clare Sher Ling Eng, Belmont University
Nora Engebretsen, Bowling Green State University
Tom Erbe, UC San Diego
Walter Everett, University of Michigan
Sara Everson, Florida State University
Philip Ewell, Hunter College
Samuel Falotico, University of Colorado Boulder
David Falterman, Eastman School of Music, University of Rochester
Tobias Fasshauer, Berlin University of the Arts
Brent Ferguson, Washburn University and MidAmerica Nazarene University
Matthew Ferrandino, University of Kansas
Stanley Ralph Fink, Florida State University
Aaron Flagg, The Juilliard School
Amy Fleming, Baylor University
Nathan Fleshner, University of Tennessee
J. Wesley Flinn, University of Minnesota Morris
Rebecca Flore, University of Chicago
David Walter Floyd, Champaign, IL
Gretchen Foley, University of Nebraska-Lincoln
Mike Ford, Columbia University
Jane Forner, Columbia University
Karen Fournier, University of Michigan @ Ann Arbor
Aaron Andrew Fox, Dept. of Music, Columbia University
Elizabeth Fox, University of Toronto
Kelly Francis, Kennesaw State University
Kristin M. Franseen, Carleton University and University of Ottawa
Walter Frisch, Columbia University
Louise Fristensky, The University of North Texas
Johanna Frymoyer, University of Notre Dame
Anna Fulton, Grand Valley State University
Alison Furlong, Columbus, OH
Joshua Gailey, Seattle, WA
Rachel Gain, University of North Texas
Michael Gallope, University of Minnesota
Sarah Gates, Northwestern University
Leslie Gay, University of Tennessee, Knoxville
David Geary, Wake Forest University
William van Geest, University of Michigan
Ian Gerg, Southeastern Oklahoma State University
Sarah Gerk, Binghamton University
Emily Gertsch, University of Georgia
Elaine Fitz Gibbon, Harvard University
Jeffrey L. Gillespie, Butler University
Mylene Gioffredo, Universite de Metz
Jon-Tomas Godin, Brandon University
Keir GoGwilt, UC San Diego
Daniel Goldberg, University of Connecticut
Halina Goldberg, Indiana University Bloomington
Rachel May Golden, University of Tennessee
K. E. Goldschmitt, Wellesley College
Grace Gollmar, University of Texas at Austin
Stephen Gomez-Peck, The Graduate Center, CUNY
Juan Gonzalez, Alumni
Sumanth Gopinath, University of Minnesota Twin Cities
Stephen Gosden, University of North Florida
Gillian L. Gower, University of Denver/University of Edinburgh
Naomi Graber, University of Georgia
Thomas Gracy, Boston University
Benjamin Graf, University of North Texas
Aaron Grant, Missouri Western State University
Roger Mathew Grant, Wesleyan University
Julianne Grasso, University of Texas at Austin
Ashley A. Greathouse, PhD Candidate, University of Cincinnati
Andrew Green, University of Glasgow
Stefan Greenfield-Casas, Northwestern University
phillip greenlief, composer, improviser, teacher – oakland, ca
Jess Griggs, Austin, TX
Robert Gross, Board Certified Music Therapist, Denton, TX
Michelle L Grosser, University of Toronto
Bree Kathleen Guerra, University of Texas at Austin
Jeannie Ma. Guerrero, Rochester, NY
Massimo Guida, Toronto
Stephanie Gunst, independent scholar, Charlottesville, VA
Sara Haefeli, Ithaca College, Editor of the Journal of Music History Pedagogy
Zaki Hagins, Conservatorium Maastricht
Lauren Halsey, University of Washington
Elizabeth Hambleton, UCSB
Chelsey Hamm, Christopher Newport University
Scott Hanenberg, Virginia Tech
Mena Mark Hanna, Barenboim-Said Akademie, Berlin
Calder Hannan, Columbia University
Kristi Hardman, The Graduate Center, CUNY
J. Tanner Harrod, Graduate Student, University of Nebraska-Lincoln
Lauren Hartburg, Florida State University
Robert Hasegawa, McGill University
Amy Hatch, University of North Texas/University of Texas at Arlington
