Candidates for Board of Trustees
Candidates for President
The president shall be the chief executive officer of the Society. It shall be the responsibility of the president to supervise and control all of the business and affairs of the Society; to carry out the policies established by the Board of Trustees; to call all meetings of the Board of Trustees; and to assume such powers and perform such other duties as may be assigned by the Board of Trustees and as are usually attendant upon that office.
William (Bill) Everett is Professor of Musicology and Associate Dean for Graduate Studies and Curriculum at the University of Missouri-Kansas City Conservatory of Music and Dance. He is the author of Sigmund Romberg (Yale, 2007), Rudolf Friml (Illinois, 2008), contributing co-editor of The Cambridge Companion to the Musical (2002; 2 nd ed., 2008) and On Bunker's Hill: Essays in Honor of J. Bunker Clark (Harmonie Park, 2007) , and a commissioning editor for musical theater for the Grove Dictionary of American Music , 2 nd ed. Everett received the 2008 Certificate of Merit for Best Research in Recorded Classical Music from the Association of Recorded Sound Collections for Sigmund Romberg , and is musicological consultant for the NEA-funded Musical Theatre Online, 1860-1922 . His research specialties include American musical theater, particularly operettas of the early twentieth century, and the relationship between music and national identity. He has presented papers and published articles and book chapters on these and other topics. Current research projects include musicals that originated at Daly's Theatre in London and played throughout the English-speaking world, the rise of orchestral music in Kansas City during the late nineteenth century, and the portrayal of physicians in opera and musical theater.
Everett was reviews editor for College Music Symposium from 2000 to 2006, and is currently a member of the editorial board for Studies in Musical Theatre . He served as Program Chair for College Music Society's 2009 International Conference in Croatia, and is currently CMS's national vice-president. He hosted the Song, Stage and Screen VI international conference in Kansas City in June 2011.
A member of the Society for American Music since 1986, he chaired the Public Relations Committee from 1992 to 1996, served as the Society's treasurer from 1996 to 2001, and was a member of the program committee for the 2008 National Meeting.
Judy Tsou is Head of the Music Library and Lecturer in Music History at the University of Washington. She recently served as a contributing editor for the second edition of the New Grove Dictionary of American Music (Oxford University Press, 2012) where she commissioned and edited more than 200 articles. Her discovery of Amy Beach's manuscript “Birth” led her to edit and publish the song (ClarNan Editions, 2011). Her work focuses on the intersection of music, gender, and race, with articles on American sheet music ( repercussions ), on Madama Butterfly (Cambridge UP, forthcoming), and on “Women in Music” ( Amerigrove II ), and she co-edited the award-winning Cecilia Reclaimed (Univ. of Illinois Press, 1994). As president of the US Branch of the International Association of Music Libraries, she successfully led the merger of the Branch with the Music Library Association in 2011. She has held many leadership positions, chairing various American Musicological Society committees (Music in American Culture book award, Committee on the Status of Women, and Membership and Professional Development), serving on the MLA and SAM Boards, and on the Irving Lowens Book Award committee.
Candidates for Secretary
The secretary shall keep or cause to be kept the minutes of meetings of the Board of Trustees or the executive committee. The secretary shall be responsible for giving notices in accordance with these bylaws or as required by law; for serving as custodian of the corporate records and the corporate seal and seeing that the corporate seal is duly affixed to all legal documents, the execution of which on behalf of the Society is duly authorized; and, in general, performing all duties as may from time to time be assigned by the president or by the Board of Trustees.
Neil Lerner is Professor at Davidson College where he teaches courses on U.S. music, film music, and the humanities. Neil is running for a second term unopposed.
Candidates for Members-at-Large
With a background as a scholar, teacher, performer, and administrator, Ayden Adler was appointed Executive Director of the Orpheus Chamber Orchestra in December 2010. As the public face of this fiercely democratic organization where musicians work collaboratively to make artistic decisions instead of working with a conductor, Dr. Adler provides direction and leadership towards the achievement of Orpheus' artistic and administrative goals. One area she has championed is presenting artistic collaborations that challenge and expand traditional genre boundaries. This includes fostering Orpheus' active commissioning program, which has already added twenty-seven important works by today's most significant composers to the chamber orchestra repertory. This season features Project4.40, a multiyear initiative to support emerging American composers, and also includes the premiere of the orchestral arrangement of Leonard Bernstein's Trouble in Tahiti , by Paul Chihara, commissioned by Orpheus. Upcoming seasons will feature world-premieres by a wide-ranging array of American composers including Wayne Shorter, Augusta Read Thomas, Tan Dun, Gabe Kahane, and Brad Mehldau. A committed educator, Dr. Adler is also dedicated to expanding the Orpheus Institute, through which Orpheus musicians mentor the next generation of musicians and business leaders in shared leadership, entrepreneurship, and communication.
