[SMT-PAIG] Voting Ends Tonight for the SMT PAIG Co-Chair Election

[SMT PAIG]

Dear PAIGers,


A brief reminder that voting is still open for the rest of the day in the
2024 Performance and Analysis Interest Group co-chair election!


I’ve reproduced candidate bios below this message and at the link below.
As a reminder, PAIG has two co-chairs with staggered terms of four years.
The winner of this election will serve alongside my co-chair Daniel Ketter
(Missouri State University) as he serves out his term.


Voting began Friday, is still live, and will continue until 11:59 pm EDT
tonight.  Simply rank all four candidates in order of preference.  You will
be prompted to enter your email address.  This is *only* for the purpose of
ensuring one vote per person (weeding out duplicate votes should they
arise) and we will *not* associate your email with your vote.  We will
inform you of the results as soon as the winning candidate has accepted the
position.


Follow this Google Form link to cast your ballot:
https://forms.gle/oiajQieGNRTKaeT18


Happy voting!


Nathan Pell (The Graduate Center, CUNY), PAIG co-chair


*              *              *              *              *


Candidate bios:


Christa Cole (Oberlin College and Conservatory)

Christa Cole studies how the physical and expressive gestures of musical
performers intersect with notation and listener experience, especially in
post-1900 repertoires. Most recently, she presented her paper “Performative
Effort and Temporality in Two Works by Elisabeth Lutyens” at the Society
for Music Theory’s 46th annual meeting in Denver, CO. In her forthcoming
article, “Hands, Fingers, Strings, and Bows: Performance Technique and
Analysis in J.S. Bach’s Largo for Solo Violin” (*Music Theory Online*, vol.
30, no. 3), Cole combines her violinistic experience with public-facing
sources to show how attending to performance technique illustrates three
different relationships between analysis and performance. In addition to
her violinistic training, she enjoys drawing on her experience as a
pianist, singer, and amateur mandolin player in both her research and
teaching. Cole has served as a section violinist in the Columbus Indiana
Philharmonic and the Terre Haute Symphony, and she enjoys reading string
quartets and piano quintets with a local chamber group on a regular basis.
Cole currently holds a position as Assistant Professor of Music Theory and
Aural Skills at Oberlin College and Conservatory.


Jocelyn Ho (University of Sydney)

A music theorist, pianist, and interdisciplinary artist, Ho integrates
modes of thinking, performing, and creating that cyclically inform each
other, resulting in different outputs that revolve around common foci.
Winning the Society for Music Theory Emerging Scholar Award for Articles
(2022) and SMT Post-1945 Music Analysis Interest Group Publication Award
(2022), Ho draws on gesture studies, embodied cognition, and performance
analysis to understand how the body is involved in creating meaning,
through lenses of non-Western cultures, race, and gender studies.
Specializing in the areas of new music, new interfaces for musical
expression (NIME), and historical recording research, her writings are
published in journals such as *Music Theory Online, Women and Music, La
Revue Musicale OICRM, Naxos Musicology International, *edited volumes
*Debussy’s
Resonances *(University of Rochester Press, 2018) and *Topos of Music
III *(Springer
Press, 2018), as well as in New Interfaces for Musical Expression (NIME),
international Symposium for Electronic Arts (ISEA), and Mathematics and
Computation in Music (MCM) conference proceedings. Ho’s artistic practice
involves integrating bodily experience into new experimental performance
artforms through multimedia technologies, inter-disciplinarity, and
audience interactivity. Previously an Assistant Professor of Performance
Studies at UCLA, Ho is currently a Research Fellow at the University of
Sydney. www.jocelynho.com


David Keep (Hope College)

David Keep is a pianist, music theorist, and educator. He holds degrees
from Lawrence University, Indiana University, and the Eastman School of
Music. Currently he is an Assistant Professor of Music at Hope College
(Holland, MI) where he teaches piano, music theory, and upper-level
undergraduate research seminars. His areas of expertise include performance
and analysis, 19th-century pianism, and the works of Brahms. Publications
appear in *Intégral*, *Liszt and Virtuosity* (ed. Robert Doran, University
of Rochester Press - co-winner of the Alan Walker Book Award, American
Liszt Society), *Music Theory Online*, and the *Journal of the American
Liszt Society*. As a pianist, he is an active chamber musician and Lied
partner, with recent performances given at Loyola University, Bowling Green
University, and Lawrence University. Recently he gave an invited lecture
and performance at the Forschungszentrum of the Brahms Gesamtausgabe at the
Christian-Albrecht-Universität in Kiel, Germany. Keep’s current research
project (supported by a Towsley Research Grant from Hope College) draws
connections between dance gestures of the waltz and un-notated performance
conventions heard in early recordings of Brahms’s waltzes leading up to
1914.


Barak Schossberger (Hebrew University of Jerusalem)

Barak Schossberger, an Israeli violinist, violin teacher, and music
theorist, holds degrees in performance from the Juilliard School and a DMA
from the Eastman School of Music. Guided by the performer-theorist model,
he is committed to exploring the relationship between performance and
analysis, employing a variety of thinking methods derived from both
perspectives, as well as from other fields, such as analytic philosophy,
literary and theater studies. Barak performs regularly as a chamber
musician, giving concerts throughout Israel and collaborating with esteemed
musicians, including members of the Juilliard String Quartet and the Israel
Philharmonic Orchestra. He recently founded a violin-piano duo, uniquely
dedicated to the pursuit of analytically informed interpretation in sonatas
by Brahms and Beethoven. He holds a postdoctoral fellowship for research in
music theory at the Hebrew University, Jerusalem, where he is a member of
Prof. Yoel Greenberg's team investigating the evolution of sonata form(s).
They jointly presented a paper summarizing part of this project at the
recent SMT conference. Barak's individual research centers on understanding
how music analysis contributes to the perception and impact of
communication in chamber music. He has shared this work at both the SMT
PAIG meeting and the SMA annual conference.
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