Stan Hawkins, University of Oslo and University of Agder, Norway
Midavi Hayden, Independent Artist-Scholar; Cincinnati, OH
Martin Hebel, University of Cincinnati College-Conservatory of Music
Garrett Hecker, Santa Fe College (Gainesville, FL)
Nicola Leonard Hein, Columbia University New York
David Heinsen, University of Texas at Austin
Bill Heinze, University of Minnesota
Matthias Heyman, University of Antwerp, Belgium
Andrew Hicks, Cornell University
Orit Hilewicz, Eastman School of Music
Ann Hiloski-Fowler, West Chester University of Pennsylvania
Hubert Ho, Northeastern University
Jocelyn Ho, UCLA
Kevin Holm-Hudson, University of Kentucky
Julian Bennett Holmes, Manhattan School of Music; Columbia University
Heather Holmquest, Nazareth College
Knut Holtstraeter, University of Freiburg, Germany
Tanya Honerman, University of Kansas
Erika Supria Honisch, Stony Brook University
Jason Hooper, University of Massachusetts Amherst
Fred Hosken, Northwestern University
Rachel Hottle, McGill University
Blake Howe, Louisiana State University
Alison Howell, Rutgers University
Amanda Hsieh, University of Toronto
Daniel Huang, University of Cincinnati College-Conservatory of Music
Stephen S. Hudson, University of Richmond
Bryn Hughes, The University of Lethbridge
Tim Hughes, The London College of Music
Kyle Hutchinson, NA
Liam Hynes-Tawa, Yale University
Sarah Iker, Massachusetts Institute of Technology
Mark Inchoco, University of California, Riverside
Tom Ingram, Winnipeg, MB
Lauren Irschick, Eastman School of Music
Eric Isaacson, Indiana University Jacobs School of Music
Velia Ivanova, Columbia University
Roman Ivanovitch, Indiana University
Jennifer Iverson, University of Chicago
Joseph Jakubowski, Harvard University
Donald James, Boston College
Mark Janello, Peabody Conservatory, Johns Hopkins University
Freya Jarman, University of Liverpool, UK
J. Daniel Jenkins, University of South Carolina
Stephanie Jensen-Moulton, Brooklyn College, CUNY
Emily John, Special Music School, NYC, Queens College – CUNY
James A. John, Professor of Music, Aaron Copland School of Music, Queens College-CUNY
Lindsay Johnson, University of Maryland, Baltimore County
Tom Johnson, contingent faculty
Erin Johnson-Williams, Durham University
Blair Johnston, Indiana University
Erin Johnston, The Graduate Center, CUNY
Evan Jones, Florida State University
Alexandrea Jonker, McGill University
Patricia Julien, University of Vermont
Sylvia Kahan, College of Staten Island and Graduate Center, CUNY
Elyse Kahler, University of Texas at Arlington
Noah Kahrs, Eastman School of Music
Peter Kaminsky, University of Connecticut – Storrs
Robert T. Kelley, Lander University
Laura L. Kelly, University of Texas at San Antonio
Colin Kennedy, Washington, DC
Matthew Kennedy, University of South Florida
Emily Kenyon, South Country Central School District
Marissa Kerbel, University of Cincinnati
Linda Kernohan, DMA Composition student, The Ohio State University; Adjunct Professor, Otterbein University
Daniel Ketter, Daniel Ketter
Dr. Ildar D. Khannanov, Peabody Institute, Johns Hopkins University
Wes Khurana, University of Toronto
Marianne Kielian-Gilbert, Indiana University
Jesse Kinne, Louisiana Tech University
Jesse Kiser, University at Buffalo
Michael L. Klein, Temple University
Joshua Klopfenstein, University of Chicago
Edward Klorman, McGill University
Andrew J Kluth, Case Western Reserve University
Douglas Knehans, College-Conservatory of Music, Cincinnati, OH
Andrew Knight-Hill, University of Greenwich, UK
Kristina Knowles, Arizona State University
Jon Kochavi, Swarthmore College
Tatiana Koike, Yale University
Robert Komaniecki, University of Iowa
Ryan Kosseff-Jones, Geneva, NY
Stephen M. Kovaciny, Madison, WI
Mariusz Kozak, Columbia University
