<html xmlns:o="urn:schemas-microsoft-com:office:office" xmlns:w="urn:schemas-microsoft-com:office:word" xmlns:m="http://schemas.microsoft.com/office/2004/12/omml" xmlns="http://www.w3.org/TR/REC-html40">
<head>
<meta http-equiv="Content-Type" content="text/html; charset=utf-8">
<meta name="Generator" content="Microsoft Word 15 (filtered medium)">
<style><!--
/* Font Definitions */
@font-face
{font-family:"Cambria Math";
panose-1:2 4 5 3 5 4 6 3 2 4;}
@font-face
{font-family:Calibri;
panose-1:2 15 5 2 2 2 4 3 2 4;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{margin:0in;
font-size:12.0pt;
font-family:"Calibri",sans-serif;}
a:link, span.MsoHyperlink
{mso-style-priority:99;
color:#0563C1;
text-decoration:underline;}
span.EmailStyle17
{mso-style-type:personal-compose;
font-family:"Calibri",sans-serif;
color:windowtext;}
span.apple-converted-space
{mso-style-name:apple-converted-space;}
.MsoChpDefault
{mso-style-type:export-only;
font-size:12.0pt;
font-family:"Calibri",sans-serif;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.0in 1.0in 1.0in;}
div.WordSection1
{page:WordSection1;}
--></style>
</head>
<body lang="EN-US" link="#0563C1" vlink="#954F72">
<div class="WordSection1">
<p class="MsoNormal"><span style="color:black">Dear Historians of Theory,<o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black">Please take a moment to<span class="apple-converted-space"> </span><a href="https://docs.google.com/forms/d/19M0iGTgzUkTdQKvMblBrG4RwRZSLnMY9e9UjTEdjsuA/edit?ts=5e671302" title="https://docs.google.com/forms/d/19M0iGTgzUkTdQKvMblBrG4RwRZSLnMY9e9UjTEdjsuA/edit?ts=5e671302"><span style="color:#0563C1">vote
for your new SMT and AMS co-chairs!</span><span class="apple-converted-space"><span style="color:blue;text-decoration:none"> </span></span></a> The four new co-chairs of the History of Music Theory Interest Group (SMT -- two open positions) and Study Group
(AMS -- two open positions) will work together with the current leadership to plan programming for upcoming national meetings, maintain our web presence, and organize new initiatives! Please vote for two SMT co-chairs (joining Nathan Martin) and two AMS co-chairs
(joining Caleb Mutch). <span class="apple-converted-space"> </span><b>Please cast your ballots before Oct. 1</b>, we’re looking forward to hearing from you!<o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<b><span style="color:black">Scott Gleason</span></b><span style="color:black"> teaches at Columbia and New York universities, and edits for <i>Grove Music Online</i>, <i>The Open Space Magazine</i>, and <i>Perspectives of New Music</i>. His writings on the
history of music theory, music and philosophy, and new music appear in those and various other publications. His book project historicizes the Princeton School of composer-theorists.<o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<b><span style="color:black">Stefano Mengozzi</span></b><span class="apple-converted-space"><span style="color:black"> </span></span><span style="color:black">is Associate Professor of Musicology at the University of Michigan. He has been doing research in
the history of music theory for more than twenty years; most of his publications, one way or another, deal with writings about music from the Middle Ages and Renaissance; and he teaches history of theory courses on a regular basis. Mengozzi has experience
organizing conferences and panels in his recent work as president of AMS-Midwest (2016-2018) and as session organizer for the UK Music and Philosophy Study Group (London, 2017) and for the Medieval Congress in Kalamazoo (in 2018 and 2019).<o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<b><span style="color:black">Stephanie Probst</span></b><span style="color:black">: Since completing her PhD from Harvard University in May 2018, Stephanie Probst has held research fellowships at the Deutsches Museum in Munich and in the ERC-funded project
“Sound and Materialism in the 19<sup>th</sup>Century” at the University of Cambridge. Currently, she is a Postdoc at the University of Potsdam. Her dissertation investigates intersections between music theory, psychology, and the visual arts in theories of
melody in the 1920s (especially in the writings of Ernst Kurth, Ernst Toch, and Heinrich Schenker). A new project considers manual and mechanical forms of musical inscription around 1900 in music rolls for player pianos, melographs, and geometrical and artistic
transcriptions of music. From 2016-19, she served as co-editor of the History of Music Theory blog of the SMT and AMS interest groups.<o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<b><span style="color:black">August Sheehy</span></b><span style="color:black"> is Assistant Professor of Music History and Theory at Stony Brook University (SUNY). His research examines the relationship between music analysis and history, with a focus on German-speaking
Europe between the French Revolution and WWII. He is particularly interested in the ways music theory and analysis connect musical experiences to other domains of knowledge and social life—e.g., politics and law, religion and theology, philosophy and psychology.
