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.


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.



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:

  1. A public statement from the President, authorized by the Executive Board and in accordance with the Policy on Public Statements, that SMT acknowledges the following three points: (a) that American music theory is historically rooted in white supremacy, the racist idea that whites are superior to nonwhites, (b) that these white supremacist roots have resulted in racist policies that have benefitted whites and whiteness while disadvantaging nonwhites and nonwhiteness, and (c) that these racist policies have resulted in injustices suffered by BIPOC at all stages of their careers. Further, we call upon the President, with the authorization of the Executive Board, to apologize to all BIPOC who have suffered such injustices, without equivocation.

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