Reiner Krämer, University of Northern Colorado
Joseph Kraus, Florida State University
Hanisha Kulothparan, Michigan State University
Jonathan Kulp, University of Louisiana at Lafayette
Anita Kumar, Georgia State University
Jaclyn Noel Kurtz, Cuyahoga Falls, Ohio
Eduardo Lopez-Dabdoub, Florida State University
Darren A. LaCour, Lindenwood University
Eric Lai, Baylor University
Hei-Yeung John Lai, University of British Columbia
steven laitz, the Juilliard School
George Tsz-Kwan Lam, Hong Kong Baptist University
Nathan Lam, Massachusetts Institute of Technology
Heather Laurel, Independent Scholar (Mannes/CUNY Alum)
Justin Lavacek, University of North Texas
Megan Lavengood, George Mason University
TJ Laws-Nicola, University of Kansas
Kara Yoo Leaman, Oberlin College & Conservatory
Dickie Lee, University of Georgia
Gavin Lee, Soochow University
Frank Lehman, Tufts University
Marc LeMay, Georgia State University
Jordan Lenchitz, Florida State University
Rebecca Lentjes, RILM Abstracts of Music Literature
Kendra Preston Leonard, Silent Film Sound and Music Archive
Stephen Lett, University of Saskatchewan
Anne Levitsky, Dixie State University
Tamara Levitz, UCLA
Benjamin R. Levy, University of California, Santa Barbara
Michael Lewanski, Depaul University, School of Music
Edwin Li, Harvard University
Siv B. Lie, University of Maryland
Stephen F. Lilly, Minneapolis, MN
Stephanie Lind, Queen’s University (Canada)
Peng Liu, University of Texas at Austin
Zachary Lloyd, Florida State University
Judy Lochhead, Stony Brook University
James A. Long, Oakland University
Megan Long, Oberlin College
Rebecca J. Long, University of Louisville
Gerardo (Gerry) Lopez, Michigan State University
Sarah Louden, New York University Steinhardt
Gabriel Lubell, Indiana University Jacobs School of Music
Ann E Lucas, Associate Professor of Music, Boston College
Olivia R. Lucas, Louisiana State University
Nicholas Luciano, Greensboro, NC
Rachel Lumsden, Florida State University
Justin Lundberg, Chicago
Siriana Lundgren, Harvard University
Vivian Luong, University of Saskatchewan
Matthew Lyons, University of Texas at Austin
Megan Lyons, University of Connecticut
Yiqing Ma, University of Michigan
James MacKay, Loyola University New Orleans
Barbara Dobbs Mackenzie, RILM, Brook Center, CUNY Graduate Center
Alejandro L. Madrid, Cornell University
Andrus Madsen, Newton Baroque
Erin K. Maher, Delaware Valley University
Su Yin Mak, The Chinese University of Hong Kong
Victoria Malawey, Macalester College (St. Paul, MN)
Anabel Maler, University of Iowa
Noriko Manabe, Temple University
Kate Mancey, Harvard University
Rachel Mann, University of Texas Rio Grande Valley
Dr. Nicole Marchesseau, McMaster University
Elizabeth Margulis, Princeton University
Sarah Marlowe, Eastman School of Music
Jennifer Martin, University of Wisconsin-Milwaukee
Caitlin Martinkus, Virginia Tech
David Marvel, University of Oklahoma
William Marvin, Eastman School of Music
Will Mason, Wheaton College
Steven D. Mathews, University of Cincinnati
Fred Everett Maus, Department of Music, University of Virginia
Paula Maust, University of Maryland, Baltimore County
Panayotis Mavromatis, New York University
Susan McClary, Case Western Reserve University
Ryan McClelland, University of Toronto
Michael McClimon, Philadelphia, PA
Sarah McConnell, University of Alaska Fairbanks
Stephen McFall, Indiana University
Claire McGinn, University of York
Eric McKee, Penn State University
Elizabeth McLain, Virginia Tech
Andrew Mead, Indiana University
Elizabeth Medina-Gray, Ithaca College
Sarah Mendes, University of Texas at Austin
Sadie Menicanin, University of Toronto
Lila Meretzky, Yale University
