<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">Dear Colleagues,<div class=""><br class=""></div><div class="">Just a friendly reminder to vote in our election for PAIG co-chair anytime before Friday, December 9 at 11:59 PM (EST).</div><div class=""><br class=""></div><div class="">Full details and a link to the ballot are below.</div><div class=""><br class=""></div><div class="">Best,</div><div class=""><br class=""></div><div class="">Ed</div><div class=""><br class=""><div class="">
<div class="">===================</div><div class="">Edward Klorman</div><div class="">Assistant Professor</div><div class="">Schulich School of Music</div><div class="">McGill University</div>
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<br class=""><div><blockquote type="cite" class=""><div class="">On Dec 2, 2016, at 3:24 PM, Edward Klorman <<a href="mailto:edward.klorman@mcgill.ca" class="">edward.klorman@mcgill.ca</a>> wrote:</div><br class="Apple-interchange-newline"><div class=""><meta http-equiv="Content-Type" content="text/html charset=utf-8" class=""><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">Dear PAIG Members,<div class=""><br class=""></div><div class="">This email announces our election for a co-chair for a four-year term, to conclude at the 2020 meeting. Below, please find bios and personal statements from two candidates.</div><div class=""><br class=""></div><div class="">To cast a ballot, please visit this URL: <a href="https://goo.gl/forms/jsFltrsplrcc1DXn2" class="">https://goo.gl/forms/jsFltrsplrcc1DXn2</a></div><div class=""><br class=""></div><div class="">The ballot includes a field to enter an email address. This is a mechanism to ensure that voters are PAIG members (defined as subscribers to the listserv; there is no requirement to be an SMT member to be a PAIG member). Please enter the email address that you have used for your listserv subscription. Your vote will remain anonymous.</div><div class=""><br class=""></div><div class="">Ballots will be accepted until 11:59 PM (EST) on Friday, December 9.</div><div class=""><br class=""></div><div class="">Best wishes for the end of semester,</div><div class=""><br class=""></div><div class="">Ed</div><div class=""><br class=""></div><div class=""><div class="">
<div class="">===================</div><div class="">Edward Klorman</div><div class="">Assistant Professor</div><div class="">Schulich School of Music</div><div class="">McGill University</div>
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<br class=""><div class=""><div style="margin: 0in 0in 0.0001pt;" class=""><b class="">ANDREW FRIEDMAN</b></div><div style="margin: 0in 0in 0.0001pt;" class=""><br class=""></div><div style="margin: 0in 0in 0.0001pt;" class=""><u class="">BIO</u></div><div style="margin: 0in 0in 0.0001pt;" class=""><br class=""></div><div style="margin: 0in 0in 0.0001pt;" class="">Andy Friedman completed his PhD in 2014 at Harvard, where he has since served as Lecturer on Music and Independent Study Advisor. Recent conference presentations include “Reimagining (Motivic) Analysis in Light of Performance” (SMT, Vancouver) and “A View from Nowhere: Performance Analysis and the Listening Subject” (Performance Studies Network Conference, Bath, UK). Current projects include a chapter entitled “What Can Performance and Analysis Teach Each Other?” for an edited volume on interpretation invited by the University of Chicago Press, a critique of cognitive musicology (being revised and resubmitted), and an extended version of the above SMT talk for publication. </div><div style="margin: 0in 0in 0.0001pt;" class=""><div class=""> <br class="webkit-block-placeholder"></div><div style="margin: 0in 0in 0.0001pt;" class=""><u class="">PERSONAL STATEMENT</u></div><p class="MsoNormal">I am interested above all in the complexities of musical experience. My dissertation and subsequent work develops a philosophical framework and method for an unabashedly subjective, yet rigorous, practice of first-person description of close listening to recordings, revealing an experiential and conceptual intricacy that pushes against and generates alternatives to the traditional categories and methodologies of music theory and analysis</p><p class="MsoNormal">I believe that work in performance (and) analysis, broadly defined, has an important role to play—as it has already demonstrated—in the challenging and unseating of the long-standing work-based epistemology and ontology that, I would argue, still underpins the majority of scholarship and pedagogy. It is this critical aspect, complemented by the construction of new models and modes of analysis that foreground sound, the body, and experience, that I find most intriguing and consequential about our work. As PAIG co-chair, I would be honored and excited to continue the great work spearheaded by Daniel, Ed, and previous co-chairs (specifically, revitalizing our website and organizing special sessions at SMT), and to find yet new ways of fostering conversation and collaboration within our community, with the larger music theory/musicology community, and with performers that may deepen and broaden our work’s impact. </p></div><div style="margin: 0in 0in 0.0001pt;" class=""><b class=""><br class=""></b></div><div style="margin: 0in 0in 0.0001pt;" class=""><b class="">NATHAN PELL</b></div><div style="margin: 0in 0in 0.0001pt;" class=""><br class=""></div><div style="margin: 0in 0in 0.0001pt;" class=""><u class="">BIO</u></div><div style="margin: 0in 0in 0.0001pt;" class=""><br class=""></div><div style="margin: 0in 0in 0.0001pt;" class="">Nathan Pell is a theorist, cellist, and composer currently enrolled in the doctoral program in Music Theory at The Graduate Center, CUNY. He attended Mannes College for Master’s degrees in both Theory and Composition, having received a Bachelor’s degree in Classics and a certificate in cello from Princeton University. Here he founded the Princeton University Chamber Ensemble (a conductorless orchestra) and hosted a radio show on WPRB. As a theorist, he is interested in Schenkerian analysis, Beethoven, Schubert, Bruckner, and performance practice. He has studied analysis with Carl Schachter, William Rothstein, Eric Wen, Kofi Agawu, and Joel Lester.</div><div style="margin: 0in 0in 0.0001pt;" class=""><o:p class=""></o:p></div><div style="margin: 0in 0in 0.0001pt;" class=""> </div><div style="margin: 0in 0in 0.0001pt;" class=""><u class="">PERSONAL STATEMENT</u></div><div style="margin: 0in 0in 0.0001pt;" class=""><u class=""><br class=""></u></div><div style="margin: 0in 0in 0.0001pt;" class="">I have always identified far more as a performer and composer (albeit a dormant one) than as a theorist. Indeed, my proudest accomplishment to date has been leading a conductorless orchestra in college. Our goal was to hone our musicianship and cultivate a real chamber-music sensibility in orchestral playing. The tempo flexibility we sought prompted me to start thinking about rubato in a systematic way, aided by the old recordings to which my radio show was devoted. Of course, I liked analysis—and I enjoy it more today than I did then—but what originally led me to pursue music theory was in fact the promise that I could work on performance as an academic.</div><div style="margin: 0in 0in 0.0001pt;" class=""><o:p class=""></o:p></div><div style="margin: 0in 0in 0.0001pt;" class=""> </div><div style="margin: 0in 0in 0.0001pt;" class="">So I’m honored to be nominated to be co-chair of such a wonderful group as PAIG, whose reassurance about the validity of performance within music theory has already affected my scholarship. And when Ed Klorman invited me to help revitalize the PAIG blog as submissions manager, I was excited for the chance to get involved. I hope the blog will become a place where we can forge a stronger sense of community, and can share both our work and other aspects of our musical lives.</div></div></div></div></div></blockquote></div><br class=""></div></body></html>