His current book project, Sonata Politics, excavates the nineteenth-century cultural matrix from which <i>Formenlehre</i> emerged as a dominant paradigm in music theory. August’s other research interests include improvisation studies, jazz, and the music of
Claude Debussy.<o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<b><span style="color:black">Abigail Shupe</span></b><span style="color:black"> received her PhD from University of Western Ontario in 2015. She previously taught at the College of Wooster (Ohio) and is currently an Assistant Professor of Music Theory at Colorado
State University in Fort Collins. Her research focuses on Rameau's experimentation and Newtonianism in <i>Génération harmonique </i>and 18th century science. She also studies relationships between music, war, and death in the work of George Crumb. <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<b><span style="color:black">John Snyder</span></b><span class="apple-converted-space"><span style="color:black"> </span></span><span style="color:black">is Professor of Music Theory at the University of Houston. Editor of Theinred of Dover's De legitimis petachordorum
et tetrachordorum (2006), Snyder has recently revised Leonard Ellinwood's 1936 edition and translation of Hermannus Contractus' Musica, with a new introduction, apparatus fontium, and detailed notes on the text and translation (University of Rochester Press,
2015). Snyder has also published on Samuel Coleridge-Taylor, Schenker, the application of information theory to musical analysis <span class="apple-converted-space"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<b><span style="color:black">Emily Zazulia</span></b><span style="color:black"> is Assistant Professor of Music at the University of California, Berkeley, where she holds the Shirley Shenker Chair in the Humanities. Her research focuses on Medieval and Renaissance
music—in particular, the intersection of complex notation, musical style, and intellectual history. Her most recent publications concern the historiography of Du Fay's <i>Nuper rosarum flores</i> (<i>Journal of musicology</i>, 2019) and the status of music
theory in the work of Johannes Tinctoris and Antoine Busnoys (<i>Journal of the American Musicological Society</i>, 2018). Zazulia received her Ph.D. from the University of Pennsylvania in 2012, where her dissertation was supported by an ACLS/Mellon Dissertation
Completion Fellowship, an AMS 50 Fellowship, and a graduate readership at Harvard University’s Villa I Tatti. For her current book project, a wide-ranging study of notational aesthetics in polyphonic music, ca. 1330–1520, she received fellowships from the
NEH and ACLS, with the additional distinction of having been named the first McClary/Walser ACLS fellow in music studies. <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black">Cheers,<o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="font-variant-caps: normal;orphans: auto;text-align:start;widows: auto;-webkit-text-size-adjust: auto;-webkit-text-stroke-width: 0px;caret-color: rgb(0, 0, 0);word-spacing:0px">
<span style="color:black">Roger<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;color:black">-- </span><span style="font-size:11.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;color:black">Roger Mathew Grant<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;color:black">Dean of Arts and Humanities<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;color:black">Wesleyan University<o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-size:11.0pt;color:black"><a href="http://www.fordhampress.com/9780823287741/peculiar-attunements/"><span style="color:#0563C1">Peculiar Attunements: How Affect Theory Turned Musical</span><span style="color:#0563C1;font-style:normal;text-decoration:none"> </span><span style="color:#0563C1;font-style:normal">(2020)</span></a></span></i><span style="font-size:11.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;color:black"> <o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
</div>
</body>
</html>