Garrett Michaelsen, University of Massachusetts Lowell
Jason Louis Mile, London, ON
Emily Milius, University of Oregon
Natalie Miller, Princeton University
McKensie Miller, Chapman University
Connor Milstead, St. Mary’s College of Maryland
Helen Julia Minors, Kingston University, London
Nathaniel Mitchell, Princeton University
Toru Momii, Columbia University
Dayna Mondelli, Independent Proofreader and Copyeditor
Peter Mondelli, University of North Texas
Eugene Montague, George Washington University
Steven Moon, University of Pittsburgh
Alexander Morgan, New York
Kacie Morgan, UCLA
Landon Morrison, Harvard University
Brian Moseley, SUNY Buffalo
Tahirih Motazedian, Vassar College
Andre Mount, Crane School of Music, SUNY Potsdam
Reinaldo Moya, Augsburg University, Minneapolis, Minnesota
Stephen Muir, University of Leeds, UK
Alana Murphy, CUNY Graduate Center/ RILM
Barbara Murphy, University of Tennessee-Knoxville
Estelle Murphy, Maynooth University, Ireland
Nancy Murphy, University of Houston
Scott Murphy, University of Kansas
Derek J. Myler, Eastman School of Music
Jessica Narum, Baldwin Wallace University
Meghan Naxer, Oregon State University
Jocelyn Neal, University of North Carolina at Chapel Hill
Dr. Lisa Neher, Portland, OR
Christoph Neidhöfer, McGill University
Trevor R. Nelson, Eastman School of Music–University of Rochester
Joshua Neumann, University of Florida
Bryce Newcomer, Xavier University
Neil Newton, Los Angeles, CA
Patrick Nickleson, Queen’s University
Demi Nicks, The Graduate Center, CUNY
Maggie Nicks, Florida State University
Jack Haig Nighan, Indiana University
Drew Nobile, University of Oregon
Shaugn O’Donnell, The City College, CUNY
William O’Hara, Gettysburg College
Russell O’Rourke, Columbia University
Jennifer Oates, Queens College, CUNY
Chelsea Oden, University of Oregon
Judith Ofcarcik, Fort Hays State University
Mitch Ohriner, University of Denver
Hideaki Onishi, Singapore
Dani Van Oort, University of North Texas
Jeremy Orosz, University of Memphis
David Orvek, Indiana University
Mariam Osman, Indiana University
Anna-Elena Pääkkölä, Åbo Akademi University, Finland
Kirsten Paige, Stanford University
Cora S. Palfy, Elon University
James Palmer, Vancouver, Canada
Hyeonjin Park, UCLA
Jinny Park, Indiana University
Sarah Parkin, London, UK
Laurel Parsons, University of Alberta
Daniel Partridge, Portland State University
Morgan Patrick, Northwestern University
Andrew Pau, Oberlin College & Conservatory
Robert D. Pearson, Emory University
William Pearson, DePauw University
Jacy Pedersen, University of Cincinnati
Julie Pedneault-Deslauriers, University of Ottawa
Crystal Peebles, Ithaca College
Nathan Pell, The Graduate Center, CUNY, and Mannes College
Rich Pellegrin, University of Florida
Anna C. Peloso, Indiana University, Jacobs School of Music
Naomi Perley, RILM
Becky Perry, Lawrence University
Jeffrey Perry, Louisiana State University
Lukas Perry, Eastman School of Music, University of Rochester
Miriam Piilonen, Northwestern University
John R. Pippen, Colorado State University
Cayenna Ponchione-Bailey, University of Oxford
Ève Poudrier, University of British Columbia
Andrew S. Powell, Independent Scholar (University of Kansas alum)
Sarah Pozderac-Chenevey, Independent scholar, Akron, OH
Roxane Prevost, University of Ottawa
Simon Prosser, The Graduate Center, CUNY
Joel Puckett, Peabody Conservatory, Johns Hopkins University
Katherine Pukinskis, Amherst College
Michael Puri, University of Virginia
Steven Rahn, University of Texas at Austin
Richard Randall, Carnegie Mellon University
Jacob Reed, University of Chicago
S. Alexander Reed, Associate Professor, Ithaca College
John S. Reef, Nazareth College
Sam Reenan, Eastman School of Music
