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<font size="-1"><p class="MsoNormal">Dear PAIG members,</p><p class="MsoNormal"><br></p><p class="MsoNormal">Welcome to the 2024 Performance and Analysis Interest Group co-chair election! I hope this message finds you well.<br></p><p class="MsoNormal"><br></p><p class="MsoNormal">I am rotating out of the co-chair position this May
and am thrilled to announce an unusually large slate of candidates for
you to choose from (your receipt of this email makes you eligible to
vote). They are all extremely qualified—I’ve
reproduced their bios both below this message and at the link below—and all have been
long-standing, active members of the interest group. They are:
Christa Cole (Oberlin College and Conservatory), Jocelyn Ho (University
of Sydney), David Keep (Hope College), and Barak
Schossberger (Hebrew University of Jerusalem). 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.</p><p class="MsoNormal"><br></p><p class="MsoNormal">Voting is live now and will continue until 11:59 pm
EDT on Monday. (I will send a reminder on Monday.) Because of the
large number of candidates, we will use ranked-choice voting. Simply
rank all four candidates in order of preference;
you must select a choice for <i>every</i> candidate. You will be prompted to enter your email address. This is
<i>only</i> for the purpose of ensuring one vote per person (weeding out duplicate votes should they arise) and we will
<i>not</i> associate your email with your vote. We will inform you of the results immediately following the election.</p><p class="MsoNormal"><br></p><p class="MsoNormal">Follow this Google Form link to cast your ballot:
<font size="-1"><a href="https://forms.gle/oiajQieGNRTKaeT18" target="_blank">https://forms.gle/oiajQieGNRTKaeT18</a></font></p><p class="MsoNormal"><br></p><p class="MsoNormal">Happy voting!</p><p class="MsoNormal"><br></p><p class="MsoNormal">Nathan Pell (The Graduate Center, CUNY), PAIG co-chair</p><p class="MsoNormal"><br></p><p class="MsoNormal">* * * * *<br></p><p class="MsoNormal"><br></p><p class="MsoNormal">Candidate bios:</p><p class="MsoNormal"><br></p><p class="MsoNormal">Christa Cole (Oberlin College and Conservatory)</p>
<p class="MsoNormal">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” (<i>Music Theory
Online</i>, 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.</p><p class="MsoNormal"><br></p><p class="MsoNormal">Jocelyn Ho (University of Sydney)</p>
<p class="MsoNormal">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
<span lang="EN-GB">Society for Music Theory Emerging Scholar Award for
Articles (2022) and SMT Post-1945 Music Analysis Interest Group
Publication Award (2022),
</span>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
<i>Music Theory Online, Women and Music, La Revue Musicale OICRM, Naxos Musicology International,
</i>edited volumes <i>Debussy’s Resonances </i>(University of Rochester Press, 2018) and
<i>Topos of Music III </i>(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. <a href="http://www.jocelynho.com/" target="_blank">www.jocelynho.com</a>
<br></p><p class="MsoNormal"><br></p><p class="MsoNormal">David Keep (Hope College)</p>
<p class="MsoNormal">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
<i>Intégral</i>, <i>Liszt and Virtuosity</i> (ed. Robert Doran, University of Rochester Press - co-winner of the Alan Walker Book Award, American Liszt Society),
<i>Music Theory Online</i>, and the <i>Journal of the American Liszt Society</i>.
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.</p><p class="MsoNormal"><br></p><p class="MsoNormal">Barak Schossberger (Hebrew University of Jerusalem)</p>
<p class="MsoNormal">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.</p></font>
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