Dr. Adler previously served as Director of Education and Community Partnerships for the Philadelphia Orchestra and as the Atlanta Symphony Orchestra's Director for Learning Development. In these positions, she b uilt strategic relationships, formal partnerships, and developed funding opportunities with leaders in the business, philanthropic, government, arts, education, and social service sectors to support arts education initiatives .
As a performer, Dr. Adler served as a tenured member of the horn section of the Rochester Philharmonic Orchestra for ten years and has taught horn, natural horn, and music history at the Eastman School of Music.
Her academic research, for which she has earned a variety of prestigious research grants, has focused on the history of orchestral institutions. She regularly gives presentations at national and international conferences (including SAM and AMS) that address issues of civic relevance, diversity, and cultural values in the context of historic and current business practices at arts institutions. In 2003, Music and Letters published her article-r eview of Julian Johnson's book Who Needs Classical Music?: Cultural Choice and Musical Value. Her Ph.D. dissertation, titled, “‘Classical Music for People Who Hate Classical Music': Arthur Fiedler and the Boston Pops, 1930-1950,” received the Society of American Music's Wiley Housewright Award. Dr. Adler holds degrees from Princeton University (A.B.), The Juilliard School (M.M.), and the Eastman School of Music (M.A., D.M.A., Ph.D.).
David Brackett is Associate Professor of Music and Chair of the Musicology Program at the Schulich School of Music at McGill University. His research interests center around contemporary music in many forms, including popular music, jazz, Western art music, and film music. His publications include The Pop, Rock, and Soul Reader: Histories and Debates, 2nd ed. (Oxford, 2009) and Interpreting Popular Music, rev. ed. (University of California Press, 2000), as well as many journal articles, reviews, book chapters, and encyclopedia entries. David has been active in SAM, serving as Chair of the Lowens Book Award Committee, on the Program Committee for the Annual Meeting, and on the Dissertation Award Committee. He has also been active in the United States Branch of the International Association for the Study of Popular Music (President, 1998-2000, and Secretary-Treasurer, 1995-1998), and has served on many committees for the American Musicological Society as well. In addition to his scholarly work, David has strong interests as a composer and performer of a wide variety of different types of music. He is currently completing a book on the relationship between musical categories and group identities in 20th-century U.S. popular music.
Mark Clague is Associate Professor of Musicology, American Culture, and AfroAmerican Studies at the University of Michigan, where he also serves as Director of the American Music Institute and of Research for the School of Music, Theatre & Dance. His research appears in the journals American Music (on Fantasia and Critical Editing), Black Music Research (on bandmaster Alton Adams), Michigan Quarterly Review (on Motown), and Opera Quarterly (on Chicago's Auditorium Building), as well as in John Spitzer's edited volume American Orchestras in the Nineteenth Century (early orchestra organization models). He edited the Memoirs of Alton Augustus Adams, Sr.: First Black Bandmaster of the United States Navy for University of California Press and his dissertation “Chicago Counterpoint: the Auditorium Theater Building and the Civic Imagination” won the 2003 Housewright Prize of the Society for American Music. His writings on arts entrepreneurship and musicology pedagogy appear in the journals College Music Symposium and Music History Pedagogy and the books Teaching Music in Higher Education and Disciplining the Arts: Teaching Entrepreneurship in Context . He served as executive editor for Richard Crawford's critical editions series Music of the United States of America and project and city/institutions editor for New Grove Dictionary of American Music, Second Edition . He also serves on the editorial boards of the University of Michigan Press, as well as the journals of the Society for American Music and Band Research. He was named Advisor of the Year in 2009 by the University of Michigan for his work with Arts Enterprise@U-M; his doctoral advisees teach at such schools as DePaul and Roosevelt Universities, the University of Iowa, and the Colburn School.
Sarah Schmalenberger is Associate Professor of Music at the University of St. Thomas in St. Paul, Minnesota, where she teaches courses in music history as well as applied French Horn. Her diverse research interests derive from a central inquiry into issues of musical identity. Her forthcoming essay in the anthology "Operatic Blackness" discusses the implications of Queen Anne of England blackening her face and arms in the Masque of Blackness (1604). Her previous scholarship on African-American women in concert music traditions has explored the opera score "Tom Tom" by Shirley Graham DuBois, and the theme of racial uplift through music in the work of Harriett Gibbs Marshall and the Washington Conservatory of Music. Embarking on scholarship of living musicians, she created the Life and Livelihood Study in 2007, an ongoing national research project on the occupational well-being of women musician survivors of breast cancer. As the Principal Investigator of this national study, she has recently launched the next phase of the research, which is to gather data on "best practices" by health care practitioners to preserve or restore musicians injured from breast cancer treatments. Some of her essays as well as an online survey are posted on the study website, http://www.musiciansurvivors.org
Schmalenberger has served as a consulting editor for Black Music Research Journal, and for two years reviewed scholarship for the Lowens Award. Her freelance work as a hornist and especially the valveless "natural" horn from the Baroque era has kept her connected to the European concert music traditions. In addition, her lifelong admiration of the music of Frank Zappa cultivates her ongoing interest in compositional structures of vernacular musics of the United States.