Alex Rehding, Harvard University
Molly Reid, Appalachian State University
Anne-Marie Reynolds, Juilliard School
Christopher Reynolds, UC Davis
Mark Richardson, East Carolina University
Melanie Richter-Montpetit, University of Sussex
Deborah Rifkin, Ithaca College
Steven Rings, University of Chicago
Marianna Ritchey, University of Massachusetts, Amherst
Blake Ritchie, Rutgers University
S R I Rizvi, Sahibganj College Sahibganj Jharkhand India
Malia Jade Roberson, California State University, Channel Islands
Brian Robison, Northeastern University
Joti Rockwell, Pomona College
Stephen Rodgers, University of Oregon
Jillian C. Rogers, Indiana University
Lynne Rogers, Mannes School of Music at The New School
J. Griffith Rollefson, University College Cork
Jena Root, Youngstown State University (Ohio)
Adam Rosado, Iona College
Joshua Rosner, McGill University
Jade Roth, McGill University
Charles Roush, University of Texas Rio Grande Valley
Katrina Roush, University of Texas Rio Grande Valley
Toby W. Rush, University of Dayton
Declan Ryan, DePaul University School of Music
Eron F. S., Eastman School of Music
Olga Sanchez-Kisielewska, University of Chicago
Siavash Sabetrohani, University of Chicago
Alex Sallade, The Ohio State University
Mark Sallmen, University of Toronto
Frank Samarotto, Indiana University Bloomington
Lanier Sammons, California State University, Monterey Bay
Alexander Sanchez-Behar, Texas A&M University-Kingsville
Giorgio Sanguinetti, University of Rome \Tor Vergata\””
Matthew Leslie Santana, UC San Diego
Matthew C. Saunders, Lakeland Community College (Kirtland, Ohio)
Isaac Schankler, Cal Poly Pomona
Alexandria Schneider, University of Kansas
Katherine Schofield, King’s College London
Matthew D. M. Schullman, University of Oklahoma (Norman)
Scott Schumann, Central Michigan University
Emily Schwitzgebel, Northwestern University
Jo Collinson Scott, Reader in Music, University of the West of Scotland
Travis Scott, Xavier University of Louisiana
Tyler M. Secor, University of Cincinnati College Conservatory of Music
Chris Segall, University of Cincinnati
Marianne Segall, Mississauga, Ontario Canada
Kate Sekula, University of Science and Arts of Education
Ian Sewell, Columbia University
Kayla Shaeffer, Florida State University
Jennifer Shafer, University of Delaware
Daniel Shanahan, The Ohio State University
August A. Sheehy, Stony Brook University
Braxton D. Shelley, Harvard University
Joel T. Shelton, Elon University
Lauren Shepherd, Columbia University
Rachel Short, Shenandoah Conservatory
Tessa Shune, Chapman University
Abigail D. Shupe, Colorado State University
Max Silva, University of Chicago
Rebecca Simpson-Litke, University of Manitoba
Peter Sloan, UC San Diego
Jeremy W. Smith, University of Louisville
Kelli Smith-Biwer, University of North Carolina – Chapel Hill
Sean R. Smither, The Juilliard School
Jennifer Snodgrass, Appalachian State University
Danielle Sofer, LGBTQ+ Music Study Group
Emma Soldaat, University of Toronto
Jason Solomon, Agnes Scott College
Jessica Sommer, Ball State University
Jonathan De Souza, University of Western Ontario
Stephen Spencer, The Graduate Center, CUNY
Mark Spicer, Hunter College and the Graduate Center, CUNY
Scott Spiegelberg, DePauw University
Martha Sprigge, University of California, Santa Barbara
Ron Squibbs, University of Connecticut
Jonathan Arthur Stallings, University of California San Diego
Anna Stephan-Robinson, West Liberty University
Bryan Stevens, University of North Texas
Daniel Stevens, University of Delaware
Joseph Stiefel, Indiana University
Philip Stoecker, Hofstra University
Nicholas Stoia, Duke University
Jordan Carmalt Stokes, West Chester University of Pennsylvania
Chris Stover, Griffith University
Eva-Maria van Straaten, Georg-August University Göttingen, Germany
Jeremy Strachan, Queen’s University
Joseph Straus, CUNY Graduate Center
Ofir Stroh, Blair School of Music
Cara Stroud, Michigan State University
Greg Stuart, University of South Carolina
Jacob David Sudol, Florida International University
Rina Sugawara, University of Chicago
James Sullivan, Michigan State University
Peter M. Susser, Columbia University
Kaitlyn Swaim, University of North Texas
Kevin Swinden, Wilfrid Laurier University
Kelly Symons, Ottawa
Victor Szabo, Hampden-Sydney College
Lina Sofia Tabak, CUNY Graduate Center
Carlos Pérez Tabares, University of Michigan
Daphne Tan, University of Toronto
Ivan Tan, Brown University
Nicholas Ivan Tapia, St. Mary’s University (Music Education)
Jeremy Tatar, McGill University
Benjamin Tausig, SUNY Stony Brook
Ryan Taycher, Roosevelt University
Blake Taylor, University of Connecticut
Charles Taylor, University of New Orleans
Emma Taylor, The Hartt School at the University of Hartford
Timothy D. Taylor, UCLA
Wilfrido Terrazas, University of California, San Diego
Loretta Terrigno, The Juilliard School
Bryan Terry, McGill University
Florian Thalmann, Kyoto University
Midge Thomas, Connecticut College
Sean Emmett Thompson, Graduate in Music Composition, San Francisco State University
Alexis Millares Thomson, University of Toronto
Emmi Tinajero, University of North Texas
Sylvie Tran, University of Michigan
Emily Lamb Truell, Indiana University
Tobias Tschiedl, McGill University
Cynthia Johnston Turner, University of Georgia
Isabel Tweraser, Florida State University
Kristian Twombly, Chair, St Cloud State University
Elizabeth Randell Upton, UCLA
Steven Vande Moortele, University of Toronto
Stephanie Venturino, Eastman School of Music
Vivek Virani, University of North Texas
Samantha Waddell, Michigan State University
Ben Wadsworth, Kennesaw State University
Steve Waksman, Smith College
Kristen Wallentinsen, Rutgers University
Levi Walls, University of North Texas
Jordan Walsh, University of Texas at Austin
Anna, Yu Wang, Harvard University
Aleisha Ward, National Library of New Zealand
Evan Ware, California State Polytechnic University, Pomona
Lindsay Warrenburg, Boston, MA
Hannah Waterman, Stony Brook University
Laura Watson, Maynooth University, Ireland
Miriam Brack Webber, Bemidji State University
Katelin Webster, The Ohio State University
Joelle Welling, University of Calgary
Robert Wells, University of Mary Washington
Allison Wente, Elon University
Marianne Wheeldon, University of Texas at Austin
Andrew Malilay White, University of Chicago
Christopher White, University of Massachusetts Amherst
Anya Wilkening, Columbia University
Ann Marie Willer, (formerly) University of North Texas
Dr. Natalie Williams, (formerly) North Park University
Jeff Williams, Harvard University
Justin Williams, University of Bristol (UK)
Matthew Williams, University at Buffalo
Ruthie Williamson, Indiana University Kelley School of Business
Julianna Willson, Eastman School of Music
Lauren Wilson, Eastman School of Music
Elizabeth L. Wollman, Baruch College, CUNY
Chelsea N Wright, University of Oregon
Robert B. Wrigley, The Graduate Center, CUNY
Alice Xue, CUNY
Jessica Findley Yang, University of Tennessee – Knoxville
Rachel Yoder, DigiPen Institute of Technology
Michelle Yom, CUNY Graduate Center
Jeff Yunek, Kennesaw State University
Jason Yust, Boston University
Anna Zayaruznaya, Yale University
Emily Zazulia, University of California, Berkeley
Lawrence Zbikowski, University of Chicago Department of Music
Rosalind Zhang, Toronto
Shelley Zhang, University of Pennsylvania
Xieyi (Abby) Zhang, Georgia State University
Julie Zhu, Stanford University
